LEGENDARY ACTRESS COA 1986 AFTRA CONTRACT SIGNED MANY TIMES LEIGH TAYLOR YOUNG

Description: LEGENDARY LEIGH TAYLOR YOUNG 2 PAGE AFTRA CONTRACT FROM 1986 WITH COA FROM STEVE GRAD WHO AT THE TIME WAS WITH MASTRONET Leigh Taylor-Young is an American retired actress who has appeared on stage, screen, podcast, radio and television. The most famous films in which she had important roles include I Love You, Alice B. Toklas, The Horsemen, The Gang That Couldn't Shoot Straight, Soylent Green, and Jagged Edge. Born to a diplomatic family in Washington, D.C., Leigh Taylor-Young began her formal education as an Economics major at Northwestern University. Upon discovering her love for acting, Leigh changed her major to Theatre and studied under the renowned teacher, Alvina Krause. In recognition of Leigh’s emerging talent, Krause allowed her to perform as the youngest member of the distinguished Eaglesmere Summer Repertory Theatre. Leigh then continued her studies in New York City with Sanford Meisner at the Neighborhood Playhouse. Following a great passion for theater, Leigh soon opened on Broadway in 1966 as the juvenile lead in the comedy, Three Bags Full. She returned to off-Broadway in 1983 in Catastrophe, one of Samuel Beckett’s last works, and toured with the company in Los Angeles, New York and Europe. In 1968, Leigh began her diverse film career by starring opposite Peter Sellers in the now-classic comedy, I Love You, Alice B. Toklas. She then starred with Robert DeNiro in The Gang That Couldn’t Shoot Straight, with Charlton Heston in Soylent Green, with Albert Finney in Looker, with Omar Sharif in The Horsemen, and with Glenn Close and Jeff Bridges in Jagged Edge. More recent films include Bliss, Klepto, Slackers, and Spiritual Warriors. Having appeared regularly in such well-known television series as Peyton Place, Dallas and Picket Fences – for which she won the Emmy award, two daytime series – Passions and Sunset Beach, and with guest spots on Beverly Hills 90210, The Sentinel, Star Trek: Deep Space Nine, and many other popular television shows , Leigh demonstrates her creative diversity and fine talents by connecting with audiences through theater, films and television. Along with her dedication to acting, Leigh has pursued an ever-expanding devotion to spiritual awareness, peace and loving service. An Ordained Minister since 1975, Leigh has studied and worked closely with her Spiritual Teacher, John-Roger, the Founder of the Movement of Spiritual Inner Awareness. In recent years, Leigh has traveled the world with her life partner, John Morton, President of John Morton Ministries, together presenting seminars, workshops and heartfelt service to assist others in awakening spiritually, and for creating a better world. As Vice-President of John Morton Ministries, Leigh is deeply supportive of the Ministries’ inspiring works, assisting others to see the goodness in themselves and touch into their own divine co-creatorship. Leigh served as Special Advisor in Arts & Media for the United Nations Environment Programme (UNEP) as well as the Keynote Speaker for UNEP’s 20th Anniversary. In1995, Leigh served as Goodwill Ambassador from the U.N. for ICEBRIDGE: First Arctic Environmental Forum. As a spokesperson for both corporations and charitable organizations, Leigh has represented the Institute for Individual and World Peace, Ted Turner’s Better World Society, MCI Corporation, Hands Across America, and the American Cancer Society. She has hosted a Muscular Dystrophy Telethon and has been an Advisory Board member for Heartfelt Foundation and the EduCare Foundation, a youth leadership training program. Leigh served as the voice for the “Search for Serenity” series of audio meditations for “A Course in Miracles.” She also wrote, produced and narrated the “Spirit of Peace” Meditation first presented live at the United Nations and then released as a CD along with John Morton’s Meditation “Gathering of Peacemakers.” Having an extensive interest in the interrelationship of body, mind and spiritual healing, Leigh’s ministry includes serving others by educating and supporting health, fitness and alternative forms of healing and consciousness-raising experiences. Leigh has one son, Patrick O’Neal, a sportscaster for Fox Broadcasting in Los Angeles, California. She has two beautiful granddaughters, Sophia and Veronica. She lives with John Morton in Pacific Palisades, California. LTY PRE 1960 Leigh’s MotherAs a young girl, I spent a great deal of time with my grandfather. My mother was a single working mother attempting to finish her Masters at American University. When I wasn’t in a private boarding house during mother’s working hours, I was often with my grandfather, Dr. Carl C. Taylor. “Dr. Taylor” was a remarkable man. To this day I miss him and often long for a heart-to-heart chat with someone as wise and loving as he. He is one of my reference points in this life for being truly, unconditionally loved. As a very small girl, we would “discourse” about the world around us, even the universe. He was a Doctor of Sociology, and a professor who developed the field of Rural Sociology. This is the study of the farmer, of rural America, as well as other rural cultures around the world. He worked in a top position at the Department of Agriculture. My mother worked for him. My grandfather and mother were very close. Although he was not her father, she regarded him as her intellectual mentor and friend. So did I. Having been a farmer himself, my grandfather probably saw in me fertile soil in which to prepare healthy growth. He recognized my curiosity in everything. He was interested that I appeared to be philosophical and introspective at a very young age. I was not very “at home” in the appearances of things. I wanted to be told the truth. Grandpa helped me strengthen my internal life by giving me books to read that stretched me way beyond my school reading. He made it an attractive pursuit, because I couldn’t wait to sit down with him after I had finished the book. He allowed me time to form new thoughts and ideas, under the gentle guidance of his Socratic questioning. He never told me what to think. He would simply question me, and then listen to me with the greatest of interest. Through him, my early influences were Gandhi, Roosevelt, Dag Hammarskjöld, Einstein, Jesus, Emerson, Thoreau and Adlai Stevenson. These were unusual childhood “idols”. I absorbed Grandpa’s humanitarianism. He made me very aware of the interconnectedness in life. He was my best friend. When I was eleven, he went to India for a year to help head the Ford Foundation. I missed him terribly. Life in school was dull without him. When he returned, he immediately gave me The Autobiography of a Yogi, and asked me to read it. This book was like a bomb to my young mind. It opened me to things that I somehow sensed to be true of a spiritual and mystical nature. This book, and others , and the many ongoing talks with my grandfather, set the stage for my continued curiosity about life. From the ages of 17 to 23, my focus was very intensely on my career. When the marriage to Ryan O’Neal ended, it provided me with enough “shock” to begin to examine everything in my life. My circumstances at that moment satisfied what we are told is “important” to achieve in a lifetime. I was famous, beautiful, financially secure and had a beautiful baby son. Opportunities for work and success were abundant. I was 23. I was unfulfilled. It proved to be a “divine malaise” that only food of a spiritual nature seemed to comfort. By late 1969, I was in the throes of seeking and questioning. It was not a comfortable state. I gave up a lot to follow this inner urge, but to me, there was no choice. I entered the Seventies very open and ready for the wonderful “guides” who soon entered my life in quite extraordinary ways. LTY THE 80’SThe decade of the ’80s covered distinct and certainly diverse areas of my life. I married twice, first to a president of a film studio,and the other, a Doctor of Oriental Medicine and a