![]() After the original stroke of woeful luck, it was a follow-up of haunting misjudgment. Her keenness was such that she gatecrashed the Warner Brothers studio lot in a homemade Catwoman costume, demanding to see Burton. (In the end, the riding scene was never filmed.) Perhaps understandably, she took aim at a role in the sequel Batman Returns. A week before the shoot, rehearsing a scene on horseback, she fell and broke her shoulder. Yet she still had currency enough to win the prize role of Vicki Vale in Tim Burton’s Batman. People didn’t like that I was deeply honest and an unavailable prude who, at times, had a big mouth Young was cast as the wife of banker Gordon Gekko after butting heads with Stone and co-star Charlie Sheen, she was removed from the set, and her part cut to almost nothing. Later, there was Oliver Stone’s Wall Street. At the start of her career, she alleges, a mogul behaved “creepily” towards her, then tried to have her blackballed after she rejected him. Even before Blade Runner, her relationship with Hollywood was uneasy. She grew up in Cleveland, Ohio, then trained as a dancer in New York. Young was the daughter of two journalists. But the flamboyant nature of the initial accusations would keep them circulating. ![]() She was awarded $227,000 to cover her legal costs. At the end of an alleged on-set affair, Woods sued Young for harassment she still insists there was no affair and no harassment. They met on a forgotten film called The Boost, playing a cocaine-addicted married couple. But the more interesting question is why?” “To say that I was unfairly targeted is an understatement. That she pulls it off owes a lot to her raw presence – but presence is the lifeblood of movies.Įventually, she replies. As Harrison Ford’s jaded ex-cop Deckard falls for her, the whole film hinges on us understanding why. It’s a tricky role: she must seem slickly artificial, while hinting all the time at warm humanity. In the hands of another actor, she could have just been one more detail in Scott’s design scheme, a clothes horse in a coil of cigarette smoke. In a film that relocates noir to a dank future LA, she is a bio-engineered femme fatale, a sci-fi dame in 40s shoulder pads. She enters as a pristine gleam of black hair and ruby lipstick. While I wait to find out if the interview is over, I watch Blade Runner properly for the first time in years. Photograph: Allstar/Warner Bros/Sportsphoto Ltd Sean Young as Rachael in Blade Runner (1982). But I tell her I want to know about it all – because it all became, in the customary telling, the Sean Young story. I try to be specific without being cruel. She had slapped a security guard who was removing her from the official after-party when she was found without a ticket. In the online age you can watch her release from a Hollywood police station on Oscar night 2012, dressed in a floor-length black gown. But there have been, as she says, other calamities – messy run-ins with co-stars and directors, public unravellings. Principally, there was the legal conflict with actor James Woods, who in 1988 accused her of exotic harassments including leaving a disfigured doll outside his home in Beverly Hills. The reason people’s eyes widen when I tell them I’m in touch with her is not Blade Runner, but this stuff. ![]() It would be hard to write about Young without getting here eventually. “There have been a few,” she writes, “so I’m just curious which ones you are interested in hearing from me about?” Which ones is underlined. ![]() She promises to think about my questions, but she has a query first. Near the end, I mention the “troubled moments” of her life. I ask if there are current film-makers she admires, her view on the proposed Blade Runner sequel. I send back eight questions, trying to meet her request for brevity. The play is a six-week run of the comedy Vanya and Sonia and Masha and Spike being staged in a town called Northport, an hour’s drive from New York, population 7,401. Otherwise, the answer to the question of “where is she now?” is a rented apartment in Astoria, Queens. In the past decade only one of her films has had a US cinema release: a low-budget rustic horror called Jug Face. Though she works regularly, her films rarely involve red carpets.
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