Julia Faye
Birthday: 24 September 1892, Richmond, Virginia, USA
Birth Name: Julia Faye Maloney
Height: 159 cm
Julia Faye's career is inextricably linked to director Cecil B. DeMille. He was her mentor, while she was for many years his mistress (a liaison which was tolerated by De Mille's long-suffer ...Show More
If you can't work in a part you believe in yourself, then the next best thing is to work in a pictur Show more
If you can't work in a part you believe in yourself, then the next best thing is to work in a picture someone else believes in. Hide
Belasco said, "Before you can act, you must learn how not to act!" That is so true! Overacting is th Show more
Belasco said, "Before you can act, you must learn how not to act!" That is so true! Overacting is the bane of the profession! Hide
[in 1924] For three years I have been studying screen writing - the adaptation, the technique, all t Show more
[in 1924] For three years I have been studying screen writing - the adaptation, the technique, all there is to know about it; so, if I ever quit the screen as an actress, I will become a writer. Under the tutelage of Cecil B. DeMille, whom I believe to be the world's greatest director, I am learning screen writing. He has aided, and is continuing to aid, me in many ways. Some day I expect to write pictures for him to produce. He certainly has encouraged such an ambition. For three years I have studied, but I am waiting before I start my career until I am sure of myself, of my ability. Then I will write stories with a lesson, every picture with a moral, because I think the screen is the world's greatest educational medium. Hide
I am not the particular star type that can rush in and make an audience believe in a perfectly unbel Show more
I am not the particular star type that can rush in and make an audience believe in a perfectly unbelievable character. I want to do the human things I can believe in myself. Hide
There was a role of an innocent little country girl in His Dog (1927), and they wanted me to do it. Show more
There was a role of an innocent little country girl in His Dog (1927), and they wanted me to do it. That is, they wanted me to and they didn't want me to. There was no one else that they could think of to do the part, and yet they were considerate enough to realize that it wouldn't do me any particular good. Mr. DeMille said, "I hate to ask you to take this part. You will be very mis-cast in it and it won't be fair to you." In spite of all that, I accepted the part. Just to show you how easy it is for even the smart ones to be wrong, there have been more comments from exhibitors on my work in that picture than any since The Volga Boatman (1926). Hide
I don't mind playing bad women at all. I only wish they would let me make them human. A bad woman wi Show more
I don't mind playing bad women at all. I only wish they would let me make them human. A bad woman with a sense of humor - some of the qualities of reality. Hide
Acting is not a matter of the emotion of the player. It is a matter of technique. It does not matter Show more
Acting is not a matter of the emotion of the player. It is a matter of technique. It does not matter in the least what the player feels - it is what he makes his audience feel that is important. And there are certain tricks of gesture and expression which we know by experience produce certain effects. If we master the mechanics of our profession, we can do what we will with our public. Hide
People have advised me that I am making a mistake to accept such small roles, but I have proved to m Show more
People have advised me that I am making a mistake to accept such small roles, but I have proved to myself that it is not an unwise thing to do. I think one good flash is better than a whole picture of a stupid role. I can remember certain bits in other pictures that have stayed with me long after I have forgotten the star's part. One good individual scene has made many stars. Hide
[on how she introduced William Boyd to Cecil B. DeMille during the filming of Saturday Night (1922)] Show more
[on how she introduced William Boyd to Cecil B. DeMille during the filming of Saturday Night (1922)] I dived into a swimming pool and Boyd leaned over the edge and whispered a warning that my suit straps had slipped. The scene was ruined and DeMille was furious. But when I explained what happened, DeMille took a liking to Bill, gave him a bit part, and eventually made him a star. Thus "Hopalong Cassidy" was born. Hide
Sometimes you don't even know what is best for yourself. An actor is too close to his profession to Show more
Sometimes you don't even know what is best for yourself. An actor is too close to his profession to have any perspective on it. That is why so many independently producing stars fail. They may please themselves and their vanity by doing what they want to, but nine cases out of ten they leave their audiences cold. Hide
[on the time when she worked for D.W. Griffith] We got $25 a week and played in any and everything. Show more
[on the time when she worked for D.W. Griffith] We got $25 a week and played in any and everything. I always had good looking clothes and Griffith hired those, too, but not for me to wear. He rented them for his leading players. Why, once I took off my hat and let Norma Talmadge wear it in a scene, and made $5 on the rental. Hide
[when asked if she would like to play ingénue roles] Heaven forbid! I should like to play leads, of Show more
[when asked if she would like to play ingénue roles] Heaven forbid! I should like to play leads, of course. It gives one so much wider scope. But I am a character woman and I want to remain one. Hide
Julia Faye's FILMOGRAPHY
as Actor (25)
Julia Faye'S roles