healer. I made two very good movies in the mid-eighties, Secret Admirer and Jagged Edge. I starred for a season on Dallas in a wildly outrageous role that I thoroughly enjoyed. I traveled to Europe with a very fine and prestigious production of the The Beckett Playsand met with Samuel Beckett. In 1985, I toured Egypt, Israel, Greece and Italy for some months, returning to powerful spiritual roots. This journey activated my desire to be of greater service. I met Ted Turner and became very involved with his Better World Society , and worked for several years in behalf of Ted and his vision for a better world through quality television programming. I made two more movies in the late-eighties that involved extensive travel. One film was Honeymoon Academy which kept me in Spain for many months. The second film, Accidents, was three months in South Africa. Both of these films were fascinating experiences. I ended the decade with a strong desire to work to better the environment. I began working for the United Nations Environment Programme under Dr. Noel Brown as a Special Consultant in Arts and Media. Olivia Newton-John and I both enjoyed sharing our passion to help raise environmental consciousness. In the nineties, I would heighten this commitment. THE BECKETT PLAYS: CATASTROPHEIn the summer of 1982, my second marriage was coming to a rapid halt. I had taken a job in New York City shooting five episodes of a new nighttime drama called The Hamptons. My husband had now become president of Columbia Pictures, and with his success he did not care to have me working. He had taken a three week boat trip to Mexico and while he was there I received the offer to do The Hamptons. It was for very little money, but I desperately felt the need for my own self-expression, and acting was my skill. The network needed an immediate answer. Finally I was able to reach my husband in Mexico, and I told him that this was what I needed to do. He agreed. This decision to work again, and be away, proved to be the end of the marriage. The Hamptons was an experiment. It was shot in daytime soap opera video format, however it was to air as a nighttime drama. It didn’t work. Nighttime viewers wanted film, The Beckett Plays: Catastrophenot the “video look” that daytime viewers were used to and enjoyed. When I returned home from New York, my husband and I decided to separate. He already had a new relationship, and I decided to leave everything behind, return to New York and find work in the Theatre. I left with nothing but my clothes, and a dream once again. I rented a small apartment above a Chinese restaurant and I began looking for a job. Very quickly I met with Jack Garfein who ran the off Broadway Clurman Theatre on 42nd street. A trilogy of one act plays had been running there for a year, called The Beckett Plays. In one of the plays called Catastrophe, the actress needed to leave for a film commitment. She was to be replaced immediately without any performances being missed. The original, and only, director of these plays at the Clurman was Alan Schneider. He was a highly regarded director of Beckett and Pinter. At that moment, he was teaching acting in San Diego at a University. Jack Garfein asked me if I would like to take the role. I said yes! He told me “the only requirement” would be my willingness to pay for Alan to fly in on Friday from San Diego, and rehearse me all day Saturday. I would then open the very next day, in Sunday night’s performance. Again, I said yes. This was now Wednesday and I had two days to learn the lines before Alan’s arrival. This was no easy task. I had never performed in Beckett and the language appeared almost nonsensical. The cues did not follow regular speech rhythms or thought patterns. These rhythms of speech were musical and so highly stylized that it was a form of poetry. Still it was quite a task, as my brain was not used to memorizing this kind of text. I used a tape recorder to record the other character’s lines and left empty space for my responses. I needed to learn my cues and my lines by rote. I approached Beckett mechanically at first and then my inner life would have a structure to rely upon. I met Alan in early October on that Saturday morning in the Clurman Theatre for the first and only rehearsal. Alvin Epstein, a fine actor, played the other role of the Dictator. He, of course, was there. Catastrophe is a fascinating one act play that Beckett wrote as an homage to Checkoslovakia’s Pavlov Havel. Beckett wrote this play while Havel was still imprisoned as an outspoken dissident in Checkoslovakia. He was freed while The Beckett Plays were still running and went on to become the President of Checkoslovakia. This particular play is an exquisite tribute to the ability of the human spirit to transcend oppression and torture, and turn it into triumph. As we began to rehearse that Saturday morning, a very elegant and dapper man entered quietly, and sat in the first row without any apology. It was a private rehearsal with an enormous amount to accomplish in the very short time of just one day. His entrance felt a bit intrusive. Alan then introduced me to him, his name was David Warrilow and he also would be appearing in this play. He and Alvin exchanged roles every other performance. I later learned and experienced, that David was a truly great actor, especially of Beckett’s works, as well as other very avant garde theatrical pieces. He was also a close personal friend of Beckett’s, or “Sam”. David’s speaking voice sounded as if it was from God himself. He was quite a presence. He watched carefully as I continued my intense rehearsal with Alan and Alvin. When the day was done, David called me aside to speak with me. He had come to watch my rehearsal, he said, because he was deeply concerned that a “television” actress had been hired to perform in Beckett. In his eyes, the television style of acting could not possibly translate to Beckett. After watching me, he told me he was impressed with my ability to focus, take direction, and “get” the rhythms and precise timing of Beckett. He also noted that I was already bringing depths of meaning and poignancy to the text. Would I consider auditioning for the role of Hedda in the Tyrone Guthrie production of Hedda Gabler? He was set to play the role of Dr. Brack, and he felt I would make a magnificent Hedda. I must say, this was one of the greatest compliments I have received in my years of working. David and I became great friends and soon shared profound spiritual interests as well. I opened the next night, and every one was very pleased. No one was more pleased than I was, as I had accepted the challenge, climbed the “mountain” at a rapid pace and metaphorically planted the flag. I went on to travel with The Beckett Plays to the Edinburgh Festival, to London, and to the Mark Taper Theatre in Los Angeles. The production was soon joined by the great Billy Whitelaw in Beckett’s Rocking Chair. In each venue, The Beckett Plays were impeccably produced with fine performances, and we received wonderful reviews. I wrote Samuel Beckett from Edinburgh. It was a letter of love, regard and gratitude. He responded, and we met in Paris and spent a glorious day together. My work in these plays re-ignited my creativity and passion for my own abilities, and the desire to share my talent. The evening I closed in London, I flew back to Los Angeles to begin shooting the very next day in a film for United Artists called Secret Admirer. This was a light-hearted American farce. I was playing a “Valley wife” In the very first scene we filmed, I was engaged in an outrageous food fight. Talk about shifting! From Beckett to a food fight. The next chapter had begun. Learn More About The Beckett Play: Catastrophe JAGGED EDGE Jagged EdgeIn January of 1985, shortly after I had completed Secret Admirer, my agent at ICM told me about a very good feature being made at Columbia called Jagged Edge. Joe Eszterhas wrote the script. Glenn Close and Jeff Bridges were set to star with Richard Marquand as director. There