Kathy Bates claims she lost starring role in Garry Marshall film to Michelle Pfeiffer due to her looks
Despite the actress, 76, originating the role of Frankie in the Off-Broadway production, she was allegedly denied the part for the 1991 movie adaptation 'Frankie and Johnny' due to superficial reasons.
The film — which ended up starring Michelle Pfeiffer as the waitress Frankie and Al Pacino as short-order cook Johnny — was directed by Garry Marshall, who refused to cast Bates.
7 F. Murray Abraham and Kathy Bates in 'Frankie and Johnny.'
Courtesy Everett Collection
'He couldn't make the leap that people would see me onscreen kissing someone,' she claimed to Vanity Fair in an interview published Tuesday. 'Me actually kissing a man onscreen — that would not be romantic.'
Bates was nominated for an Obie Award and Drama Desk Award for her part as Frankie on the stage, but it had no bearing on Marshall's decision. Marshall died at age 81 in 2016.
The 'Misery' star is used to commentary about her appearance, with a journalist once saying to her 'you're not Michelle Pfeiffer,' along with hearing jabs from her own family.
7 F. Murray Abraham and Kathy Bates in the Off-Broadway production of 'Frankie and Johnny.'
Courtesy Everett Collection
'Well, I've always had that,' Bates recalled, sharing that one time her dad told her acting teacher, 'You know, she's not conventionally attractive.'
The same year as 'Frankie and Johnny,' Bates starred opposite Aidan Quinn in the adventure/drama 'At Play in the Fields of the Lord.'
While promoting the project, a journalist asked the actor, 66: 'You're a leading man. Is it believable that you and Kathy would be married?'
'I went upstairs,' Bates admitted. 'I locked the door, and I cried like a kindergartner.'
7 Michelle Pfeiffer in the 1991 movie 'Frankie and Johnny.'
©Paramount/Courtesy Everett Collection
'I wanted to get on a plane,' she continued. 'They said, 'Actually, Ms. Bates, there's one leaving right now.' I said, 'Great. Get me on it.' I got on Virgin Air. Sat down. Picked up a magazine. It's about 'Frankie and Johnny.''
The Hollywood vet took home the Oscar for Best Actress for her role as Annie Wilkes in 'Misery' that year.
'I was in my prime,' she told the outlet. 'I was in my 40s by then, and I felt totally in command — and powerful.'
7 Al Pacino and Michelle Pfeiffer in the 1991 film.
Courtesy Everett Collection
7 Michelle Pfeiffer and Kathy Bates.
Patrick McMullan via Getty Images
Now, 34 years later, Bates is taking the screen by storm once more, starring as Madeline 'Matty' Matlock on the CBS drama 'Matlock.'
'I'm doing everything I was trained to do,' she explained about the role. 'It's not that I hit every note exactly right, but I get to try. And I keep trying, and I keep trying.'
Although the actress doesn't see herself retiring anytime soon, she does share: 'I have a feeling this is going to be the last thing I do. I hope we run a good while — I really do.'
7 Michelle Pfeiffer attends the 49th Annual AFI Life Achievement Award Honoring Nicole Kidman at Dolby Theatre on April 27, 2024.
Getty Images for Warner Bros. Discovery
7 Kathy Bates attends the CBS Fest 2025 at Paramount Studios on May 07, 2025.
FilmMagic
Bates even took home the award for Best Actress in a Drama during the 2025 Critics' Choice Awards.
Despite her career renaissance — and recently losing 100 pounds — the 'American Horror Story' alum admits she still doesn't 'feel comfy.'
'I never felt that I belonged, but that's okay. I see them sail away in their gowns….,' she said with a grin. 'So now? It's sweet revenge. Oh, Miss Beauty Queen, you had a career up until your 40s and you can't work? Too bad!'
'I'll think, Oh, you shouldn't say this; oh, you shouldn't say that,' she confessed. 'But then I say, 'F–k it—I'm 76. Can't I just say it?''
