Ethan Hawke sat down with Sissy Spacek in New York City for an extended conversation, offering rare insights into five decades of Spacek’s remarkable career and reflections on acting, family, and art. The resulting dialogue delivers compelling Ethan Hawke interview highlights, drawing out stories that intertwine their personal histories, mutual admiration, and philosophical approaches to both their craft and their lives.
Sissy Spacek’s Enduring Talent and Upcoming Projects
Sissy Spacek first captured national attention with her role in “Badlands,” followed by acclaimed performances in “Carrie,” “3 Women,” and particularly “Coal Miner’s Daughter,” for which she won an Academy Award. At 76 years old, Spacek continues to embody an authenticity that stands apart from the typical Hollywood persona. This fall, she will star in Lynne Ramsay’s film “Die, My Love,” alongside Jennifer Lawrence, Robert Pattinson, and Nick Nolte. During her promotional tour in New York City, she and Ethan Hawke, friends and longtime admirers but never co-stars, gathered for an intimate dinner at Wolfgang Puck’s steakhouse in Tribeca to discuss careers, childhood, and the essence of performance.
A Conversation Rooted in Mutual Respect
The dinner began with Hawke reminiscing about Spacek’s interview history, notably her earlier conversation with Andy Warhol. Spacek fondly recalled the surreal experience, describing Warhol as polite not only to her but to her mother who accompanied her to the interview. The conversation comfortably shifted to family, with Spacek expressing gratitude for being joined by her daughter and Hawke mentioning his four children. They laughed about their children taking care of them in old age, reflecting the warmth and relatability that underscores both of their personas.
Origins of Nicknames and Hollywood Roots
Hawke was curious about Spacek’s famous nickname, asking if it originated from her being called “sister” as a child. Spacek explained,
“My real name is Mary Elizabeth, and when I started school in first grade, they said, ‘Is it Mary or Elizabeth?’ I knew at that moment I had to fight for my name because my brothers who I idolized—”
The two continued to exchange stories about childhood names and upbringings in Texas, noting the familial connections that would parallel their creative journeys later in life.
Coal Miner’s Daughter: A Touchstone for Actors
In a pivotal moment, Hawke recounted introducing his own daughter Maya to “Coal Miner’s Daughter,” emphasizing the film’s profound impact on him as both an audience member and an artist. He said,
“If you’re going to do this—have you seen Coal Miner’s Daughter?”
and remembered watching the movie on his birthday as a child with a family friend, stating,
“I want to go see Coal Miner’s Daughter.”
The night left an indelible mark on Hawke, instilling in him a sense of performance’s possibilities and poignancy.
Spacek recalled collaborating with Loretta Lynn and director Michael Apted on the film, praising Apted’s organic directing style. She described how Apted would encourage actors’ instincts rather than prescribe their movements:
“Where do you think you would be? Feel it out.”
This approach allowed performances to emerge naturally, shaping what Hawke called a “high-water mark” for musical biopics and for acting as a transformative experience.
The Influence of Family and Music
The conversation turned to family legacies in the arts. Spacek shared insights about her cousin, the actor Rip Torn, and about growing up in a household full of music. She recalled how her own father had been a talented banjo player before relinquishing music to focus on family responsibilities.
“Wow, how can he just give that up?”
she reflected, relating her own journey of stepping away from guitar during periods of motherhood and hectic career demands. Yet, Spacek found ongoing joy in singing harmony for her daughter Schuyler Fisk, herself a musician.
Chasing the ‘Flow State’ on Screen and Stage
Hawke and Spacek explored the mysterious “flow state” central to their acting and music. Hawke offered a personal memory from filming “Dead Poets Society” with Robin Williams: making up a poem in front of the class and experiencing the sensation of dissolving into the character—a moment that hooked him on acting for life. Spacek recognized the feeling, musing on how the best performances often spring from getting lost in a scene rather than conscious control, admitting,
“You don’t even know what you’ve done. You know how they say, ‘That was great. Do it again?’ It’s like, ‘What did I do? Where am I? What just happened?’”
Shared Philosophies on Acting
Both actors agreed that authentic artistry requires self-knowledge. Spacek emphasized relying on sense memory, stating that her training was as much about life as it was about formal education. Hawke added a Ralph Waldo Emerson line:
“The thing that’s so misunderstood when people try to talk about method acting is [Konstantin] Stanislavski’s whole thing is that every human being has to build their own method. That is the method. The method is learning—”
To truly inhabit a character, the actors concluded, one must first understand one’s own character and experiences.
Reflections on Hollywood’s Evolution and Directorial Influence
The pair reminisced about the changing climate of filmmaking, focusing on the creative freedom of the 1970s. Spacek noted,
“The ’70s were when independent film really came to fruition.”