was a very small role in it that she felt I should consider. When she told me that it was only a three page scene, I was upset, as I had just completed Secret Admirer in one of the lead roles. Here is where an agent who has a good managerial mind is very beneficial for an actor. Her point of view was that Jagged Edge was excellent in the writing, in the cast and in the director. The character, Virginia Howell, has a moment on film in which she impacts all of the other key characters in a very dramatic way, mainly Jeff Bridges and Glenn Close. Therefore, she was not an inconsequential character. I read the scene and only after meeting Richard Marquand did I agree. He, as well, pointed out that the scene had importance to the movement of the story. It was the respect he extended toward me, and his intelligence, that convinced me that it was not a bad career move. There was only one other person who needed to approve my being hired. This man was the president of the studio, from whom I would soon be divorced. How ironic it was. He had not wanted me to work while we were married. Now he enthusiastically approved my employment in this film. He was, in fact, the first to call me after the scene was viewed in “dailies”, and tell me how outstanding my performance was. As it was but one scene in which I would appear, I was hired for only three days. I remember my first morning in the make up trailer with Glenn Close, whom I knew, and Jeff Bridges and Peter Coyote. Glenn and I had been in New York working in 1982. She was in Tom Stoppard’s play The Real Thing with Jeremy Irons and I was in The Beckett Plays. When you work on Broadway, or off – Broadway, there is a bond of friendship amongst actors that is a democratic acceptance that we are all artists. In Los Angeles, and the film industry, there is more focus on status, or a “pecking order” of importance in your “stardom”. Even though Glenn was the female star of Jagged Edge, we greeted each other warmly and chatted about mutual friends. Jeff Bridges was equally warm and welcoming. My scene took place in the courtroom. I was a witness on the witness stand. Jeff Bridges’ character was on trial. It was a very big scene with many extras. Glenn had a lot of dialogue, as did Peter Coyote. Jeff had to sit and react. Because they were the stars, their scenes would be shot first. This had great value for me at that moment. I would have time to absorb and further prepare the inner dynamics between my character and everyone else. By 7 pm of the third day, they were finally ready for my scene. I was tired, as I had had to sit on the witness stand for the other actor’s performances now for three long days. Richard asked me how I felt. Did I want to “go for it” and do the scene that night, or start fresh the next morning. He asked Glenn and Jeff and Peter if they would stay for me. They all said “absolutely yes,” they would stay. Richard encouraged me to do the scene that night. He was right. I was internally very edgy as I had had to wait so long and no longer felt fresh. My moment to perform had arrived. I felt insecure that I now might not be able to “come up” with what I needed. My insecurity and the situation made me very angry. Richard intuited my emotional state without outwardly speaking of it. He wanted to “use” it. He later told me the situation was perfect, as he felt I was so naturally nice, and the character was such a cold bitch, he wanted me to be organically closer to the nature of the character. He also said later, that he trusted me as a professional. He knew I would use my internal state and “channel” it into Virginia Howell. He was so right. Anger was not a very familiar state for me, and given that I was “in it” it was indeed perfect timing to use it to express the character. It also allowed me to throw away my considerations of Glenn or Jeff or Peter’s opinion of my performance. I simply did it. If I had chosen the next morning, I would have been back in my happier state facing more of a challenge to make it real. An actor uses absolutely everything he or she can to reach emotionally honest moments. These moments need to be magically expressed on “action!” Jagged Edge was an outstanding thriller and very successful. It assisted me career-wise to open up the Industry’s view of me as a dramatic actress. When you have a long career, it is important, in my opinion, to keep shattering others’ creative perception of you, so you can be hired in a wider range of roles. Jagged Edge on IMDB DALLAS LTY in DallasIn the summer of 1987, I was in Paris shooting a Movie of the Week for David Wolper called Napoleon and Josephine. The day I was leaving Paris to return home, my agent called and asked if I would be interested in doing two episodes of the hit television show, Dallas, in a guest appearance.There was only one script available to read,and it would be awaiting my immediate response. When I arrived home, I literally put my suitcases down and read it. It seemed to be a fun character. Her name was Kimberly Cryder and she was rich, witty, wily and sexy. I met with the producers and said “yes”. What was to be only a brief appearance, quickly became an extended commitment. I did 21 shows of Dallas as Kimberly Cryder. I was home only a week, then on a plane to Dallas, Texas. I was rapidly immersed in shopping for Kimberly’s wardrobe. She was very rich, and it was the eighties, so courtierère clothing was the order of the day. What fun for me ! We bought gorgeous clothes, and the Dallas wardrobe designer, Nancy Renard, lent her extraordinary eye to the fine tuning. The first day of shooting was in a beautiful restaurant with Larry Hagman and myself acting a scene of Machiavellian flirtation between our characters. J.R Ewing and Kimberly Cryder were both connivers, not particularly moral, and very attracted to each other. Champagne was to be served in the scene. When a scene is played with alcohol as a “prop”, it is always, in my experience, bubble water, applejuice or grapejuice. As we rehearsed the scene, I noticed what appeared to be an amazing replica of the finest Champagne being poured in out glasses. I “marked” in my mind, as I do when I rehearse, where and when I would sip my drink as I spoke the dialogue without actually drinking. Rehearsal was now over, it was time to shoot. “Action!” , and the scene began. We spoke, flirted and then I drank. It was real Champagne ! I kept my wits about me and stayed focused in the scene even though several more sips were needed to make it real. “Cut!”, and, of course, we needed to do it again. Already I felt the effects of the Champagne as I am easily and quickly affected by alcohol. It was my first day of shooting, I knew no one, and I was too shy to speak up and ask for bubble water since it was clear Larry loved his Champagne and our glasses were to be poured out of the same bottle. Several “takes” later, I was now drunk, and Larry appeared perfectly normal. I realized that the Champagne would always be real, if I was working with Larry. I began to avoid my character sharing any drinks with JR Ewing. There is, however, one wonderful scene we did where I once again drank Champagne with Larry. I was in a huge bubble bath, drinking and eating bon-bons. My hair was up in a very Rita Hayworth way, my nails were long and red and I was negotiating a business deal for millions of dollars, manipulating JR with sense and sensuality. It remains one of my favorite and most outrageous scenes. I admire Larry Hagman because he has been very forthright and public about his years of drinking. He paid for his drinking with his liver. He is now a living Voice for how alcohol caught up with him and almost killed him. He is so talented, wonderfully eccentric and open about his views. He is an absolute treasure and an original. Jagged Edge is a 1985 American neo-noir[2] legal thriller written by Joe Eszterhas and directed by Richard Marquand. The film stars Glenn Close, Jeff Bridges, Peter Coyote[3] and Robert Loggia. A lawyer reluctantly takes the case of a man accused of killing his wife, but remains uncertain if he is guilty or not. The film received positive reviews from critics and was a box office success. Loggia was nominated for the Academy Award for Best Supporting Actor for his performance.