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Forbes
6 hours ago
- Forbes
From Mop To Musical: Lorin Latarro Finds The Heart In ‘Joy'
Betsy Wolfe plays the title role in the new musical Joy Lorin Latarro was on her way to the first rehearsal for the musical Joy when her seven-year-old daughter came down with a fever. Between arranging babysitters and calling the doctor, she was also preparing to direct the show and bring a musical to life. For Latarro, that kind of whirlwind morning felt uncannily like the opening scene of the show—Joy Mangano trying to get her family out the door before heading off to make her dreams take flight. 'All the mothers in our rehearsal room would laugh at how familiar the choreographed chaos is,' says Latarro. 'It's a chaotic but also deeply satisfying.' Lorin Latarro That mix of chaos and purpose drew Latarro to Joy, A True New Musical. The story centers on the real-life inventor and entrepreneur whose unstoppable tenacity transformed her life—and the lives of those around her. After reading Mangano's book and speaking with her on the phone, Latarro was deeply moved by the story of the single mother and inventor who turned a mop into a multimillion-dollar empire. Directing the show now playing at the Laura Pels Theater wasn't just about telling the story of a woman who created a self-wringing mop. It was about showing the strength it takes to build something from nothing—especially when no one believes in you at first. Latarro, who began her career as a Broadway dancer in 14 shows and ultimately became a director/choreographer, was drawn to the honesty of the story. She found inspiration from the complicated family dynamics, the financial pressures, the vulnerability and resilience it takes to keep going. Betsy Wolfe in the title role leads the talented cast which includes Jill Abramovitz, Honor Blue Savage, Adam Grupper, Brandon Espinoza, Paul Whitty, Charl Brown, Jaygee Macapugay, and Gabriela Carrillo. Joy is a story about believing in yourself, even when the odds say otherwise. Also, Latarro hopes that audiences see Joy and feel empowered to take charge of their lives. 'My hope is audiences walk out of the theater and finally listen to their inner voice and begin a new project, idea, or business,' she says. 'Or they push forward through whatever obstacles are currently in their way toward their goal, whether that goal is personal or business related.' Jeryl Brunner: Can you share more about how you got inspired to direct Joy? Lorin Latarro: I met with Ken Davenport, who is a prolific producer and one of the writers of Joy, along with AnnMarie Milazzo. I also read Joy's book, then spoke to Joy on the phone and fell head over heels in love with her determination, grit, kindness, and exuberance. Brunner: Joy is about much more than inventing a mop. It explores family, ambition, and perseverance. How did you build that journey onstage?Latarro: Joy's onstage family is imperfect, as is every family, in their own way. Joy manages to love them and keep them together, even through the messiness of their mistakes and shortcomings. Through Joy's determination, she shifts a generationally learned behavior for her daughter, which is not an easy thing to What was one of the messiest or most magical rehearsal moments you will never forget?Latarro: We all wanted to pour liquid onstage so the audience could see the mops actually work. It's notoriously difficult onstage to deal with watery substances because actors can slip, and it's messy to clean up. We tried many different substances for the various things that we spill onstage, including orange slushies, motor oil, and chocolate syrup. We ended up with an oobleck-type substance. After much messy trial and error, we were all happy we found a solution! Brunner: You are a choreographer and a director. How does each skill fulfill you?Latarro: Choreographing is more surgical. When choreographing, you live inside bars of music, and no matter the libretto, you can structure a song and dance number well. Each song is almost its own little musical with its own beginning, middle, and end. Alternatively, directing is like shooting an arrow through Jell-O. You can be fully prepared and have all these ideas walking in the room, but it all changes based on writers, actors, and collaborators, and 'what works' as you read down a scene. Directing feels more irised out than choreography, and a more holistic experience of the show and its dramaturgical needs. Directing is deeply satisfying in a new way. Communication is key so everyone is stylistically creating the same show. Brunner: How did you know that Betsy Wolfe was your Joy?Latarro: Betsy and I had the