Kunjungi www.Starbet99.com Agen Judi Online Aman dan Terpercaya ﻿1
(clicks)
(whirs)
(clicks)
(whirring)
♪ ♪
Tonight, Lux is visiting one of Hollywood's most exciting new stars,
Jane Fonda.
Jane's been using Lux-- How long, Jane?
Ever since my first roles in summer stock,
I could see that a star just had to have
a really lovely complexion.
♪ ♪
Bennett Cerf: Might I assume that
you are a, uh, very lovely lady?
-John Daly: That you may. -(audience applauds)
♪ ♪
Dildano: Well, will you join our cause?
What cause? Who are you?
(man speaking in French)
(Jane speaks French)
♪ ♪
The woman in the helmet is Jane Fonda, the actress.
Actress Jane Fonda was arrested
today at the airport in Cleveland.
The Justice Department said it is attempting to determine
whether Ms. Fonda had violated
sedition, treason or other statutes.
♪ ♪
Any healthy country, like any healthy individual,
should be in perpetual revolution,
perpetual change.
♪ ♪
Phil Donahue: You just may be the most talked about personality
in the country today.
There's a lot of, uh, hostility towards you.
Ah! The winner is Jane Fonda in Coming Home.
(cheers, applause)
♪ ♪
Johnny Carson: My first guest tonight is a gal that I admire highly.
Funny thing how people who were called radicals at the time
now are considered right-on.
(cheering)
Jane Fonda: You have to have the courage to speak
about the changes that are needed
and it includes challenging, at the root,
the corporate power that has taken over the economy of this country.
(cameras clicking)
Lesley Stahl: You turn around and marry a billionaire.
How do you go from one to the other
without completely losing yourself somewhere in there?
♪ ♪
(birds twittering)
(hair dryer whirring)
Ow!
Hairstylist: Sorry.
(whirring stops)
To drink or not to drink.
(man laughs)
I think I'll drink.
(Jane sighs)
The problem is they only serve wine.
Oh, really? They're not doing-- They don't do champagne?
I-I don't drink champagne. I don't drink wine. I drink vodka.
(laughs) Well, maybe they can--
-I'll have to bribe somebody. -(laughs)
Jane: You know the two times that I won an Oscar,
I did my own hair and makeup.
You're kidding?
When I picked up the Oscar for my dad...
it looked like the Lindbergh baby was hidden in my hair.
-(laughs) -It's, it's that hair there.
I mean, it was the '80s, just to be fair to myself.
♪ ♪
Okay, Fonda, keep your chin up.
-It's Jane Fonda! -(cheering)
(crowd cheering, screaming)
Photographer: Ms. Fonda, that--
Yeah, could we have one smile this way?
One smile? Thank you.
♪ ♪
Lily Tomlin: Has Vanity Fair been published? -Jane: Yes.
-Just this month? -Yes, and I'm on the cover.
Aw. Yeah, I wouldn't get on the cover.
(laughs) I never thought... I'd never have thought that I would ever--
Were they Hollywood women? Is that it?
-It was called the Year of the Woman-- -Was it Saoirse?
-Not even from Hollywood. -It was.
-Irish. -(laughs)
-Brie Larson? -Yeah.
Oh, same old-- Helen Mirren?
-Yes. -(cackles)
-They took me out and put you in. -Yeah, they did.
Lily: They aced me out.
-Jane: It went from 21-year-old Saoirse... -Lily: This is your fault.
...to 78-year-old me.
Yeah.
-Well, that's no big deal. -(laughs)
After 53 years of friendship and 11 films together,
you don't think I'm gonna start to bullshit you now, do you?
-You of all people? -No, I don't!
I wouldn't deserve that.
That's right. You don't deserve it.
You deserve me to call a spade a spade,
which is why I dragged my ass here from LA.
Look, Brenda, if it's about scene 21,
where you're described as "ugly,"
"feeble," uh, "a pale shadow of your former beauty."
Please, realize that's just poetic license.
You still preserve intact.
You have to.
That mystery, that allure you had when you first became a diva.
♪ ♪
Dinah Shore: When you were little lady Jane Fonda,
up on Tigertail Road...
did you dream about being an actress? Did you wanna be?