[4] Contents1Plot2Cast3Production4Reception4.1Critical response4.2Accolades5Abandoned sequel6Remake7References8External linksPlotA masked intruder breaks into the beach house of San Francisco socialite Paige Forrester, ties her to her bed, rips open her shirt, and kills her with a hunting knife. Her husband Jack, arrested for her murder, tries to hire high-profile lawyer Teddy Barnes to defend him. Barnes is reluctant to take the case since an incident with district attorney Thomas Krasny, her former boss, caused her to quit practicing criminal law. Krasny tells Barnes that prisoner Henry Styles hanged himself, which distresses her. Barnes visits Sam Ransom, a private detective who also used to work for Krasny and who changed careers at the same time as Barnes. Barnes decides to take the case. Barnes and Forrester prepare for the trial and eventually sleep together. Ransom warns Barnes that Forrester is just trying to make her care more about his case. Her office begins receiving anonymous letters containing non-public case details and an analysis shows they were typed on a 1942 Corona typewriter. In a pre-trial meeting, Barnes tells the judge that Krasny has a history of not meeting discovery obligations. The prosecution's case relies on circumstantial evidence and two of its key witnesses are discredited by Barnes. Krasny calls Eileen Avery, who had an affair with Forrester, to testify. As Avery details her relationship with Forrester, Barnes finds it eerily similar to her own relationship with him. She feels manipulated and now believes Forrester is guilty but continues out of a sense of duty. Another note arrives at her office saying, "He is innocent. Santa Cruz. January 21, 1984. Ask Julie Jensen." Barnes calls Jensen to testify that she was attacked in the same manner as Paige Forrester. All the details match, but she says her attacker seemed to stop himself from killing her. As Krasny objects that the attack on Jensen is unrelated to the one on Forrester, he lets slip that his office had investigated the attack and not revealed it in discovery. In chambers, the judge threatens to have Krasny disbarred. Krasny insists that Forrester planned Paige's murder for 18 months, he attacked Jensen to create an alibi for himself, and he is the writer of the anonymous letters. The judge forbids Krasny from presenting his theory to the jury and Forrester is found not guilty. Barnes announces to the media that she left the district attorney's office when Krasny suppressed evidence that proved Henry Styles was innocent. Krasny walks off in disgust. Barnes goes to Forrester's house to celebrate, and they sleep together again. In the morning, she discovers, in a closet, a 1942 Corona typewriter matching the analysis of the anonymous notes. She takes it and flees. When Forrester calls, she tells him she found the typewriter. Forrester insists on coming over. Barnes calls Ransom, on the brink of telling him that Forrester is a killer, but instead hangs up. A masked figure breaks in and confronts her in her bedroom. As he starts to attack, Barnes throws back the covers to reveal a handgun. She shoots him several times until he falls to the floor. Ransom comes in and unmasks the attacker: Forrester. CastGlenn Close as Teddy BarnesJeff Bridges as Jack ForresterPeter Coyote as Thomas KrasnyRobert Loggia as Sam RansomJohn Dehner as Judge CarriganKaren Austin as Julie JensenGuy Boyd as Matthew BarnesMarshall Colt as Bobby SladeLouis Giambalvo as (Anthony) FabriziBen Hammer as Dr. GoldmanLance Henriksen as Frank MartinSanford Jensen as Scott TalbotJames Karen as Andrew HardestyLeigh Taylor-Young as Virginia (Ginny) HowellWilliam Allen Young as Greg ArnoldJohn Clark as Dr. HollowayMichael Dorn as Dan HislanDiane Erickson as Eileen AveryActress Maria Mayenzet briefly appears, in the opening scene, as murder victim Paige Forrester. ProductionAccording to Joe Eszterhas, the film originated with producer Martin Ransohoff, who wanted to make a courtroom drama in the vein of Anatomy of a Murder. The film was originally written as a vehicle for Jane Fonda, who turned down the project.[5] According to Eszterhas, Ransohoff was unimpressed with the casting of Glenn Close and tried to make her re-shoot a sex scene so that he could watch her.[5][6] ReceptionCritical responseOn Rotten Tomatoes the film has an approval rating of 81% based on 31 reviews. The site's consensus states; "Coolly performed and suspenseful, Jagged Edge is a satisfying enough potboiler that most audiences won't mind if the twists don't quite add up."[7] On Metacritic it has a score of 60% based on reviews from 15 critics, indicating "mixed or average reviews".[8] Variety called it "a well-crafted, hardboiled mystery" and praised the performances of the two lead actors.[9] Roger Ebert of the Chicago Sun-Times described the suspense in the film as "supremely effective" and rated the movie 3 1/2 stars.[10] Pauline Kael of The New Yorker wrote: "This thriller doesn't offer the pleasures of style, but it does its job. It catches you in a vise - it's scary, and when it's over you feel a little shaken."[11] Janet Maslin of The New York Times praised the performances, but thought the film predictable.[3] Rita Kempley of The Washington Post denounced the film, saying "Jagged Edge is not entertainment. It is commercially packaged abuse."[12] AccoladesRobert Loggia was nominated for the Academy Award for Best Supporting Actor for his performance.[4][9] Abandoned sequelThe film Physical Evidence was originally conceived as a sequel to Jagged Edge and was meant to have Glenn Close and Robert Loggia reprise their roles. The story was about a private investigator framed for murder and the female lawyer who defends him. The project was developed at Columbia Pictures but then head of production Guy McElwaine was replaced by David Puttnam, who, according to producer Martin Ransohoff, said that he did not want to make sequels (Puttnam denied this, saying his problem was the script "wasn't good and for no other reason... when there's a terrific script for Jagged Edge II Columbia will be anxious to make it".). Ransohoff decided to turn the script into an original story. "It's a good mystery on its own terms," he said. "I think the story is really more effective as an original. Because there wasn't an agreement with Loggia and Close, we had always designed the project to go either as a sequel or on its own terms."[13] RemakeSony Pictures announced in 2018 that a remake of Jagged Edge was in development with Academy Award winning actress Halle Berry starring.[14][15] I Love You, Alice B. Toklas is a 1968 American romantic comedy film directed by Hy Averback and starring Peter Sellers.[2] The film is set in the counterculture of the 1960s. The cast includes Joyce Van Patten, David Arkin, Jo Van Fleet, Leigh Taylor-Young (in her film debut) and a cameo by the script's co-writer Paul Mazursky. The title refers to writer Alice B. Toklas, whose 1954 autobiographical cookbook had a recipe for cannabis brownies.