By HARMONY KORINE

FABULIST ARTIST, DIRECTOR,

PROVOCAtEUR^AND ACOLYTE
TO THE WICKEDEST MAN IN THE
WORLDJCENNETH ANGER HAS^
OVER THE COURSE OF HIS N E A R L Y
70-YEAR CAREER^ BECOME THE
PATRON SAINT OF HOLLYWOOD BAD
BOYS AND UNDERGROUND ARTISTS.
Photography SEBASTIAN KIM
KENNETH ANGER IN LOS ANGELES, MAY 2014. JACKET AND SHIRT (WORN THROUGHOUT): ANGER'S OWN.

126
 \
mßi

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 "MY DREAMS ARE,
LIKE, BIG BUDGET,
AND MY MOVIES ARE
SMALL BUDGET."
Oí'/'as777í. STILLS A'.JÍY.7 Vi.l7'/aV
OF THE PLE DOME. PHOTO:

f'/j
 Tb describe Kenneth Anger as a "cult filmmaker" KORINE: Okay. Do you pracdce any religion today?
seems requisite but incomplete. The 87-year-oId ANGER: I'm a Thelemite. I helieve in Thelema,
native Angeleno is indeed the writer and director which is Crowley's so-called religion. There are some
of the surrealist shorts Inauguration of the Pleasure
Dome (1954-66), Scorpio Rising (1963), and Ludfei-Rising
(1970-^1)—some of die 'wüdest and most profoimdly
influendal experimental films of the last century. But
his salacious narradve history of the industry, Hollywood
Babylon, originally published in 1960, is also kitsch-
famous, a kind of gossip gospel in the land of holy
celebrity. His film and video works are in the penna-
nent collecdons of various museums of modem art.
And he is also the most famous li'ving pracddoner of
Thelema—the ritual-based doctrine dictated to Aleis-
ter Crowley by the spiritual messenger Aiwass.
Over the course of his muldvalent career. Anger has
worked with and befriended such ardsts as Marianne
Eaithfull (a collaborator on Lucifer Rising), die surre-
alist Jean Cocteau, guitar god Jimmy Page, sexologist
Alfi-ed Kinsey, and Tennessee Williams, as well as fel-
low Thelemite Marjorie Cameron—star of Pleasure
Dome and onetime wife of Jet Propulsion Laboratory
founder Jack Parsons. Anger is the godfather of homo-
erode cinema, having made his pioneering Fireworks
in 1947. He has been famously obscene (and charged
as such for Fireworks in CaKfomia), happily hallucino-
genic (his Invocatio77 of My Demon Brother fi'om 1969
was famously evocadve of an acid tdp), and quite con-
sciously provocadve (see all). Inside the industry, he's
never found a place to rest—^he has LUCIFER tatted on
his chest. And he's seen UEOs—three dmes.
Painter and filmmaker—and something of a
hell-raiser himself—Harmony Korine has long
appreciated the work and legend of Anger, but
the two have never really had the chance to speak.
We thought they should, so in April, Korine called
Anger from his home in Nashville to discover that
his hero is sdll working outside of the mainstream,
sdll a scabrous cride of Hollywood, and sdll specu-
ladng about that Malaysia Airlines fiight.
HARMONY KORINE: Hi, Keimeth! How's it going?
KENNETH ANGER: Pretty well.
KORINE: What's a typical day for you now?
ANGER: I greet the sun in the morning, because that's
part of my religion, and then I proceed with die day.
KORINE: What's die greeting of the sun like?
ANGER: Oh, it's just a mental thing. It's called Liber
Resh. It's an [Aleister] Crowley rimal, where you say,
"Hail, hail!" to die sun.
KORINE: Is there anything you say at night before
you go to bed?
ANGER: I'm usually up aU night. So that doesn't count.
KORINE: Where are you living now?
ANGER: I live right in the center of Hollywood.
KORINE: Do you feel Hke there's any type of magic to
Los Angeles sdU? Is it as interesting as old Hollywood?
ANGER: Uh, no. [laughs] I hate to say that, but the
past was much more fascinating. I don't particu-
larly care for any of the current crop of actors. I
don't pardcularly care for any of the current crop of
directors. But I have a lot offinendswho are editors,
and diere are a lot of technical diings going on here
that are interesdng.
KORINE: How do you think Cahfomia has changed
since you were young?
ANGER: Well, everything is constandy evol'ving and
changing. That's what life is all about. But basically
Hollywood has lost its focus as a film center. Eikns
are now made aD over the world.
KORINE: T h e occult and old Hollywood have
played a big part in your work. Is there any kind of
crossover between them? What was the energy that
connected the two of them, for you?
ANGER: Well, I'm sorry, I really can't answer that.
130
effects. I listened to several different kinds of explo-
sions, but I like atomic ones best.
KORINE: I'd love to see that. Do you sdll watch films?
pracddoners here who do something called the Gnos- ANGER: I have no reason not to. I mean, I do a lot
dc Mass. I've been to that a few dmes, but basically, of reading, too. But I live very close to the Egypdan
I'm a loner. I don't really need other people. Theatre, which has revivals of wondei"ful older films.
KORINE: What about your dreams? Can you So I see more of them than I do of new films.
remember your dreams? KORINE: Were you a W.C. Eields fan?
ANGER: I try to remember them, and occasionally ANGER: Yeah. I've always liked him.
I'll make a note or two in a notebook if it's some- KORINE: What about the Marx Brothers?
thing extra interesdng. They do mean quite a lot to ANGER: Sure. Gleeñil chaos.
me, and they don't happen all that often. In other KORINE: Can you tell me about what it was like
words, I don't have some kind of loud. Technicolor being an actor as a ldd in Hollywood?