Did I want to be an actress? No, not until I was, uh, well into my 20s.
-I-I didn't, um... -Really? 'Cause you were so--
-I think when you grow up in the industry... -Mm-hmm.
...and you see, uh, what the people are
-really like behind their masks... -Mm-hm.
...you know, you're not too encouraged to become an actor.
♪ ♪
(cheers, applause)
Jane: I grew up in the shadow
of a national monument.
Wait a minute, buddy. You just done some jackassin'.
You can't shut up now.
The handbill said they need 800 pickers,
you laugh and say they don't.
Which one's the liar?
Jane: My dad, his values,
you know, solid American...
Midwestern values:
fairness, equality, justice.
Stand up for the underdog, and that's why he gravitated
to characters like Tom Joad in Grapes of Wrath,
and The Ox-Bow Incident, which was about a lynching and racism.
12 Angry Men , I mean,
without him ever saying so, I knew that these movies
expressed what he could never say verbally.
♪ ♪
He was the face of the America that...
people wanted to believe in.
I was Henry Fonda's daughter, which, of course, meant
that I was polite, I was nice... (laughs)
...I was the girl next door.
All the things that I didn't feel I was.
I didn't like my body. I didn't like myself. I...
I felt shy.
We looked like the American Dream.
Rich, beautiful,
close...
but a lot of it was simply myth.
This is the summer
when I was 11.
It was staged for some magazine, I don't remember which one.
Then there's my brother, Peter, and my mother.
She had been in and out of institutions by that time,
and when I look at her face, I can see the anxiety and the stress,
and it makes me very, very sad.
I didn't know why, but I had an aversion to her.
My team is the winning team, my team is the man,
my dad.
And you can tell he is not present at all. (laughs)
He was having an affair with a far younger woman.
Family picnic.
To me, that is a very...
sad picture.
It says it all.
(birds singing)
♪ ♪
Jane: I was alone a lot growing up.
I spent all my time roaming the hills.
I wanted to be Tonto.
In those days, when you really became somebody,
it meant that you were... independent,
you didn't need anybody.
But then I'd look into the windows of houses
where people were sitting at the table...
and I remember, it would bring up a feeling of longing in me.
And I figured, whatever it is that creates
that thing that I'm looking at, that warm...
glow of light, people laughing and talking,
that will never be mine.
Mr. Austin: Henry Fonda,
we name you Stage Father of 1952.
Here is your medal and my heartiest congratulations.
Thank you. Thank you, Mr. Austin.
I feel very honored. I just hope that
my Jane and Peter are gonna be properly impressed.
Jane: He was a hero to so many people.
But...
these kind of men aren't always good fathers.
It's hard to be both.
♪ ♪
I wanted to please dad.
Who would you like me to be? I'll do whatever you want,
'cause I want you to love me.
Peter was the opposite.
If he was scared, he'd cried.
If he was angry with dad, he'd show it.
And it was really hard on Peter.
He had it way harder than me.
Peter Fonda: It's more difficult for Jane than it is for me, actually.
You see, it's not that he wasn't or isn't a loving person at all.
He just... has no character with a script that says, "Henry Fonda:
Fonda says, 'I love you son,'" and he would be able to handle it.
Without that script, he's got nothing to do.
I mean, he has to have the mask in order to express.
Jane has no way to attach herself to Henry.
She's lost out there as his daughter.
♪ ♪
Jane: I was 20, maybe 21,
still living at my father's house
on the beach in Malibu.
♪ ♪
My stepmother had given me an ultimatum:
"Come fall, you have to move out of the house."
What was I gonna do?
A quarter-mile down the beach was Lee Strasberg's house.
He was the great acting coach.
He taught people like Paul Newman and James Dean, and, of course, Marilyn Monroe.
I walked down the beach,
took off my high-heeled shoes to walk in the sand.
I knocked on the back door after having put my shoes back on.
He let me in.
He later said,
"She seemed to be the most boring, conventional girl...
"except when I looked into her eyes,
there was a lot hidden."
And he took me into his class.
♪ ♪
Lee taught us to... dive deep
into your own psyche,
private moments, sensory memories,
to bring a deeper life to your character.
♪ ♪
I was so scared.
I sat in the back.
I would've been happy if I never ended up performing in that class.