[3] Contents1Plot2Cast3Critical response4Home media5See also6References7External linksPlotAttorney Harold Fine is cornered into setting a date for marriage by his secretary/fiancée, Joyce. Because of a fender bender, he ends up driving a hippie vehicle, a psychedelically-painted station wagon. When taking his hippie brother, Herbie, to the funeral of his family's butcher he encounters Nancy, Herbie's girlfriend, an attractive flower power young lady. She takes a liking to Harold and after they spend a night together in his home makes him pot brownies. However, she departs without telling him about its special ingredient, and not knowing what they are he eats them and feeds them to his father, mother, and fiancée, who dissolve in laughter and silliness. Harold considers the "trip" a revelation, and begins renouncing aspects of his "straight" life. He leaves his fiancée at the chuppah moments before they are to be married, starts living with Nancy, and tries to find himself with the aid of a guru. Ultimately he discovers the hippie lifestyle is as unfulfilling and unsatisfying as his old lifestyle—Nancy says that monogamy "isn't hip"—and once more decides to marry Joyce. At the last minute, he again leaves her at the altar and runs out of the wedding onto a city street saying he doesn't know for sure what he is looking for but, "there's got to be something beautiful out there." CastPeter Sellers as Harold FineJo Van Fleet as Mrs. FineLeigh Taylor-Young as NancyJoyce Van Patten as JoyceDavid Arkin as Herbie FineHerb Edelman as MurraySalem Ludwig as Mr. FineLouis Gottlieb as guruGrady Sutton as funeral directorJanet Clark as Mrs. FoleyJorge Moreno as Mr. RodriguezEd Peck as man in dress shopCritical responseOn review aggregator Rotten Tomatoes, the film holds an approval rating of 14%, based on 7 reviews, with an average rating of 4.50/10.[4] Vincent Canby of The New York Times called it "a very derivative comedy", with Peter Sellers "sometimes funny (as he tries to spread love among the police) but quite often grotesque (in some embarrassingly intimate bed scenes)."[5] Variety was more positive: "Film blasts off into orbit via top-notch acting and direction. Sellers' performance – both in scenes which spotlight his character as well as ensemble sequences in which everyone is balanced nicely – is an outstanding blend of warmth, sensitivity, disillusion and optimism";[6] Roger Ebert found some of the movie "good and pretty close to the mark, and Sellers is very funny," he disliked the film's stereotyped view of hippiedom, concluding, "If they'd dropped Sellers into a real hippie culture, we might really have had a movie here."[7] Home mediaI Love You, Alice B. Toklas was released by Warner Home Video on June 20, 2006,[8] as a Region 1 widescreen DVD and years later in 2014 as a DVD-on-demand title via Warner Archive. See alsoList of American films of 1968List of films featuring hallucinogensReferences The Horsemen is a 1971 American adventure film starring Omar Sharif, directed by John Frankenheimer; screenplay by Dalton Trumbo. Based on a 1967 novel by French writer Joseph Kessel, Les Cavaliers (The Horsemen) shows Afghanistan and its people the way they were before the wars that wracked the country, particularly their love for the sport of buzkashi. The film was filmed in Afghanistan and Spain. Contents1Plot2Cast3Production4Reception5See also6References7External linksPlotUraz (Omar Sharif), the son of Tursen (Jack Palance), the stable master and retired buzkashi player for a feudal lord, is a master horseman who lives by a primitive code of honor. Uraz's family honor is damaged when he breaks his leg playing the game, which is the Afghani equivalent of polo. His father, who lost a lot of money betting on his son, will barely speak to him. To regain the family honor (and wealth) he must somehow re-learn how to ride – after his injuries cost him his leg below the knee. In the face of great obstacles, and despite the derision and treachery of others, he gains the chance to play in the games given by the king of Afghanistan.[2] CastOmar Sharif as UrazJack Palance as TursenLeigh Taylor-Young as Zareh the untouchable whorePeter Jeffrey as HayatalSrinanda De as BukhiGeorge Murcell as Mizrar the shepherdEric Pohlmann as Merchant in KabulVernon Dobtcheff as Zam HajjiSaeed Jaffrey as District ChiefJohn Ruddock as ScribeMark ColleanoSalmaan Peerzada as SalihAziz Resham as Bacha to GhulamLeon Lissek as Chaikhana proprietorVida St. Romaine as Gypsy WomanProductionThe original novel was published in 1967. It was a best seller in France before being released in the US.[3] Film rights were bought by John Frankenheimer and Edward Lewis who set up the film at Columbia. Dalton Trumbo, who had just written The Fixer for Frankenheimer, was signed to do the script.[4] The film took two and a half years to make and was shot on location in Afghanistan, and in Spain (including Caminito del Rey). According to director John Frankenheimer: It represents for me the first time I've been able to put together the two sides of my work – the spectacle like Grand Prix or The Train and the intimate kind of picture like Birdman of Alcatraz or Seven Days in May. For me it has a very contemporary meaning, which is why I did it. It's a man looking for himself, a theme that I've done over and over on TV and in movies. I do think that Dalton Trumbo is the best screenwriter we've got... Most of my films are about putting people under extreme pressure. Because my contention in life is that how you know people is how they respond to a crisis.[1] ReceptionThe film was a box office disappointment. It remained, however, a personal favourite of John Frankenheimer, who later said the film had been "dumped" by Columbia after various executives were in conflict with each other.[5] See alsoList of American films of 1971References The Gang That Couldn't Shoot Straight is a 1971 American crime comedy film directed by James Goldstone and written by Waldo Salt, based on the 1969 novel of the same name by Jimmy Breslin, which in turn was based on the life of gangster Joe Gallo. The film stars Jerry Orbach, Leigh Taylor-Young, Jo Van Fleet, Lionel Stander, Robert De Niro and Irving Selbst. The film was released on December 22, 1971, by Metro-Goldwyn-Mayer.[1][2] Contents1Plot2Cast3Production4Reception5Home media6See also7References8External linksPlotKid Sally Palumbo (Jerry Orbach) grows jealous of his older, mobster boss Baccala (Lionel Stander), who has little respect for the crew Palumbo commands. Baccala allows Kid Sally to supervise a six-day bicycle race (for the purposes of keeping the money generated), and among the 12 Italian cyclists brought into the city is Mario Trantino (Robert De Niro), a budding thief. When the bicycle race does not take place due to outside interference, Sally is demoted to serving Baccala as a chauffeur, and Trantino stays in New York City to run his own cons, including masquerading as a priest. Kid Sally's mother Big Momma (Jo Van Fleet) urges him to take down the old, entrenched mobsters in power, but it appears the only fatalities are in his own camp, and the increase in violence draws the attention of the city police. CastJerry Orbach as Salvatore 'Kid Sally' PalumboLeigh Taylor-Young as Angela PalumboJo Van Fleet as Big Momma PalumboLionel Stander as BaccalaRobert De Niro as Mario TrantinoIrving Selbst as 'Big Jelly' CatalanoHervé Villechaize as Beppo 'The Dwarf'Joe Santos as EzmoCarmine Caridi as Tony 'The Indian'Frank Campanella as Water BuffaloHarry Basch as Joseph DeLauriaSander Vanocur as Television Commentator[3]Phil Bruns as GallagherPhilip Sterling as District Attorney GoodmanJack Kehoe as BartenderDespo Diamantidou as MournerSam Coppola as Julie DiBiasiJames Sloyan as JoeyPaul Benedict as 'Shots' O'TooleLou Criscuolo as JuniorGeorge Loros as JerryHarry Davis as Dominic LavianoBurt Young as Willie QuarequioJackie Vernon as HermanTed Beniades as A Black SuitFat Thomas as A Black SuitRoy Shuman as The MayorAlice Hirson as The Mayor's WifeMichael V. Gazzo as A Black SuitRobert Gerringer as Commissioner McGradyWalter Flanagan as The SuperDan Morgan as MuldoonDorothi Fox as Meter MaidRobert Weil as Circus Supply ManagerMargo Winkler as Airline ClerkLeopold Badia as Old WaiterFran Stevens as Baccala's WifeFlorence Tarlow as Police MatronRita Karin as Mrs. GoldfarbTom Lacy as Religious SalesmanWilliam H. Boesen as Jury ForemanGary Melkonian as Greek RacerGustave Johnson as Detective JenkinsGeorge Stefans as Greek CaptainAlisha Fontaine as Jelly's GirlLorrie Davis as Jelly's Other GirlFrank Jourdano as TV ReporterElsa Raven as Mrs. BuffaloGloria LeRoy as IdaProductionAccording to Irwin Winkler, Francis Ford Coppola asked to write and direct the movie but Winkler turned him down, feeling Coppola did not have the skills to make a mafia film. Al Pacino was originally cast in the lead but during rehearsal pulled out to play a role in The Godfather; he was replaced by Robert De Niro.