dream every night. But a few dmes a month, I'll have ANGER: I really had just a brief experience of diat,
a rather interesdng dream. They're mosdy visual— which came about dirough my grandmother, who
oddly enough, I don't have much dialogue in my had been a costumer for silent films. I had a non-
dreams. They just don't speak, [laughs] speaking part in A Midsummer Night's Dream [1935]
KORINE: Are diere things that you've dreamed that by Max Reinhardt [and William Dieterle]. My
have ended up in your films? grandmother was a friend of Reinhardt's.
ANGER: I wish. But my dreams are, like, big budget, KORINE: I've seen that amazing sdll of you in the
and my movies are small budget. movie—that's great. Did you really want to be an actor?
KORINE: [laughs] What if you had no budgetary ANGER: No. Midsummer- was a pleasant experience,
limitadons? Wliat would you make? but the thing I liked about it was the set on War-
ANGER: Well, I had to tailor my dreams to fit my ner Brothers' largest somidstage, this forest that was
budgets. Except in a few cases, like when Sir Paul made to glitter. The whole thing was sprayed with
Getty was aKve and he sponsored my Mickey Mouse shellac. It was very pungent under the lights.
film [Mause Heaven, 2004], I had very limited finan- KORINE: How did your book projects, like Holly-
cial resources. So that has dictated my product. wood Babylon, affect your filmmaking? Was there any
Widi Rabbit's Moon [1950-79], I was helped by die type of crossover to projects like Invocation of My
Cinémathèque Erançaise. They gave me the 35mm Demon Brother}
ANGER: Well, I've always been interested in the
Hollywood history. Basically, diat is my interest.
"I DON'T SEE ANY And then I've always made silent films with music
GREAT DREAM for accompaniment.
MYSTICS who ARE KORINE: Your movies are so beaudnJ, dreamy, and oth-
erworldly. I feel like they're a part of you. What comes
PUSHING MAGICAL first: the stories, or the images, sounds, and colors?
EFFECTS. IT'S TOO ANGER: It's definitely images. And a flow of pat-
BAD^BECAUSE the terns. I call them cinepoems. They're a form of poetry,
MONEY IS THERE, only it's visual.
/iwi WHERE'S THE KORINE: Is diere a logic to them, or is it more just
IMAGINATION?" a feeling?
ANGER: [laughs] I suppose there's logic to them. I
don't put in visual material that doesn't have a direct
connecdon 'with die kind of dreamlike plodine.
KORINE: Do you approach all the movies in the
fikn to make it. It was the same film that [Jean] Coc- same way?
teau used for Beauty and the Beast—the same 35nim ANGER: Yeah, that's Kenneth Anger's approach.
negadve. I had plans to do a film based on Les Chants KORINE: You've Hved through all these different eras.
de Maldoror by Lautréamont. I did film part of it 'widi Was there any one time that you felt the most kind of
one of the ballet groups in Erance. I made platforms attuned to or look back on with the most fondness?
just below the surface of the water; there were, Uke, ANGER: Unfortunately for me, the period I was
tables, they were held down so they wouldn't float most interested in happened before my dme. The
away. So it appeared that the dancers were actually 1920s was, to me, a rich period of invendon—the so-
dancing on the water. It's not a very special effect, called Jazz Age—it was always very appealing to me.
because if you had the money, you could do it with KORINE: What did you think about the hippie
people dancing in the air if you wanted. movement when it was going on?
KORINE: I'd heard that you'd done peyote a couple ANGER: I thought it was kind of fun. I never really
dmes, and I was wondering if you sdll experiment idendfied 'with it, but I wasn't antagonisdc to them.
'with any drugs. KORINE: Was there any one person, any great love
ANGER: That is in the distant past, and I don't care in your life who stood out from everyone else?
to discuss it really. ANGER: Unfortunately, no. The famous Dr. Alfi'ed
KORINE: What are you working on these days? C. Kinsey—
ANGER: I always have a project going on some level. KORINE: The sexologist.
My most recent is Airship [2010-12], using archival ANGER: Yes, he was an extraordinary man. I was his
footage of the old zeppelins. guide in Europe. He died very yoimg, at 62. But a
KORINE: Wow, of the zeppelin on fire? year before he died, he came to Europe and I ended
ANGER: The last part is with the fire, and then I up taking him to Sicily so he could see the ruins
hand-dnted it orange and red. The only real footage fi'om the Abbey of Thelema, which was created by
of it was black and white, and the spectacular thing Aleister Crowley in 1920. It was Crowley's la cham-
about die end of the zeppelins—because that fin- bre des cauchemars, die room of nightmares, full of
ished them off—^was this incredible fire. paindngs that were both very 'witty and fun. It was
KORINE: Is there any audio to go with it? clear that he had a macabre sense of humor. And it's
ANGER: An atomic explosion—just explosive pronounced Crow-ley. It actually means the shield
of the crows, of ravens, [laughs] L-E-Y, means shield. island where the whole thing is an amazing place—
KORINE: And what was your reladoaship with Kinsey? "THE MARVELOUS it's an interesdng idea.
Was he a fan of your movies?
ANGER: He must have been, because he bought
THING ABOUT the [UFO] KORINE: Did you Hke the original Disney cartoons?