Eventually, after about two months,
Lee said, "Okay.
"You know, tomorrow you're gonna do it."
The class was fuller than usual.
I think they wanted to come see
Henry Fonda's daughter fall on her face.
♪ ♪
And then I remember when I was through,
Lee was silent for a long time.
And then he said, "You know, I see a lot of people come through here.
You have real talent."
I swear...
it was like someone had opened the top of my head and birds flew out.
(noisy chattering)
Man: Everyone off the steps.
(squeals)
Jane: Diane?
-(inaudible) -Jane: I can't stand it!
(camera rolling)
Jane: The first time you really
discover something you love, organically love to do,
you go to sleep loving it,
and you wake up and you love it,
and you don't have to think about it,
and you don't mind staying home alone at night
because you've got this thing that you really love to do.
(applause)
(car honks)
Charles Colllingwood: Jane Fonda decided to follow
the well-known path trod by her distinguished father,
actor Henry Fonda.
Jane worked as a photographer's model
to earn a living while she mastered the art.
-Hello, Jane. -Hello, Charlie.
I think that we caught you just moving into this apartment.
You certainly did.
Jane, do you think it's important for a girl
starting out to be on her own,
to have her own apartment like this?
Well, I think, uh...
it helps, I think, to be away from the family,
particularly for me.
You know, if a child and the parent
work in the same business,
it's uh, you feel more independent, you know.
I feel...
I don't have to always be explaining what I'm doing and everything like that.
-Uh, you're-- - I hope my father's not listening to this.
He probably is.
(cars honking)
Jane: I had this instantaneous career.
I was doing plays on Broadway.
I was making movies in Hollywood.
I was nominated for a Tony and won the New York Drama Critics' Circle Award
for the most promising actress of the year for drama.
Well, it says outside that-- that Brad and I are starring in the show,
you know, and that's one of the reasons that people are coming.
But I don't feel...
I don't feel that I can...
quite live up to that, you know?
It's a funny feeling.
Jane: During that period of time,
I was asked to audition, for Kazan,
for the female lead in Splendor in the Grass that Natalie Wood ended up doing.
It was in a theater, and Kazan
called me down to the footlights
and-- and he was standing below and he looked up at me,
and he said, "Are you ambitious?"
And I said, "No!"
Talk about self-betrayal.
I just wanted to be okay.
I wanted to be a good girl.
A good girl
is not an ambitious person.
(marching band playing)
Jane: I got hired for a whole string of girl next door,
ingénues, and I became the actor
that would get the light, romantic comedies
that would start as plays on Broadway and then they'd be made into films.
(marching band continuing)
Ralph: She's already made him a sissy.
George: Oh man, that do it every time.
-Mm-hmm. -She'll be back tomorrow, at the latest.
-(clears throat) -Well, let 'em.
George, will you please get my little blue zipper bag?
Please?
You know what I had in mind?
-Isabel: George? -Hong Kong.
(screaming): All right! I'll get it myself!
-Huh? -I'll go out and get it myself!
♪ ♪
Jane: You know, and I was, okay at it.
I was all right.
Oh, ow!
I knew how to talk kind of high
and blink my eyes and...
♪ ♪
Whoa.
This is the Plaza Hotel, please.
Plaza. Corie, it's the Plaza.
Wait a minute, I'm not finished.
Corie, the man is waiting, waiting.
Give him a big tip.
Paul, tell me you're not sorry we got married.
After 40 minutes? Let's give it a couple of hours first.
Paul, if the honeymoon doesn't work out, let's not get divorced,
let's kill each other.
Let's have one of the maids do it.
I hear the service here is wonderful.
♪ ♪
Sometimes you just find yourself in sync,
and that happened from the very beginning with Jane.
There was just something that,
that naturally developed between us.
There was a chemistry that just was there,
and it was also fun.
♪ ♪
She saw the humor in things,
but at the same time,
she shared her insecurities and her doubts.
♪ ♪
In our friendship, we've been very honest with each other
about our angers, our frustrations.
And, at a certain point, Jane just had an instinct that said,
"Down deep, there's something missing."
Jane: A lot of other people were defining me,
all of them men.
I never felt real.
I just thought, "I've got to get out from under my father's shadow.