[4] Shot on location in South Brooklyn, the film was the subject of a Robin Green-written November 25, 1971 Rolling Stone article "Shooting the Gang That Couldn’t" which was described in its subtitle as "a behind-the-scenes look at the filming of a Robert DeNiro [sic] movie."[5] Hervé Villechaize made his feature film debut, but his lines were dubbed to conceal his French accent as he was playing an Italian-American character.[3] Winkler wrote in his memoirs that he felt the director was more interested in sticking to the schedule than working with the actors. He felt the final film was neither funny nor dramatic.[4] ReceptionThe movie received negative reviews. Roger Ebert gave it 2/4 stars, writing: "Maybe part of the trouble is James Goldstone's direction, which tends toward the heavy-handed." and "The performances are too broad, the characters are too many, the plot is too indifferent to the structure of the movie, and - surprisingly - the movie is too sweet."[6] Howard Thompson didn't mince words as he called the film "a tasteless mess" and Jo Van Fleet's performance "terrible." His only praise was for the interaction between Leigh Taylor-Young and Robert De Niro.[7] Home media Soylent Green is a 1973 American ecological dystopian thriller film directed by Richard Fleischer, and starring Charlton Heston, Leigh Taylor-Young and Edward G. Robinson in his final film role. Loosely based on the 1966 science fiction novel Make Room! Make Room! by Harry Harrison, the film combines police procedural and science fiction genres, the investigation into the murder of a wealthy businessman and a dystopian future of dying oceans and year-round humidity, due to the greenhouse effect, resulting in pollution, poverty, overpopulation, euthanasia and depleted resources.[2] In 1973, it won the Nebula Award for Best Dramatic Presentation and the Saturn Award for Best Science Fiction Film. Contents1Plot2Cast3Production4Critical response5Awards and honors6Home media7See also8References9External linksPlotBy the year 2022, the cumulative effects of overpopulation, pollution and an apparent climate catastrophe have caused severe worldwide shortages of food, water and housing. There are 40 million people in New York City alone, where only the city's elite can afford spacious apartments, clean water and natural food (at horrendously high prices, with a jar of strawberry jam fetching $150). The homes of the elite are fortressed, with private security, bodyguards for their tenants, and usually include concubines who are referred to as "Furniture" and serve the tenants as slaves. Within the city live NYPD detective Frank Thorn and his aged friend Sol Roth, a highly intelligent former college professor and police analyst (referred to as a "Book"). Roth remembers the world when it had animals and real food; he has a small library of reference materials to assist Thorn. Thorn is tasked with investigating the murder of the wealthy and influential William R. Simonson, a board member of the Soylent Corporation, which he suspects was an assassination. The Soylent Corporation produces the communal food supply of half of the world, and distributing the homonymous brand of wafers, including "Soylent Red" and "Soylent Yellow". Their latest product, "Soylent Green", a more nutritious variant, is advertised as being made from ocean plankton, but is in short supply. As a result of the weekly supply chain and distribution bottlenecks, the hungry masses regularly riot when supply runs out, and are brutally removed from the streets by means of police crowd control vehicles that scoop the rioters with large hydraulic shovels. With the help of Simonson's "furniture" Shirl (with whom Thorn begins a sexual relationship), his investigation leads to a priest that Simonson had visited shortly before his death. Because of the sanctity of the confessional, the nearly overcome priest is only able to hint at the contents of the confession (before he himself is murdered). By order of the governor, Thorn is instructed to end the investigation by his immediate superiors, but because of his concern for losing his job to higher superiors if he quits the case, and the fact that he is being followed by an unknown stalker, he continues forward. He is soon attacked while working during a riot, by the same assassin who killed Simonson, but the killer is crushed by the hydraulic shovel of a police crowd control vehicle. In researching the case for Thorn, Roth brings two volumes of "Soylent Corporation Oceanographic Reports," taken by Thorn from Simonson's apartment, to the team of other Books at the Supreme Exchange. After analysis, the Books confirm that the oceanographic report reveals that the oceans are dying, and can no longer produce plankton that "Soylent Green" is made from. The reports also reveal that "Soylent Green" is being produced from the remains of the dead and the imprisoned, sourced from heavily guarded waste disposal plants outside the city. The Books further reveal that Simonson's murder was ordered by his fellow Soylent Corporation board members, knowing he was increasingly troubled by the truth, and the fear he might talk. On hearing the truth, Roth is so shaken, he decides to "return to the Home of God" and seeks assisted suicide at a government clinic. Returning to the apartment, Thorn finds a message left by Roth, and rushes to stop him but arrives too late to save Sol's life. Thorn is mesmerized by the euthanasia process's visual and musical montage—long-gone forests, wild animals, rivers and ocean life, having never before seen these sights. Before dying, Roth whispers what he has learned to Thorn, and in his last living act, begs him to find proof, bring it to the Supreme Exchange, so they can take the information to the Council of Nations to take action. Thorn boards a truck transporting Sol's body, and the bodies from the euthanasia center to a waste disposal plant, where he witnesses human corpses being converted into Soylent Green. Horrified, Thorn is spotted and escapes. As he is making his way back to the Supreme Exchange, he is ambushed. Finding refuge in a church, he kills his attackers, but is seriously wounded in the gun battle. As Thorn is tended to by paramedics, he urges his police chief to spread the truth he has discovered, and initiate proceedings against the company. While being taken away, Thorn shouts out to the surrounding crowd, "Soylent Green is people!" CastCharlton Heston as ThornLeigh Taylor-Young as ShirlChuck Connors as FieldingJoseph Cotten as SimonsonBrock Peters as HatcherPaula Kelly as MarthaEdward G. Robinson as Sol RothStephen Young as GilbertMike Henry as KulozikLincoln Kilpatrick as The PriestRoy Jenson as DonovanLeonard Stone as CharlesWhit Bissell as SantiniCelia Lovsky as the Exchange LeaderDick Van Patten as Usher #1ProductionThe screenplay was based on Harry Harrison's novel Make Room! Make Room! (1966), set in the year 1999 with the theme of overpopulation and overuse of resources leading to increasing poverty, food shortages and social disorder. Harrison was contractually denied control over the screenplay and was not told during negotiations that Metro-Goldwyn-Mayer was buying the film rights.[3] He discussed the adaptation in Omni's Screen Flights/Screen Fantasies (1984), noting the "murder and chase sequences [and] the 'furniture' girls are not what the film is about – and are completely irrelevant" and answered his own question, "Am I pleased with the film? I would say fifty percent".[3][4] While the book refers to "soylent steaks", it makes no reference to "Soylent Green", the processed food rations depicted in the film. The book's title was not used for the movie on grounds that it might have confused audiences into thinking it a big-screen version of Make Room for Daddy.