Hawke observed that audiences once attended movies simply for the communal experience, not always seeking out specific films. They discussed shifts in technology and budgets that altered how actors navigated their careers, including the advent of battery packs and portable microphones under directors like Robert Altman.
Transitioning Through the Stages of Life and Career
Hawke and Spacek considered the challenges of shifting from ingénue roles to more mature performances. They spoke candidly about adjusting to aging both personally and professionally, and how parenting profoundly changes an actor’s perspective. When Hawke asked Spacek about working with female directors, she estimated only about five percent of her career had been helmed by women, noting how persistent gender clichés undervalued female collaboration.
Competition and Camaraderie Among Performers
The conversation touched on audition experiences and the competitive spirit often ascribed to actors. Spacek resisted the idea of competition, explaining,
“I never liked the idea of competing for a role. I just refused to do that. I would screen test or audition, but I always thought whoever got the role, that was their role from the very beginning. We just didn’t know it yet.”
Hawke echoed this, acknowledging how, in retrospect, casting decisions seemed inevitable and that a sense of community—rather than rivalry—developed among peers like Philip Seymour Hoffman, Billy Crudup, and Liev Schreiber.
Accepting Limitations and Celebrating Unique Strengths
Spacek reflected on recognizing her own strengths and limitations as an actor. She admitted she could never take on Shakespeare, but praised those with specialized talents, such as accents. “Accepting our shortcomings is okay,” she said, advising that focusing on personal abilities can yield the best results. Hawke agreed, underscoring that embracing one’s distinctive skills and experiences unlocks genuine performances.
Stories from Set: Sisterhood and Collaboration
Hawke recalled the emotional resonance of watching “Crimes of the Heart,” moved by the authentic support among the film’s female ensemble. Spacek recounted the practical and emotional bonds formed on set, such as sharing dressing quarters with Jessica Lange as they raised their babies, while Diane Keaton provided lighthearted moments of joy with Spacek’s daughter Schuyler. These shared experiences enriched the sense of collaboration and real friendship, transcending the typical transactional nature of the entertainment industry.
Pursuing the Elusive Magic of Art
Throughout their dialogue, both actors expressed how the flow in acting or life can be elusive and unpredictable. Spacek captured this feeling with an analogy:
“I always think of it like a train coming through. You see the track and you think, ‘If I can run along this track and get up to speed and the train comes along and I reach out, the train will take me.’ That’s the flow. Sometimes it takes you; sometimes it flattens you.”
Hawke expanded on the role of expectations in creative and personal endeavors, warning against fixating on specific outcomes, and Spacek agreed that remaining open to the moment is essential.
Emotional Depths of Parenting
Hawke and Spacek explored the unpredictable emotional impact of parenting. Hawke shared a deeply personal story about leaving his son at college, initially feeling upbeat but later overwhelmed by emotion, saying,
“I had to pull over because I started sobbing so hard. I was just thinking about my son and I couldn’t stop. I sat by the side of the road for three hours.”
Spacek related this to her own understanding of performance, noting that subtler displays of emotion on screen can move audiences more profoundly than overt tears.
Looking Ahead: Self-Discovery in Later Years
Asked about upcoming projects, Spacek spoke candidly about being at a reflective stage in her life. While mentioning fulfilling experiences working with Michelle Williams and Jennifer Lawrence, she expressed uncertainty about immediate work plans, describing her time spent rescuing her garden during summer’s heat dome and attending a meditation retreat as crucial to her ongoing self-search. This focus on living authentically and embracing the present resonated with Hawke, who observed,
“And it sounds like you’re taking your own advice, which is to live your life and see what happens. And if you put that as the priority, everything else will take care of itself.”
The Lasting Partnership with Jack Fisk
The subject of marriage arose organically, with Hawke praising Spacek’s long and successful partnership with artist and production designer Jack Fisk. Spacek described meeting Fisk on the set of “Badlands,” where his total commitment to his art profoundly influenced her. She recalled delving into his research—even citing the impact of Gustave Doré’s biblical etchings on her work for “Carrie”—underscoring the value of creative partnership and research in shaping memorable performances.
Significance of This Intimate Exchange
The dialogue between Sissy Spacek and Ethan Hawke illustrates more than just mutual admiration; it serves as a living portrait of resilience, adaptability, and passion in the performing arts. Their stories reveal not only technical advances and changing attitudes in Hollywood, but also the enduring significance of authenticity, collaboration, and family in creative expression. For readers interested in Ethan Hawke interview highlights, this conversation unlocks a candid backstage view into the hearts and minds of two enduring artists, setting a benchmark for open discussion about art, aging, and living a life infused with purpose.