"Maybe if I go to France during the new wave period,
"I will...
find who I really am."
I was always in search of some per-- somebody that was real in there.
♪ ♪
(man speaking in French)
(speaking in French)
♪ ♪
(clacks)
Jane: One night, when I first arrived in Paris,
I was at Maxim's with a group of actors,
and Roger Vadim walked in.
I knew that he had a reputation.
He had been married to Brigitte Bardot and he'd had a child with Catherine Deneuve.
He had already directed And God Created Woman.
He was a rock star.
He walked in, and I immediately felt
endangered.
He felt predatory,
but charming,
sexy. (gasps)
♪ ♪
I promised myself, "I will never make a movie
with Roger Vadim."
(interviewer speaking in French)
Jane: I was making the Rene Clement movie
called Les Felins .
♪ ♪
Why are you looking at me like that?
Am I attractive to you?
I had just done a scene
where I'm in a teddy, you know, a little underwear,
and, uh, I-- I got a...
message that Vadim was in the canteen and-- and wanted to see me.
♪ ♪
I realized that I was excited to see him.
I threw on my trench coat,
and as I ran into the canteen,
the trench coat blew open. (chuckles)
♪ ♪
And that night, we went back to my hotel.
He didn't speak very good English. (laughs)
Maybe if he had, I'd never have married him.
♪ ♪
You know, Vadim's so charismatic,
so utterly seductive and charming.
You walked down the Champs-Élysées with Vadim,
it was like walking down the street with Robert Redford.
I mean, people would like... (gasps)
They'd freak and ask for his autograph, and...
Our life together was heady and, um, slightly hedonistic.
But then there was this old shoe quality to him,
it was this comfortable part of him.
Nathalie!
Jane: He'd cross town to see his daughter every day.
Aww.
Oh.
♪ ♪
Nathalie Vadim: Jane came into my life when I was three.
She looked very young, I remember that.
Younger than she was.
I would see my biological mother rarely.
And Jane was always there.
And so I became really close to her.
She became my surrogate mother, basically,
and the person who-- who raised me.
Jane: We moved into a farmhouse that I bought outside of Paris.
There was something so appealing to me
about putting down roots.
I saw myself
being married and having a family
and living in France.
Well,
Vadim was so full of contradictions.
There were a lot of issues that I just chose not to see.
I didn't know what compulsive gambling was or alcoholism.
If I would complain, he would call me bourgeois.
Oh my God... forbid that you would ever be worried about money
or complain about money or complain about
extramarital affairs or anything like that.
Nathalie: When she finds an interest, she's focused on it.
At that point, that interest was Vadim, so...
she became what Vadim wanted.
Merv Griffin: Does he know you that well, Jane?
I think he, he knows me better than I know me.
(chuckles)
Actresses are usually quite... dumb.
We're really quite stupid about what we think we can do well.
And it's the director that comes along
and makes us use muscles we've never used before.
Vadim... does that all the time.
I would say, "I can't do that, I-- I can't play that scene."
And he'd make me do it, and they'd be the good scenes.
Jane: Here I was, trying to not be defined by men,
ended up with a man who was the ultimate
definer of femininity.
That's where I was at that time.
I wanted someone to mold me.
I wanted him...
to help me become a woman.
♪ ♪
Dino De Laurentiis sent me the very famous French comic book called, Barbarella.
He wanted to make a movie, and would I play Barbarella.
Now, I knew that Bardot had turned it down, Sophia Loren had turned it down,
and I didn't want to do it.
I mean, I look at these pictures,
I didn't identify with Barbarella.
Well, Vadim was, I think,
probably the number one science fiction aficionado in the world.
So, when you have a science fiction story that's about sex...
there was no way I was not gonna do this movie, and he was going to direct it.
♪ ♪
Vadim wanted the film to open with a space strip tease.
♪ ♪
He took the set
and turned it so that
the opening of the set was facing the ceiling of the sound stage.
Then he put a very thick pane of glass over it,
and then I laid on top of the glass
like I was floating in space.
♪ Barbarella psychedella ♪
Man: ♪ Barbarella psychedella ♪
♪ Never can a fella name or call you ♪
♪ Barbarella Ba-ba-ba... ♪
Jane: And then I had to be naked.