copies [of Fireworks] for the Institute for Sex

WE SAW WAS THAT IT ANGER: Disney had a genius working for him

Research at Indiana University. And he invited me WAS toto%SILENT... named Ub Iwerks. Iwerks designed the early Alickey
Mouse as just this series of circles. But of course,
there and interviewed me for four hours. I contrib- I'M WAITING FOR Disney got credit for it. [laughs]
uted photographs and material for the collecdon, THEM TO COME BACK. KORINE: Have you ever had any experiences with
which is sdU there; the Anger CoUecdon at Indiana ^wii MAYBE THEY aliens? UFOs?
University is very important.
KORINE: Of all the actors from the past, was there
FINISHED WHAT THEY ANGER: Oh, I had three very good sightings. I guess

one that you had a fondness for?

HAD TO DO HERE." you have to call that an experience. In one case I was
with three people, so it wasn't just me who saw it It was
ANGER: Well, no. The one actor I admired, just because at the beach in San Francisco, near the CHff House.
he had tremendous magnedsm, was Rudolph Valen- We were there in the early morning and a round
tino. And he died very young, at 31.1 could have imaged shape came up off the horizon and flew right over it.
working with him—but, again, he was of the silent KORINE: It's hard to imagine what exacdy happened. KORINE: Whoa!
period before my time. I just missed him. There are a lot
ANGER: I think that's interesdng. I mean, was it ANGER: It wasn't just me. Three people saw it.
of actorsfromthe silent period that I admire, like Doug-hijacked? Probably, because why would it reverse? It was completely quiet In any commercial films
las Fairbanks. He was wonderñiUy athledc and expressed If it's supposed to go to China, why would it reverse where they try to have a saucer, they ridiculously
his characters almost in dance, rather than speech. direcdon and head off the opposite way? WeH, obvi- put in a bunch of humming noises. The marvelous
KORINE: In your movies, too, it's so much more ously there was a criminal act aboard. thing about the one we saw was it was totally silent
about the physicality of the actors or the perform- KORINE: Are there any projects that you wanted to There was no sound whatsoever. When it flew
ers. Do you think of filmmaking as a kind of magic? make that you feel Hke you haven't gotten a chance over, you could see into a large oval window and, in
ANGER: It can be. It can create a kind of trance to make? there, there was some kind of flashing, pure color.
effect, so I prefer to think of it as a magic possibiHty. It
ANGER: There are a lot of things that I would have It went from a red to green—Hke an emerald green
also can be totally stupid, and a waste of a tremendous
done if I'd had an adequate budget available. For a from a ruby red—and flashed on and off. It seemed
amount of money—^in the act of being commercial.
dme, I had one of the richest men in the world as my like that color had something to do with the way
KORINE: Is there a way to push films in a way that's
sponsor. Sir Paul Getty. He was also was very fond the crafr operated. I had two or three other sight-
maybe even more sensory or more physical? More
of Mickey Mouse. So I made Mouse Heaven for him. ings in England when I was there. Again I wasn't
hallucinatory?
But he's no longer with us. He died at age 70. the only person to see them. They were seen by
ANGER: I wish, [laughs] I'm waiting for it. I don't see KORINE: What's your feeling on Disney, the man? people in Scotland and (CONTINUED ON PAGE 143)
any great dream mysdcs who are pushing magical ANGER: Walt Disney? He was a grabber of power,
effects. It's too bad, because the money is there. But but he also had some very admirable quaHdes. So it HARMONY KORINE IS AN ARTIST. SCREENWRITER.
where's the imaginadon? was a mixture. I suppose we're all mixtures. But in ACTHOR AXI) DIRECTOR. HIS FILMS INCLUDE
SJ'lil.W BREA k'EUS. MISTER LONELY. AND (•;( MMO.
KORINE: What do you think happened to that plane his case, it was a bit of Hke a Jekyll-and-Hyde thing. I < 'UK7v H7.S7Í FROM TOP LEFT: AN(iEli EDITING IN
in Malaysia? loved some of his early films, but then he sort of got PITTSBUP.(!H. 1974. PHOTO: PHOTOFEST. VICTOR
CH ILDE L\ SCORPIO RISING. PHOTO: PHOTOFEST.
ANGER: Well, planes disappear all the dme. It went distracted by Disneyland. He always wanted to make STILLS FROM .'SCORPIO lUSrXG. PHOTOS: PHOTOFEST
AXI) PUCK FILM PUOI)C( Til )XS;THEKOI!.\L CROC l>.
down in very deep water, and I don't think diey'U some sort of place like Disneyland, and there was a AXGER ON SIÍT OF LI '< 'IFEll RISIXd. 1972. PHOTO:
ever find it. And what's the point? I mean, everyone rumor that he planned to take over CataHna Island. OITS PHOTOFEST, SITTlXi:s EDITOR: I ).\\"ID TH( )M .AS
BEAC'I'V. (UWOMIXi: PIIODI'CTS: LKOXOI!
on board died—because that's what happens when a But it was owned by the Wrigley chewing gum fam- G K E Y L. IX(. 'L Í DING É( 'LA TE XA TL 'REL s TV I. IXC
CRE.4M. GROOMING: S A N D R A G A N Z E R .IEI> liOOT.
plane goes dovm like that. I think we should move ily, and they wouldn't do a deal vdth him. PRODUCTION: D A Y N A C A R N E Y / M A N A ( i E M IÍXT
on. I don't see what the point is of these tremendous KORINE: Wow. ARTISTS. RETOUCHIXd: \-ISION OX. PHOTOGRAPHY
efforts to locate it several miles beneath the waves. ANGER: But the idea of taking your boat to an ASSISTAXTS: ZACKEin' .MICH.AKL. SPECIAL THANKS:
M I LK STUDK IS. FASHIOX DETAILS P.iGE 143.

