In “My Name Is Barbra,” the EGOT-winning icon spills on her relationships and flirtations, her planned sequel to “The Way We Were,” and much more.
this week, “I wanted two volumes. Who wants to hold a heavy book like that in their hands?” So, yes, it’s a beast of a book, but let’s be clear: If there’s anyone whose life warrants that kind of exhaustive chronicle, it’s Babs.
“When you’re playing a character who falls in love with another character onstage or on-screen, you have to find all the ways you could really love that person,” she writes. “And in that process, sometimes the two people actually do fall in love, for a while at least… or maybe I should say, fall in attraction.”Chaplin became verbally abusive toward her on stage
“People were looking for some sort of rivalry between us,” Streisand writes. “And when they couldn’t find anything, they made it up. I found Judy to be completely generous. We sang a medley of songs, taking turns, and she wasn’t just focused on herself. She watched me and responded to me. She would reach out and brush back a strand of my hair, like a mother.”
Streisand adds that she’s not even sure how Mengers came to represent her, noting that she’d started out as her ex Elliott Gould’s rep—and that back then, “it was clear to both of us that Sue was using him in an effort to get close to me.” As Streisand recalls, “Sue was very entertaining and could turn anything into a great story… but I could never quite trust her.”
And so, Streisand says she instructed Pollack to deepen the character and make the roles “equal”—and to pay Redford “whatever he wanted.” Peters yelled at the man to move his “fucking truck,” Streisand recalls, and when the man did not acquiesce, “Well, that’s all Jon needed to hear. He’s only five foot nine, and yet he picked a fight with this guy who was at least six foot three.”
Although the two agreed that they would co-direct, with Streisand forgoing a credit, she writes that it didn’t take long before Pierson reneged on that agreement and became a nightmare collaborator. He even went so far as to write a “deliberately cruel” article disparaging her, Peters, and her co-star Kris Kristofferson.
She even once sent a fax to Kramer in which she told him, “You are so self-destructive,” after he “insulted” her in the press and “demean” all the work she had done. “Nothing could be further from the truth,” she continues. “Who wouldn’t want to hear Celine sing a song that you cowrote? I found her afterward and apologized profusely. She completely understood.”But she was peeved when she found out about the pay discrepancy between her and Hoffman.
Streisand then details the plot of her dream sequel: Katie and Hubbell meet again in 1968 when their daughter gets arrested during a Vietnam War protest. Streisand describes it as “kind of a three-way love story” between Katie, Hubbell, and their daughter, and “everything comes to a climax when they’re at the Democratic National Convention in Chicago, where all hell breaks loose with riots in the street.
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