I was drunk. I drank so much vodka to do that.
It was so terrifying for me.
♪ Ba-Ba-Barbarella! ♪
And then the next morning, we hear that a bat
had flown...
between me and the camera
that was hanging from the ceiling.
and spoiled the take and we had to do it again.
(laughs) Oh, God.
So the take that actually got used,
I was not only drunk, I was hungover, too.
Are you typical of Earth women?
I'm about average.
♪ ♪
Jane: When I look at the movie now, I thoroughly enjoy it.
I mean, I think it's just a camp
romp, really. I don't think it's particularly sexy.
♪ ♪
I wasn't a questioner.
Superficial can come pretty easy to me.
(scoffs) I mean, it's more convenient.
You know, I spent...
quite a few decades not asking too many questions.
♪ ♪
There was a time when
I believed so strongly
that if American soldiers were fighting somewhere,
we had to be on the side of the angels.
It was inconceivable to me that it could be otherwise.
My father had fought in the Second World War.
He was so proud of it, I understood that.
♪ ♪
I mean, I was Miss Army Recruiter in 1959.
(distant bombs exploding)
I remember in 1964,
Vadim and I were in St. Tropez.
He picked up the paper, and the headlines
were talking about how Congress had passed the Tonkin Gulf Resolution.
(rapid gunfire)
Vadim erupted,
my non-political husband.
(exclaiming in French)
"What are they doing? There is no way they can win that war."
"Your Congress is out of its mind."
And I'm thinking, "Sour grapes. Just 'cause you guys didn't win,
the French, when you fought the Vietnamese." You know?
That was how... little I knew.
♪ ♪
I had grown very close to Simone Signoret.
She was one of the top French movie stars.
And she had become an activist.
Artists, writers, poets, philosophers
were at the forefront of activism.
Simone de Beauvoir,
Jean Paul Sartre.
I didn't really move in those circles
with the exception of Simone Signoret.
She kind of...
opened the door a crack for me.
But, you know, I remember thinking,
"I'm not as smart as she thinks I am."
♪ ♪
1968.
I was pregnant.
I think that when a woman is pregnant,
more than ever, she's like a sponge.
Very attuned to and receptive to what's in the ether.
Not just around her, but in the world.
I'm watching on television the Tet Offensive.
(distant explosions)
♪ ♪
(shouting)
I'm looking at newsreel from Chicago.
Tom Hayden: We are going to gather here
by any means necessary.
The demonstrations, the beatings, the bloodiness.
I thought of Simone.
I drove to her farmhouse
out in the country.
And I remember, she opened the door and she said,
"I've been waiting for you."
She said, "I knew you'd come to talk about the war."
♪ ♪
Simone explained to me that,
that the Vietnamese had been fighting for thousands of years,
against the Mongols, against China.
They had always won.
For America to fight a war
thousands and thousands of miles away,
in a country that they didn't understand,
against a people who...
wanted, above all else, independence.
(flames whooshing)
There was no way that we could win.
You know, it's funny, suddenly,
I felt, more than I ever had,
American.
It seems completely contradictory,
you know, in a few years,
people that didn't like me were saying,
"Go back to Hanoi," and all that.
But I felt, "No, no, no, this is...
"We've taken a wrong path.
"I want to be with my people, in my country,
"and try to make this right."
♪ ♪
I really, I wanted my life to have meaning.
But I was married, and I was pregnant, and...
Oh my gosh. I don't know what to do.
I said, I just don't know what to do.
She realized that
there was more to life than just being a housewife, actress.
And Vadim, although progressive,
getting involved in politics, and really getting involved, was not his thing.
Jane: Vanessa was born...
and it was a very, very, very traumatic birth.
They used forceps, and they tore me.
I hemorrhaged a lot.
I was suffering from postpartum depression.
My milk didn't come...
That bond that's supposed to happen, um,
it just didn't.
I felt like I was the bad mother,
and I was terrified.
It surprised me, this feeling of fear.
And, you know, later on, as I look back on it, I know why.
It was because...
(stammers)
(sighs)
It's hard to talk about. Um...
I always saw my mother as a victim.
Women equals victim.
"I am a woman,
I am gonna be damaged, I am gonna be crushed."