131
 143
ing my political sympathies with the factory work- west.
ers he employs. HAMILTON: Are you a disciplinarian? Are they I/o« THE YOUNG GUNS OF HOLLYWOOD
ITO: The politics of it are a separate issue. I respect infused with Scandinavian values? PHOTOGRAPHY ASSISTANTS: ROBERT LINDHOLM,
the kind of scale he works at and tiie kind of con- EMILIO HERNANDEZ. NICHOLAS ONG. AND
ANN-MARGRET: [laughs] Yes. THOMAS .JA\SSON. .S7'1T/.\Y,',I,S'.5/,ST.I.VT.S' .lOSHUA
trol he maintains because, at the end of the day, I HAMILTON: What in your early life that your COURTNEY. MELISSA L E W . .VIATTII HW TAI'CHR.
AND ALEKS KO.). HAIR ASSISTANT: RVL TA SAIGA
believe Jeff Koons only cares about making art. mother and your father infused in you have you MAKEUP ASSISTANT: RIE TSUKUI.
PRICKETT: What does that redeem for you? I brought to your stepchildren?
personally don't care if you care about making art ANN-MARGRET: Respect. I met them when they Jiore AMERICANA
or not. were 3, 6, and 7, and now they're not. [laughs] Two PIIOTOanA I'llY ASSISTANTS: ROBERT LINDHOLM.
ITO: So if you found out some artist made this EMII.I(lHI-:H\ANi)l-:Z.NI(HOI.AS0NG.ANDTH0MAS
of them are doctors. Well, I don't want to get into JANSSOX.
thing because they thought it would sell, you'd be .sr)7.,AVf.;.I.^.•^7.^•7'. I A'7X.JOSHUA COURTNEY
that because it's very, very private. AND MELISSA LEVY. HA II! ASSISTA XTS: HOLLY
totally okay with that? MILLS,TIMOTHY AYLWAHI). Kn'O IGARASHI,
HAMILTON: Sure. AND ZULEIK A ACOSTA. .U.il KEUP ASSISTANTS: EMI
PRICKETT: No. But I want the person making art ANN-MARGRET: We've kept tiie children really— KANEKO. NINA PARK. AND K AT REYES.
to care about how it makes people feel or see. Brad HAMILTON: Out of it.
Troemel cares that what he makes is recognized as ANN-MARGRET: Yes. For their sake.
art, but he doesn't care how people feel when they HAMILTON: It's interesting, my little boy has FASHION DETAILS
see it. great respect. He's 14 and he says sir and ma'am.
ITO: Jeff Koons does. Do you want some gum? Stands and shakes your hand. I love that, don't you? 3.1 P H I L I P LIM 31I'H1LIPLIM.I'OM • A D I I U S .^niiMS.coM •
PRICKETT: Yeah, thanks. Do you smoke ciga- ANN-MARGRET: Yes, yes. A(iNES B . AGNESB.COM ' A L E N S I Al.KSSl.l'OM • Al.H.NAXDKR
rettes? HAMILTON: I saw somewhere you said "Mr.
W A N G ALK.XAXnERVVA\(J.i'OM • . A L T K H N . I T I X ' K . V I ' I ' A P . K I .
ALTERNATIXT'ÍAPPAHKL.C'OM •.Al.'l rZARIi.V Al.TlZAIUiA.CO.M •
ITO: No, I don't. Burns" [to George Burns]. AMERICAN.^I'PARKi. A.MKRH . \ \ . \ I ' I ' A I Í K I . . X K ' I ' • A N N A K A R I X
KARUSSONAXXAKARIXK.\Rl.S.SllX.roM v A x X DlíMKrLUMKI'.STIÍR
PRICKETT: You look very healthy. ANN-MARGRET: Always. And "Mr. Sidney." ANNDEULE.MHUSTKH.P.F. • AX^A HlXDM.VRCll A.XY.MUXD.M.UiCH.
COM ' A R M A X I E X < H.\XliK ARMAXIE.XCHAXGE.COM '.AZZEDIXE
ITO: It's a trick. Bless his soul, George Sidney. A L A I A A I . A I A . F R • B.VCCARAT BACCAKA'l .COM • B A I . E . X C I A G A
BALEN'CIACA.CO.M • B A L M A I . X IÎALMAIX.COM • BoTTEGA
HAMILTON: You did a few movies with him. V E X E T A lidTTEGAVENETA.COM • B u M B L E AND BUMBLE
BUMBLEAXDBinHBLE.COM • B u R B E R R Y P R O R S U M Bl'RBERRY.