[5] This was the 101st and last movie in which Edward G. Robinson appeared; he died of bladder cancer twelve days after the completion of filming, on January 26, 1973. Robinson had previously worked with Heston in The Ten Commandments (1956) and the make-up tests for Planet of the Apes (1968). In his book The Actor's Life: Journal 1956–1976, Heston wrote "He knew while we were shooting, though we did not, that he was terminally ill. He never missed an hour of work, nor was late to a call. He never was less than the consummate professional he had been all his life. I'm still haunted, though, by the knowledge that the very last scene he played in the picture, which he knew was the last day's acting he would ever do, was his death scene. I know why I was so overwhelmingly moved playing it with him".[6] The film's opening sequence, depicting America becoming more crowded with a series of archive photographs set to music, was created by film maker Charles Braverman. The "going home" score in Roth's death scene was conducted by Gerald Fried and consists of the main themes from Symphony No. 6 ("Pathétique") by Tchaikovsky, Symphony No. 6 ("Pastoral") by Beethoven and the Peer Gynt Suite ("Morning Mood" and "Åse's Death") by Edvard Grieg. A custom cabinet unit of the early arcade game Computer Space was used in Soylent Green and is considered to be the first video game appearance in a film.[7] Critical responseThe film was released April 19, 1973 and met with mixed reactions from critics.[8] Time called it "intermittently interesting", noting that "Heston forsak[es] his granite stoicism for once" and asserting the film "will be most remembered for the last appearance of Edward G. Robinson.... In a rueful irony, his death scene, in which he is hygienically dispatched with the help of piped-in light classical music and movies of rich fields flashed before him on a towering screen, is the best in the film".[9] New York Times critic A. H. Weiler wrote "Soylent Green projects essentially simple, muscular melodrama a good deal more effectively than it does the potential of man's seemingly witless destruction of the Earth's resources"; Weiler concludes "Richard Fleischer's direction stresses action, not nuances of meaning or characterization. Mr. Robinson is pitiably natural as the realistic, sensitive oldster facing the futility of living in dying surroundings. But Mr. Heston is simply a rough cop chasing standard bad guys. Their 21st-century New York occasionally is frightening but it is rarely convincingly real".[8] Roger Ebert gave the film three stars out of four, calling it "a good, solid science-fiction movie, and a little more".[10] Gene Siskel gave the film one-and-a-half stars out of four and called it "a silly detective yarn, full of juvenile Hollywood images. Wait 'til you see the giant snow shovel scoop the police use to round up rowdies. You may never stop laughing".[11] Arthur D. Murphy of Variety wrote, "The somewhat plausible and proximate horrors in the story of 'Soylent Green' carry the Russell Thacher-Walter Seltzer production over its awkward spots to the status of a good futuristic exploitation film".[12] Charles Champlin of the Los Angeles Times called it "a clever, rough, modestly budgeted but imaginative work".[13] Penelope Gilliatt of The New Yorker was negative, writing, "This pompously prophetic thing of a film hasn't a brain in its beanbag. Where is democracy? Where is the popular vote? Where is women's lib? Where are the uprising poor, who would have suspected what was happening in a moment?"[14] On Rotten Tomatoes the film has an approval rating of 72% rating, based on 39 reviews, with an average rating of 6.10/10.[15] A German film encyclopedia notes "If you want, you can see a thrilling crime thriller in this film. By means of brutally resonant scenes, however, the director makes clear a far deeper truth [...] Soylent Green must thus be understood as a metaphor. It is the radical image of the self-consuming madness of capitalist mode of production. The necessary consequences of the reification of 'human material' to the point of self-destruction are forcefully brought home to the viewer".[16] Awards and honorsWinner Best Science Fiction Film of Year – Saturn Award, Academy of Science Fiction, Fantasy and Horror Films (Richard Fleischer, Walter Seltzer, Russell Thacher)Winner Grand Prize – Avoriaz Fantastic Film Festival (Richard Fleischer)Nominee Best Film of Year (Best Dramatic Presentation) – Hugo Award (Richard Fleischer, Stanley Greenberg, Harry Harrison)Winner Best Film Script of Year (Best Dramatic Presentation) – Nebula Award, Science Fiction and Fantasy Writers of America (Stanley Greenberg, Harry Harrison)"Soylent Green is people!" is ranked 77th on the American Film Institute's list AFI's 100 Years...100 Movie Quotes.Home mediaSoylent Green was released on Capacitance Electronic Disc by MGM/CBS Home Video and later on LaserDisc by MGM/UA in 1992 (ISBN 0-7928-1399-5, OCLC 31684584).[17] In November 2007, Warner Home Video released the film on DVD concurrent with the DVD releases of two other science fiction films; Logan's Run (1976), a film that covers similar themes of dystopia and overpopulation, and Outland (1981).[18] A Blu-ray Disc release followed on March 29, 2011. See alsoSoylent (meal replacement), a brand of meal replacement products whose creator was inspired by the book and film to use that nameCloud Atlas (film), a 2012 film also depicting a future society where workers are fed with human remainsTender is the Flesh, a 2020 dystopian novel by Agustina Bazterrica in which humans are farmed for their meat Leigh Taylor-Young (born January 25, 1945) is an American retired actress who has appeared on stage, screen, podcast, radio and television. The most famous films in which she had important roles include I Love You, Alice B. Toklas (1968), The Horsemen (1971), The Gang That Couldn't Shoot Straight (1971), Soylent Green (1973), and Jagged Edge (1985). Contents1Early life2Career2.11960s2.21970s2.31980s2.41990s and 2000s3Personal life4Filmography4.1Film4.2Television5References6External linksEarly life"Someone once told me that success is when preparation meets with opportunity. So obviously the most important thing is to be prepared when the opportunity comes." Taylor-Young in a 1966 interview.[1]Young was born on January 25, 1945, in Washington, D.C. She added the surname Young, which was the surname of her stepfather, Donald E. Young, a Detroit executive. Her father was a diplomat, and her younger siblings are actress/sculptor Dey Young and writer/director/producer Lance Young. The siblings were raised in Oakland County, Michigan. Leigh graduated from Groves High School, Beverly Hills, Michigan in 1962. Before attending Northwestern University as an economics major, she spent a summer shifting scenery, modeling , acting, and sweeping up at a Detroit little theater.[2] However, she left Northwestern before graduating to pursue a full-time acting career, making her professional debut on Broadway in 3 Bags Full. About dropping out of college, the actress explained: "I left there because I lost the most wonderful teacher. I didn't want to go back when she left. My parents naturally were upset, and I spent four months at home thinking what to do, then went to New York and California."[2]Career1960s Ryan O'Neal with Taylor-Young in Peyton PlaceTaylor-Young got her first big break in 1966, when she was cast as Rachel Welles on the primetime soap opera Peyton Place.[3] Her character was written in the show as a replacement for the character of Allison MacKenzie, previously played by Mia Farrow. The series' producer, Everett Chambers, cast her because of her "great warmth and sweet angelic qualities not unlike Mia". At the time she received the role, Taylor-Young had been in California for only a few days.[2] She initially went there in April 1966 to recuperate from an attack of pneumonia.[1] She impressed the head producer of Peyton Place, Paul Monash, with a performance from The Glass Menagerie and was immediately signed to a seven-year television and multiple motion picture contract.