My mother was a very complicated woman,
very, very beautiful woman,
but she always seemed sick.
We'd sit in the living room, and she'd hold my hand,
and her hand would be trembling like this.
And...
I didn't want her to feel bad so I would make my hand tremble, too.
I mean, it was-- it was hard to figure out
what was happening with her.
♪ ♪
Poor mom.
I think my father was not the person she ever should have married.
He was not kind to her.
My father went to Broadway to do Mr. Roberts.
And so we moved to Connecticut.
My mother... that was where her mental health
was really deteriorating.
I didn't know it at the time,
but the sister of the stage manager
was seven years older than me,
and my father had fallen in love with her.
It was a difficult time for my mother, obviously.
♪ ♪
I remember sitting at dinner...
We ate Spam,
not all the time,
but occasionally, it would be canned fruit and Spam.
Very weird.
And sitting at the table,
I looked down and my mother was--
there were tears pouring down her face
onto her dinner plate.
And my grandmother was here, and my brother-- and no one said a word.
♪ ♪
And I remember, one afternoon her
being taken to a hospital.
The last time she came home,
she has convinced the people at the institution
that she was getting well and they let her come home,
with a nurse accompanying her.
My brother and I had been upstairs playing jacks.
Grandma called for us to come down,
and I wouldn't go.
I said to Peter, "You go and I'll let you win,
if you go down, I'm not going."
I never saw her again.
That was the day she snuck a razor out of the house,
and then killed herself.
I came home from school one day,
my father and my grandmother were sitting in the living room,
and they sat me down, and they said,
"Your mother died of a heart attack."
I could hear Peter crying.
And I kept thinking, "Why can't I cry?" I never cried.
I never cried, I sat on the edge of my bed
thinking, "What's the matter with me?"
And people would say,
"God, Jane isn't she amazing?
"She's so strong."
So it was like approbation for keeping it all in.
And that became my modus operandi.
Um...
it was very hard for me to ever be able to kinda do away
with that. It took a long, long time.
Um...
Susan Lacy: Did you notice, uh, or observe
how your father reacted to your mother's death?
Well, dad came out and he dropped the news,
and then went back to New York and did his play.
Um...
that was dad.
The show must go on.
♪ ♪
(train rattling)
My father took me to Union Station,
with my suitcase,
and put me on the train to boarding school.
He was newly married.
He was in a play on Broadway, and...
making films in the summer. I mean, it was obvious
that Peter and I couldn't continue living at home with him.
Nobody had ever talked to us about what had happened with my mother.
I found out because of a movie magazine.
And it said, "Henry Fonda's ex-wife, Frances de Villers Fonda,
"cut her throat with a razor at the Riggs Institute," and...
♪ ♪
It was an awkward situation on a lot of different levels.
And, to my dad, boarding school was getting us
into a safe place,
and it was also getting us out of his hair.
♪ ♪
(indistinct chatter)
It was like a haven.
It was a-- it was the steady thing in my life. It was the core of my life.
I became very aware
of the fact that I was really different,
not just because my father was famous.
We just lived differently.
There was no... continuity.
Susan was his third wife,
he would have two more after that.
I didn't have a community of friends
that I had gone to school with before I came here.
My friends were the friends that I made here.
I loved it.
I loved biology.
I also loved history.
I loved the Roman and Greek history.
That's how I got into bulimia,
learning about how the Romans would gorge themselves and then...
I had a roommate,
Carol Bentley.
Carol taught me to do this.
And of course...
you know, we didn't realize...
what we were starting, we didn't realize how--
how dangerous it was, and how addictive,
and how it would affect so much of our lives.
But it's-- it started here.
♪ ♪
You never told anybody that you were...
doing this.
I thought it was just her and me and the Romans.
It never occurred to me that anybody else did it.
♪ ♪
Mothers are often blamed for that, but for me,
it was-- it was my dad.
I made him ashamed.
He thought I was fat...
because I didn't look the way he wanted me to look.
I knew that he didn't want me around,
or that I embarrassed him,
and, I mean, he told people that.
I heard my father say things about my body
that has twisted my life in deep ways ever since.
And, by the way, most of his wives suffered from eating disorders,
including my mother.
So the shadow of my mother's suicide,
which happened a year before I went to Emma Willard,
was never far away.