pleasure of working together on Waitress. I am a big fan. She's incredibly smart and has genius comic timing. Betsy is also a great leader in the room who works hard and always has a smile on her face. She loves the work. Her vocal chops are truly astonishing too! Brunner: You have directed revivals, brand-new musicals, and now a show based on a living inventor. What tells you a project is worth the time and energy?Latarro: If I am moved by a story, I want to work on it. I don't want to get pigeonholed doing the same thing over and over. It was one of the reasons I wanted to collaborate with choreographer Josh Bergasse on Joy. I wanted to focus completely on directing and feel the collaborative experience from another point of view. Also, I like all kinds of styles of musical theater. Sometimes I spend time inside dark shows like Tommy or Assassins, sometimes comedies like Heart of Rock and Roll, and sometimes I love finding new ways into revivals like Into the Woods. At the end of the day, I believe great theater makes people feel big feelings. I look for shows that have a lot of heart and soul. Theatre can change minds and open hearts. Brunner: When you begin dreaming up a scene, what is your starting point?Latarro: I always start by reading the script and lyrics without listening to the songs. I don't want to be seduced by the music before I experience the story. Then once I understand the story, I go back and reread the script with the interpolated song demos. Then I listen to the music over and over again. Brunner: What kind of creative environment do you try to cultivate?Latarro: I love the art of collaboration. It excites me endlessly. I like being in a room with people who also love the work. I am into the 'yes and' mentality. Someone has an idea, and we work on it until it grows and grows. I work hard because if I'm going to be away from my family, then I'm going to make it count. From left: Jill Abramovitz, Honor Blue Savage, Brandon Espinoza, Jaygee Macapugay, Brandon Espinoza, ... More and Adam Grupper
Yahoo
8 hours ago
- Yahoo
'Stranger Things: First Shadow' stars focus on humanity amid horror
NEW YORK, July 27 (UPI) -- Burke Swanson and Alison Jaye say they focused on the humanity even more than the horror when playing teen versions of Hopper and Joyce in Broadway's blockbuster Stranger Things prequel, The First Shadow. Penned by Kate Trefry and directed by Stephen Daldry, the supernatural stage play takes place in the 1950s, in the fictional town of Hawkins, Ind., and offers origins stories for the beloved grown-ups -- and terrifying uber-villain Vecna/Henry Creel -- from the 1980s-set Netflix TV show. "Within the spooky, sci-fi nature of it all, there are real humans trying to figure themselves out and figure out what their community's like," Swanson told UPI in a recent Zoom interview. Even before Henry (Louis McCartney) arrives and unwittingly turns the town upside-down, Hopper and his classmates Bob Newby (Patrick Scott McDermott) and his adopted sister Patty (Gabrielle Nevaeh) are dealing with parent-related tension and trauma. "What was so special to me is that it wasn't shying away from those stories," Swanson said. "It's a big thing that we're doing here. There's a lot to tell and it almost doesn't fit within one show, but there's a willingness to explore not only the father-kid relationships, but the mother-kid relationships and how each different dynamic is processed." Patty's outsider status leads her into danger because the only person she feels connected to is Henry. "Patty has really been pushed to the side, not only within the community, but also within her family," Swanson said. "Bob did not support Patty in a way that she needed and she comes into her own as this really incredible, strong female lead," he added. "He gets this really powerful moment just to acknowledge, 'I messed up and i want to do better.' And I think those moments -- even within the sort of 'Mind Flayer' of it all -- are the things that really push us forward through that story." As for Hopper, he is leaning into his "bad-boy mentality" when the audience first meets him, but he matures a bit throughout the play as he tries to help his friends and neighbors, Swanson noted. "In classic Hopper fashion, he's got a really sentimental heart," Swanson added. "What continues to be learned in this show is the power of community and the power of friendship and Hopper believes that he will be better off alone. His relationship with his father is not good. There's no communication there and I think what we see is the glimpse of the hope of who Hopper can become when he chooses community." Just as the Netflix series is famous for tapping