ANN-MARGRET: I was in Bye Bye Birdie, Viva Las
more ANGER
COM • C ' A L V I X K L E L X Coi.LECTlOX CALNIN'KI.EIX.COM • C.ATBIRD
Vegas, and The Swinger [1966]. CATBIRDX'YC.COM • ('llAXKI. CHAXEL.CI IM • ClH ESTER B A R R I E
CHESTERBAHRIE.CO.l'K • ('l.ARH Gol.DSM m l CI..UR liCOI.DSMlTH.
HAMILTON: So you have respect for the directors. C O M ' C L E D E PEAT BiíArTEci.EDEPE.M-BEArní.í OM -COACH
C0ACH.COM • CoM.ME DES ( ! A R C I X s lD.MME-1 iF.S-OARI OXS.COM •
ANN-MARGRET: When I came to this coun- DEBORAH MARIJIIT i)EnoRAiiM.\Ri,irn.i H.M • DEXI.M & S I P P I . Y
(CONTINUEDFROM PAGE 131) England at the try, first of all, mother and I didn't know Eng- D E N I M A N ' D s r i ' P l . Y C O . M • D i A X E \ O X F l R S ' I ' E X B K R G l l \ F.COM •
D i E S E I . D I E S H L . C O . M • D l l l R H o . M M E DIOL'III 1M.ME.COM • D K N Y
time. I'm waiting for them to come back. But lish. I would curtsey, then say, "Thank you," and DK.XYcoM • D O L C E & C \IIIÍAX.\ IIOI.( EI;.MII'..\XA.(I>M • D R I E S V A N
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maybe theyfinishedwhat they had to do here, and then when I was leaving, curtsey. For example, COM • 1ÍACH X O T H E R EAI'HH)TIIER.COM • 1 J ! . \ I E X E I ; I I , I > I I Z E X G A
COIITI'REZECXA.COM • KsSIE ESSIE.CO.M • I''.\LKF l ' . \ l . K E . C O M /
their little visits to planet Earth are over. we went to Dallas to introduce a film I did with DE • F A T T S O P c i l L I S l FACTSOPCOI.ISI.niM • F E X I I I ( '.\S.\ FENDI.
KORINE: What do you think happens when we die? John Wayne [The Train Robbers, 1973]. And I never FOUXIIAXIrtlSluX.COM CO.M • FoRX.XSET'TI KoRXASE TTI.i I ).M ' l ' ' n r X | ) \ \ l ) \ " ! s l o . \
• FREDERIC F E K K A I F E K K . M . I OM • G E O R G
ANGER: Well, we'll find out. Either it's just called him Duke. I just couldn't. That's the way . I E X S E X {¡ICOP.C.IEXShlX.COM • (ÍILIÍS A\ IsXl'E.'Ï^.COM/l ;]LES •
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enough. You don't need something after. It'd be either Mr. or Mrs. or Miss. You stand up. I think COM COM • ( J r c i i ü c r r i . i o.M • H . \ X R o ii.AXRD.iiiM • H T I R M E S H E R M E . S .
• H E R \ E LECUR IIER\EI,EIIER.IOM • HLCKI.ERERRY
nice if there is—nearly all the cultures imagine you were taught the same things. HL'CKLEHERRYLO\'E.CIIM • I|.I.ESTE\.\ ILI.ESTE\ A.COM •
I R O lRo.KR • I S A B E L M A R A X T I.SABEI.MARAXT.CO.M • .Jii.
some kind of heaven, but it could just be wishful HAMILTON: Yeah, I was. I was brought up in the S A X D E R JIL.SANDERCOM ' K E Y Y X .AlCOIX KEYYXAl'COIN.COM
• K - W A Y K-\Y..W.CA • LAXVIX I.AXMX.COM • LATR.K MERCIER
thinking. Then, to counter the heaven, they've South. My Htde boy is in the naval academy, and he L A U R A M E R C I H R . C O M • I j E O . X O R ( l l l H M , I . E i i X I I R C R E \ l . - l S . \ . l I I.M
• L E S P E C S LESPECS.CO.M • L I R E I H L I R K I I M U M • L i s . \ " M A R I E
imaged a hell. And often the hell thing is more loves it. He loves it because he knows what to expect, F E R X . « T ) E Z LISAM.\RIEFERX.\XDEZ.I'O.M • l . o n s \ ' l TTTOX