(sighs)
I'm gonna get off this merry-go-round.
I'm so sick of the whole stinkin' thing.
What thing?
Life.
They Shoot Horses, Don't They? was the first time I had ever made a movie that...
was about something.
It's a metaphor, in a way,
for...
American society, greed.
And the desperation of people who don't
have money and privilege.
♪ ♪
During the Depression,
people would go to these dance marathons
to try to win all kinds of prizes.
And they would dance without stopping for weeks.
Announcer: These wonderful kids deserve your cheers
because each one of them
is fighting down pain, exhaustion, weariness,
struggling to keep going, battling to win.
And isn't that the American way?
(crowd cheering)
Jane: Before we started shooting,
Sydney Pollack called me.
I didn't know who he was.
He'd made, maybe, one other movie.
And I'll never forget it, he said, "You know, what do you think of the script?
"Tell me what you think we've left out.
"Let me know if you think there's something important."
Well, I mean, no director had-- including my husband,
who directed me in several movies--
had ever... talked to me that way,
asked my opinion about things that were profound.
Sydney Pollack: I always had this sense that she was...
a serious actress
buried inside this glamour-puss.
Work, work, work!
They Shoot Horses, Don't They? was a much darker film,
and asked her to go to a different place in herself.
And she was great in the role.
There's not a shred of vanity in the performance.
Jane: Syndey made me feel seen,
and of worth.
And so I thought, "Yeah, I'm gonna go there."
I threw myself into the character
the way I never had before.
♪ ♪
I lived at the studio.
I looked at paintings and pictures of crazy people.
I wrapped myself in a cocoon of darkness.
I had a... six-month-old child and a husband.
But I just didn't have the technique yet where I could go
as far down the dark hole as I possibly could,
and be a wife and mother.
I had to stay in the dark hole.
♪ ♪
The presence of my mother was with me.
I had to get myself to a point
where I really felt... "Why go on?
There's absolutely no point."
(gun cocks)
Now?
Now.
(gunshot echoes)
(birds twittering)
♪ ♪
Then, something shifted.
My wig from They Shoot Horses comes off,
I've got this long, still-Barbarella-esque hair,
and I just thought, "This is not me anymore."
I had my first hair epiphany.
♪ ♪
Someone said my hair needed its own agent.
And I went to Vadim's barber, Paul McGregor,
who had a salon in Greenwich Village,
and I said, "Do something.
Cut if off."
♪ ♪
And he gave me what has become known as the Klute hairdo.
I was very conflicted about whether it was a good idea to be playing a hooker.
♪ ♪
Before we started shooting,
I came to New York and spent a week with call girls and madams,
really in the bowels of that dark world.
There was a hardness
to them that was painful to watch.
Not one pimp looked at me twice,
didn't even wink at me.
And what that said to me was, it played right to my insecurities,
"They know...
I'm just an upper-class, privileged pretender."
And that's what motivated me to say to Alan Pakula,
"I just-- I don't-- I don't know if I can play this character.
And you should hire Faye Dunaway."
Pakula: She came up to me and she said, "Alan, I want out.
I don't know what I'm doing."
And "I just think I'm wrong for this.
I think it's not gonna work."
Get somebody else."
And I said, "I'm not letting you out."
♪ ♪
There was no way I would have done that picture without Jane.
Jane is a fascinating combination
of a woman who has great courage,
great strength, and at the same time,
had been used to being-- like maybe attracted to being controlled
by somebody else.
And I thought, where Jane was in her life then,
in a very transition time, was absolutely right
for this character of a woman who's trying to change her life.
Jane: I brought something different to Klute
than I had before.
She was wounded.
There was no ability to trust anymore,
that was what was so hard for her.
Once I began to kind of marinate in that feeling,
I could, um... then I could play her.
♪ ♪
Psychiatrist: What's the difference between going out on a call
as a model or as an actress or as a call girl?
You're successful as a call girl, you're not suc--
Because when you're a call girl, you control it, that's why.
Jane: I said to Alan, "Can we shoot all those psychiatrist's scenes
"at the very, very end...
when I've internalized her the most completely?"
Nothing was written.
I hadn't prepared anything in particular.