into the nostalgia of the 1980s, the stage production perfectly re-imagines Middle America in the 1950s. "It's been a blast getting to dive into the music, into the aesthetics and costumes. We really got to emphasize the color, the dynamic of that time period, visually," Swanson said. "What's really, really fascinating about the '50s -- and this has been touched on by many different art forms -- is what happens when that facade begins to crack because the sleepy little town of Hawkins, Indiana seems to have begun to experience some very spooky things much earlier than we thought." Hopper may be decades away from becoming the sheriff who will date single mom Joyce, but the two do know each other quite well at this point, even if they don't travel in the same social circles until they team up to solve the mystery surrounding Henry. While Hopper is a loner, teen Joyce is a bubbly theater kid obsessed with directing the school play. "With this version of Joyce, there is a real questioning and push and pull of, 'Is this the life I'm going to choose? Or am I going to be able to get out of here and escape and become something bigger than this town?'" Jaye said. The actress loves that -- even though the play has spectacular special effects -- the characters live in a low-tech era guided by their instincts and moral compasses as opposed to cell phones or computers. "These kids don't have that. All they're leaning on is each other. If we're talking about the trio of Bob, Joyce and Jim [Hopper], we wake up every day and just knock on each other's doors and continue investigating, just like we kind of see [kid characters do] on the TV show," Jaye said. "There's that buoyancy and that fervor, that rigor to: 'We've got to dig. We've got to solve this problem.' They put all that energy on each other, instead of on technology, and connect that way, which is, I feel like, a big difference between what we're living in now." Although many fans of the Netflix series have been rooting for grownup Hopper (David Harbour) and Joyce (Winona Ryder) to hook up for years, others cheered when Joyce finally seemed to have a brief but stable romance with nice-guy Bob (Sean Astin) before he was attacked by Demodogs while protecting Joyce and her sons. Teen Bob is shy, earnest and clearly in love with Joyce. "When I watch the series, that was immediately one of my favorite characters who, unfortunately, didn't last that long. But he provides such a grounded sense of being," Jaye said about Bob. "They are so different, but, yet, it is the softness of Bob that softens Joyce. I feel like we do get to see that and celebrate that in the early moments of the show together." Jaye said she has been overwhelmed by support from fans who get a kick out of learning more about their favorite TV character by watching the play. "People of all ages have been like: 'Oh, my gosh! Of course, Joyce is a theater kid! How did I not put that together?' There's no nod to that in the series at all, but Kate created this back story for her," Jaye explained. "There's a nerdy tenderness and, also, a major headstrong authority to her that somehow makes it all make sense to me perfectly."
UPI
9 hours ago
- UPI
'Stranger Things: First Shadow' stars focus on humanity amid horror
1 of 3 | The stars of Broadway's "Stranger Things: The First Shadow" pose on the red carpet near Times Square on April 22. Left to right, Juan Carlos, playing Bob Newby, Alison Jaye, playing Joyce Maldonado, Burke Swanson, playing James Hopper, Jr., Louis McCartney, playing Henry Creel, and Gabrielle Neveah Green, playing Patty Newby. File Photo by Angelina Katsanis/UPI | License Photo NEW YORK, July 27 (UPI) -- Burke Swanson and Alison Jaye say they focused on the humanity even more than the horror when playing teen versions of Hopper and Joyce in Broadway's blockbuster Stranger Things prequel, The First Shadow. Penned by Kate Trefry and directed by Stephen Daldry, the supernatural stage play takes place in the 1950s, in the fictional town of Hawkins, Ind., and offers origins stories for the beloved grown-ups -- and terrifying uber-villain Vecna/Henry Creel -- from the 1980s-set Netflix TV show. "Within the spooky, sci-fi nature of it all, there are real humans trying to figure themselves out and figure out what their community's like," Swanson told UPI in a recent Zoom interview. Even before Henry (Louis McCartney) arrives and unwittingly turns the town upside-down, Hopper and his classmates Bob Newby (Patrick Scott McDermott) and his adopted sister Patty (Gabrielle Nevaeh) are dealing with parent-related tension and trauma. "What was so special to me is that it wasn't shying away from those stories," Swanson