interesting, [laughs] he knows the consequences of his actions. He said,
LOl'ISYl'ITTOX.COM • I J A ' E LE.VTHER 1« .\X TLOVEI.E.VTIIER.COM •
Lu.XI'RY LlYIXII FEXDI.COM • M.A( ' C'OSMETICS M.MVOMESTICS.
KORINE: Very true. COM » M A I S O X M A R T I X MARGIEL.V .MAISOXMAR'TIXMARIilELA.
"I want to be something in my life." He was offered COM • M A K E I ' P FOR E\'ER .MAKEC PI-'I IR E\I-:R.I 1 IM • MARC .JACOB.S
ANGER: It's been good talking with you. this reality show, and he said, "Dad, that won't help MARCJAC0BS.COM • .M.Mll' BY M.Mil.l.MOB.S MAIiC.IAI'OHS.COM/ "
.MARC-BY-MAR<' • M A ( Í X . X F I . O I ! . \ I ' " | , O \ V E R S M . M : X A I ' L O R A . X ' Y C . C O M
KORINE: Thank you so much. You're a great hero. me the rest of my life. I want to be known not for • M A R X I M A R N L C O M • M E L E T J M E R C A . X T I L E MELETMERCAXTILE.
COM • M I C H A E L K U R S M I C H . \ E L K O R S . C U M • M I R . U I . E I C O . X S
I'll come see you when I come out to Los Angeles. fame, but for value." That's a 14-year-old. MIR.VCLEICOXS.CO.M • M II H A El, 1\ORS M U1l.\i:i.l\ORS.I'i iM • M i r
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HAMILTON: You know, you have to get it right
more ANN-MAGRET before they get it right sometimes. My oldest boy
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is a wonderful musician. He had a hit with Rob- ALÜERTAEERRlCTI.ro.M • I ' i n ' T O l'HYTO-CS.\.roM • l'li.UÍA PRADA.
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(CONTINUED FROM PAGE 137) it is, because you have worked out, late, all the things that I worked
can't own people, and sometimes the music's gone out with the little one early on. And it's what I
and it's not about passion; it's about the complic- wish I'd done up fi'ont, if I had known what Hol-
ity that you have. I found that if I let her go and lywood was. I went down the same road—I had
she let me go, we would vector home, we'd come him in military school, and then the military
back. And as long as that was okay ... Maybe there school closed and he came back to this town. And
was a fear of commitment on my behalf. I commit- this town is too ... I'm surprised I never fell into
ted to children; I just couldn't commit to a wife. any addiction or any of that. I was lucky, because
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I don't think I trusted the wife enough, where it certainly was pervasive. Well, what are you
with a child, you don't have anything about trust. going to do next?
They're flying alongside you, and you better make ANN-MARGRET: I'm just taking care of Roger.
sure they're okay, or you'd have a horrible life. You HAMILTON: You two are always there for each
have three children, correct? other. It seems to me that you're a Hfer in that. But
ANN-MARGRET: Stepchildren, yes. what about you personally? Are you just taking it a
HAMILTON: And you tried to get pregnant for a
day at atime...
long time?
ANN-MARGRET: Day at a time, definitely. I just
ANN-MARGRET: Yes. can't believe we're still here. So many of our col-
Vol. XLIVNO. 5 I Printed in the USA
HAMILTON: Then you finally said, "I've had it leagues have passed away. I N T E R V I E W is publiai