[1] Shortly after, she told the press: "I'd have preferred to stay in New York to establish myself as an actress before coming to Hollywood."[4] It was on this series that she met Ryan O'Neal, whom she later married. Taylor-Young had difficulty working on the show, explaining in an April 1967 interview: "When I got my first check for [3 Bags Full], I thought to myself, 'isn't this wonderful — being paid to have fun.' But after working in 70 chapters of Peyton Place out here in Hollywood, I'm glad to get my paycheck. I can now understand why good actors and actress complain about going stale in television. It's difficult to give a character depth when there's a man with a stop watch standing beside you complaining that the company is spending $3,000 a minute. Yes, I've learned that when you act in a TV series it becomes your whole life."[5]Despite the huge amount of publicity she received while working on Peyton Place, Taylor-Young left the soap opera in 1967 due to her pregnancy. Following this, she pursued a career in films, landing a lucrative seven-year contract with a major studio. Her first film role came opposite Peter Sellers in the comedy, I Love You, Alice B. Toklas (1968). The film was commercially successful, and she received a Golden Globe Award nomination for Most Promising Female Newcomer. This was followed by her appearance with husband Ryan O'Neal in The Big Bounce (1969).[6] 1970sFor the next several years, her pictures tended to be high budget films, such as The Adventurers (1970), based on the novel by best-seller Harold Robbins, and The Horsemen, (1971) opposite leading man Omar Sharif. She is perhaps best known for her performance as Shirl, the "furniture" girl, in the science fiction classic Soylent Green (1973).[6] However, for almost ten years after her appearance in Soylent Green, her career went into an extended hiatus as she concentrated on raising her only child, son Patrick. 1980sThe 1980s saw Leigh Taylor-Young return to both film and television, where her looks and voice often led to casting in roles of an aristocratic bent.[3] In 1981, she appeared in the high technology Michael Crichton production Looker. In 1985, she was cast as Virginia Howell in Jagged Edge, and appeared in the romantic comedy Secret Admirer.[6] In addition to her film work, she guest-starred on such television series as McCloud, Fantasy Island, The Love Boat, Hart to Hart, Hotel and Spenser: For Hire. She returned to her soap opera roots in 1983, appearing in the short-lived primetime series The Hamptons. From 1987-89, she played Kimberly Cryder, a recurring character on Dallas, her first role in a major prime time soap since Peyton Place.[3][6] Despite being best known for her film and television work, she has stated a preference for live theater where her career began. A favorite of Samuel Beckett, she starred opposite Donald Davis in Beckett's one act play, Catastrophe (included in a trilogy of one-act plays billed as The Beckett Plays) at the Edinburgh International Festival in 1984. Catastrophe with Taylor-Young also toured Los Angeles, New York City and London.[7] 1990s and 2000sIn recent decades, Taylor-Young's film credits have included minor roles in Honeymoon Academy (1990), Bliss (1997), and Slackers (2002), as well as direct-to-video films Addams Family Reunion (1998), Klepto (2003), Spiritual Warriors (2007) and The Wayshower (2011).[6] Perhaps her best-known television work was on the CBS series Picket Fences, in which she played mercurial and cougarish mayor Rachel Harris from 1993 through 1995. She won an Emmy Award for the role in 1994, for Outstanding Supporting Actress in a Drama Series, as well as a Golden Globe nomination the following year.[8] From 2004 through 2007, she played Katherine Barrett Crane on the soap opera Passions. In addition to her roles on Picket Fences and Passions, Taylor-Young has also appeared on series such as The Young Riders, Murder, She Wrote, Sunset Beach, Malibu Shores, 7th Heaven, Star Trek: Deep Space Nine (TV series), and Life. She had recurring roles on Beverly Hills, 90210, The Pretender, and UPN's The Sentinel. She also appeared in a handful of television films, including Perry Mason: The Case of the Sinister Spirit (1987), Who Gets the Friends? and Stranger in My Home (1997). Personal lifeLeigh Taylor-Young married Ryan O'Neal, her Peyton Place co-star, in 1967. Their wedding was a spontaneous one: while in Hawaii for a promotion for Peyton Place, an ABC manager offered the couple the opportunity to marry at his home.[5] The marriage produced a son, Patrick. Leigh and O'Neal divorced in 1971. Through her son, she has two granddaughters. She married John Morton in January 2013 at PRANA, headquarters of the Movement of Spiritual Inner Awareness in Los Angeles.[9] She is an ordained minister in the Movement of Spiritual Inner Awareness, founded by the late John-Roger Hinkins and now led by her husband.[10] FilmographyFilmYearTitleRoleNotes1968I Love You, Alice B. ToklasNancyNominated—Golden Globe Award for New Star of the Year – Actress1969The Big BounceNancy Barker1969Under the Yum Yum TreeJenniferTelevision movie1969The AdventurersAmparo Rojo1970The GamesCollege Co-edUncredited1970The Buttercup ChainManny1971The HorsemenZareh1971The Gang That Couldn't Shoot StraightAngela1973Soylent GreenShirl1980MarathonBarrieTelevision movie1980Can't Stop the MusicClaudia Walters1981LookerJennifer Long1985Secret AdmirerElizabeth Fimple1985Jagged EdgeVirginia Howell1988Who Gets the Friends?Aggie HardenTelevision movie1989AccidentsBeryl Chambers1990The Ghost WriterElizabeth StrackTelevision movie1991SilverfoxNita DavenportTelevision movie1993DreamriderDr. Sharon Kawai1996An Unfinished AffairCynthia ConnorTelevision movie1996Mariette in EcstasyNarrator1997Strange In My HomeMargotTelevision movie1997BlissRedhead1998Addams Family ReunionPatriceUncredited2002SlackersValerie Patton2003KleptoTeresa2006Coffee DateDiana2007Dirty LaundryMrs. James2011The WayshowerElva HinkinsTelevisionYearTitleRoleNotes1966–1967Peyton PlaceRachel Welles70 episodes1976McCloudBonnie FosterEpisode: "Bonnie and McCloud"1978Fantasy IslandLeslie TarletonEpisode: "I Want to Get Married"1978The Love BoatAnn SterlingEpisode: "The Captain's Cup"1982Hart to HartVictoria WilderEpisode: "Deep in the Hart of Dixieland"1982The Devlin ConnectionLauren Dane9 episodes1983HotelCarole JamisonEpisode: "Secrets"1983The HamptonsLee ChadwayEpisode: "1.1"1985HotelStephanie McMullenEpisode: "Identities"1986Spenser: For HireAlicia CarlisleEpisode: "Angel of Desolation"1986HotelSharon LockwoodEpisode: "Pressure Points"1987–1989DallasKimberly Cryder20 episodes1988Alfred Hitchcock Presents (1985 TV series)Adelaide WalkerEpisode: "Murder Party"1990Over My Dead BodyLinda TalmadgeEpisode: "If Looks Could Kill"1991Evening ShadeBeck KincaidEpisode: "Wood's Thirtieth Reunion"1992The Young RidersPollyEpisode: "Lessons Learned"1992–1993Civil WarsUnknown2 episodes1993–1995Picket FencesRachel Harris16 episodesPrimetime Emmy Award for Outstanding Supporting Actress in a Drama SeriesNominated—Golden Globe Award for Best Supporting Actress – Series, Miniseries or Television FilmNominated—Screen Actors Guild Award for Outstanding Performance by an Ensemble in a Drama Series1995Empty NestGwen LangleyEpisode: "Grandma, What Big Eyes You Have"1995JAGMeredithEpisode: "A New Life - Part 1"1995Murder, She WroteLainie Sherman BoswellEpisode: "A Quaking in Aspen"1996–1999The SentinelNaomi Sandburg3 episodes1996Malibu ShoresMrs. GreenEpisode: "The Competitive Edge"19977th HeavenNora ChambersEpisode: "Don't Take My Love Away"1997RugratsStory ReaderEpisode: "Angelica Nose Best"1997Sunset BeachElaine Stevens109 episodes1998Beverly Hills, 90210Blythe Hunter3 episodes1998–1999The PretenderMichelle Lucca Stamatis3 episodes1999Star Trek: Deep Space NineYanasEpisode: "Prodigal Daughter"2003Strong MedicineCatherine Beecher-DouglasEpisode: "Maternal Mirrors"2004–2007PassionsKatherine Barrett Crane2007LifeDoreen TurnerEpisode: "Tear Asunder"

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