Jessica Phyllis Lange was born 1949 in Cloquet, Minnesota, to Dorothy Florence (Sahlman) and Albert John Lange, a traveling salesman and teacher. She is of Finnish (mother) and Dutch and German (father) descent. She obtained a scholarship to study art at the University of Minnesota, but instead went to Paris to study drama. She moved to New York Ci...
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Jessica Phyllis Lange was born 1949 in Cloquet, Minnesota, to Dorothy Florence (Sahlman) and Albert John Lange, a traveling salesman and teacher. She is of Finnish (mother) and Dutch and German (father) descent. She obtained a scholarship to study art at the University of Minnesota, but instead went to Paris to study drama. She moved to New York City, working as a model for many years, until producer Dino De Laurentiis cast her as the female lead in King Kong (1976). The film attracted much unfavorable comment and, as a result, Lange was off the screen for three years. She was given a small but showy part in Bob Fosse's All That Jazz (1979), before giving a memorable performance in Bob Rafelson's The Postman Always Rings Twice (1981), as an adulterous waitress. The following year, she won rave reviews for her exceptional portrayal of actress Frances Farmer in Frances (1982) and a Best Supporting Actress Academy Award for her work in Sydney Pollack's Tootsie (1982) (as a beautiful soap-opera actress). She was also outstanding as country singer Patsy Cline in Karel Reisz's Sweet Dreams (1985) and as a lawyer who defends her father and discovers his past in Music Box (1989). Other important films include Martin Scorsese's Cape Fear (1991) (as a frightened housewife) and Tony Richardson's Blue Sky (1994), for which she won a Best Actress Academy Award as the mentally unbalanced wife of a military officer. She made her Broadway debut in 1992, playing "Blanche" in Tennessee Williams "A Streetcar Named Desire".In addition to acting, Lange is a photographer with two published works,and is a humanitarian, holding a position as a Goodwill Ambassador for UNICEF, specializing in the HIV/AIDS epidemic in the Congo and Russia. Show less «
For me, acting was always a way to explore emotions - to dip into the well and really try to reach r...Show more »
For me, acting was always a way to explore emotions - to dip into the well and really try to reach rock bottom down there. Show less «
[on what counts in her career] Box office success has never meant anything. I couldn't get a film ma...Show more »
[on what counts in her career] Box office success has never meant anything. I couldn't get a film made if I paid for it myself. So I'm not 'box office' and never have been, and that's never entered into my kind of mind set. It is the kind of acknowledgment by other actors, really. That's really what is most meaningful. Show less «
Coming out of the '60s, when it was still the last gasp of bohemia, I just never thought in terms of...Show more »
Coming out of the '60s, when it was still the last gasp of bohemia, I just never thought in terms of career or profession. Show less «
It took Sydney Pollack a long time to get me to do Tootsie (1982). I asked myself if I wanted to pla...Show more »
It took Sydney Pollack a long time to get me to do Tootsie (1982). I asked myself if I wanted to play some frothy, ditzy character after I had just done Frances (1982). Obviously, I'm thrilled that I did. Show less «
All through life, I've harbored anger rather than expressed it at the moment. Once I started on Fran...Show more »
All through life, I've harbored anger rather than expressed it at the moment. Once I started on Frances (1982), I discovered it was literally a bottomless well. It devastated me to maintain that for eighteen weeks, to be immersed in this state of rage for twelve to eighteen hours a day. It spilled all over, into other areas of my life. I was really hell to be around. Show less «