with this hormone-induced situation," and you HAMILTON: But, you know, I can't envision Jan. bj-IN'TERVlRW
(212)941-2034. ©C'niiM
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\' IXTKUVIEW,

gave it up. myself—I can feel infirmities and stuff—but I can't

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ANN-MARGRET: Yes. Soil.»? Dtif veiir ¡iiiduding CIST); (furt^igii) S75one year, pavablein Kcivanfc. ¡ii I' N .iirrciiiv
envision myself dropping off the perch. I have Uat-k-issue v-rieing call (212) 941-2806. FOR CUSTOMER SKRVICK. C H . W C K (IF ADDRESS,
g

HAMILTON: But the three children, you've taken other things I want to do, you know? OK OKDKR ING A N E W SUBSCRIPTION. ^ V r t n i: T( 1 IX TKIiVIKW. P.O. Box 37006, lítmiie,
lA 50037-0006, or call toD-free (80(1) 925-9Ö74. n,ii ,•, 1,, ; -. inll (515) 246-6952. For nhaiige

them on as your own, right? ANN-MARGRET: You have otiier fish to fiy.
ofadttress, send old nnd new acldressPK and labil In D rOSTMA8TER: Send address
changts t o INTERVIEW, P.O. Bos 37006, Booiit. IA .,uu;;7-uuuii Ucgiatered in the U.S. Patedt ajid

ANN-MARGRET: The wicked stepmother of the HAMILTON: Other fish to fiy. TrademaA Office. OuMide U.S. rt^.jwnding^náíiH'ofAoí s INTERVIEW. Periodicals postage paid at
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