said. "It's a big thing that we're doing here. There's a lot to tell and it almost doesn't fit within one show, but there's a willingness to explore not only the father-kid relationships, but the mother-kid relationships and how each different dynamic is processed." Patty's outsider status leads her into danger because the only person she feels connected to is Henry. "Patty has really been pushed to the side, not only within the community, but also within her family," Swanson said. "Bob did not support Patty in a way that she needed and she comes into her own as this really incredible, strong female lead," he added. "He gets this really powerful moment just to acknowledge, 'I messed up and i want to do better.' And I think those moments -- even within the sort of 'Mind Flayer' of it all -- are the things that really push us forward through that story." As for Hopper, he is leaning into his "bad-boy mentality" when the audience first meets him, but he matures a bit throughout the play as he tries to help his friends and neighbors, Swanson noted. "In classic Hopper fashion, he's got a really sentimental heart," Swanson added. "What continues to be learned in this show is the power of community and the power of friendship and Hopper believes that he will be better off alone. His relationship with his father is not good. There's no communication there and I think what we see is the glimpse of the hope of who Hopper can become when he chooses community." Just as the Netflix series is famous for tapping into the nostalgia of the 1980s, the stage production perfectly re-imagines Middle America in the 1950s. "It's been a blast getting to dive into the music, into the aesthetics and costumes. We really got to emphasize the color, the dynamic of that time period, visually," Swanson said. "What's really, really fascinating about the '50s -- and this has been touched on by many different art forms -- is what happens when that facade begins to crack because the sleepy little town of Hawkins, Indiana seems to have begun to experience some very spooky things much earlier than we thought." Hopper may be decades away from becoming the sheriff who will date single mom Joyce, but the two do know each other quite well at this point, even if they don't travel in the same social circles until they team up to solve the mystery surrounding Henry. While Hopper is a loner, teen Joyce is a bubbly theater kid obsessed with directing the school play. "With this version of Joyce, there is a real questioning and push and pull of, 'Is this the life I'm going to choose? Or am I going to be able to get out of here and escape and become something bigger than this town?'" Jaye said. The actress loves that -- even though the play has spectacular special effects -- the characters live in a low-tech era guided by their instincts and moral compasses as opposed to cell phones or computers. "These kids don't have that. All they're leaning on is each other. If we're talking about the trio of Bob, Joyce and Jim [Hopper], we wake up every day and just knock on each other's doors and continue investigating, just like we kind of see [kid characters do] on the TV show," Jaye said. "There's that buoyancy and that fervor, that rigor to: 'We've got to dig. We've got to solve this problem.' They put all that energy on each other, instead of on technology, and connect that way, which is, I feel like, a big difference between what we're living in now." Although many fans of the Netflix series have been rooting for grownup Hopper (David Harbour) and Joyce (Winona Ryder) to hook up for years, others cheered when Joyce finally seemed to have a brief but stable romance with nice-guy Bob (Sean Astin) before he was attacked by Demodogs while protecting Joyce and her sons. Teen Bob is shy, earnest and clearly in love with Joyce. "When I watch the series, that was immediately one of my favorite characters who, unfortunately, didn't last that long. But he provides such a grounded sense of being," Jaye said about Bob. "They are so different, but, yet, it is the softness of Bob that softens Joyce. I feel like we do get to see that and celebrate that in the early moments of the show together." Jaye said she has been overwhelmed by support from fans who get a kick out of learning more about their favorite TV character by watching the play. "People of all ages have been like: 'Oh, my gosh! Of course, Joyce is a theater kid! How did I not put that together?' There's no nod to that in the series at all, but Kate created this back story for her," Jaye explained. "There's a nerdy tenderness and, also, a major headstrong authority to her that somehow makes it all make sense to me perfectly."