I just wanted to be present in the moment,
and let whatever happened happen.
I just started improvising.
And for an hour...
For an hour, I'm the best actress in the world
and the best fuck in the world, and...
you don't have to feel anything,
you don't have to care about anything,
you don't have to like anybody...
Jane: That came from a new place in me.
That's when I realized that anyone can change
and become fierce.
♪ ♪
(theme song playing)
Julian Pettifer: Jane Fonda, you've been taking your public by surprise recently.
Instead of being pictured on the beaches of St. Tropez, you've been pictured
invading Army camps and getting yourself arrested.
From where I am, it looks like a different Jane Fonda.
Oh, I think you're right. I think I am different.
Roger Vadim is French, a director of motion pictures,
and the husband of Jane Fonda.
Ms. Fonda is quite active in the peace movement,
the civil rights field, efforts to aid Mexican-Americans,
American-Indians, and dissident soldiers.
Vadim says, "Ms. Fonda is happy, very happy.
"But said she decided," as he put it,
"To take on the sins of her country, she has lost her sense of humor."
As a case in point,
he reported that one day, recently, he called her
"Jane of Arc."
He says, she didn't laugh at all.
♪ ♪
Jane: I knew that I was gonna have to leave Vadim,
and that whole hedonistic relationship.
And I think it was deeply confusing for him
to have a wife that he cared for leave him--
not for another man, but for an idea.
♪ ♪
Nathalie: She tends to move on from things.
You know, you don't really realize how you affect people when you do that.
It's like, "Oh, okay, now I'm done with this,
therefore I'm gonna make new friends, and it's gonna be a new life."
You know, and we got left behind.
♪ ♪
Jane: I came back from France
and I moved into my father's house.
And I began to... become an activist.
And my father could look from the upstairs window
down onto the courtyard and see
the leadership of the Black Panther Party going in and out,
and he said to me, "If I find out
you are a Communist, I'm gonna turn you in!"
And I remember running to my room, I was still living with him,
and just pulling the covers over my head.
It came out of a fear, for me
I understand that now, but it was so hurtful then.
If you were good young people, you would be fitting yourself
into a scenario that has been laid out for all of us,
a nice, set scenario to fit us into the American way of life.
And it says that you must conduct yourselves
in the manner that meets the approval and standards of the people in power.
It's called making it on your own.
♪ Well, come on, all of you big strong men ♪
♪ Uncle Sam needs your help again ♪
♪ Got himself in a terrible jam ♪
♪ Way down yonder in Viet-nam ♪
♪ Put down your books and pick up a gun ♪
♪ We're gonna have a whole lotta fun ♪
♪ And it's one, two, three, what are we fighting for? ♪
Jane: There was so much catching up to do about Vietnam
and about Native Americans
and about what was happening to black people,
the Black Panthers.
How could I have reached the age of 32
in such ignorance?
I felt so guilty,
and I just felt like I had to, kind of,
all of a sudden become an overnight...
righteous activist.
♪ Well, there ain't no time to wonder why ♪
♪ Whoopee, we're all gonna die ♪
-All right! -(crowd cheering)
Country Joe McDonald: It's generally acknowledged that
new people who join the movement become zealots.
You know, they're like converts, you know.
And I think that Jane is convinced
that she is going to stop the war in Vietnam,
and that she knows what is best
and how to do it.
Jane: I think people felt
very suspicious about my motives.
I would've if I'd been somebody else.
"You are a rich movie star. Why do you care? Why are you...
"involving yourself in this?
And how can I be sure that you're for real?"
I didn't quite know what I was doing,
or how to make proper use of my celebrity.
So much had happened so quickly.
I was alternately bulimic and anorexic.
I would, maybe, eat one soft-boiled egg and spinach a day, period.
I took Dexedrine, which is speed.
So I was really speedy,
and I was starving,
along with, like, getting all of this new...
information coming in at a very rapid pace.
We here today, together with the multitudes across the country
that are joined together in massive protest,
are showing to Richard Nixon that his advisers...
that the silent majority is dead.
(applause)
Jane: I mean, I'm high-strung anyway,
but me on Dexedrine, without eating
and feeling like I have to say everything all at once, it's like...
I'm amazed that anybody could receive what I was saying.
It was like, "Wow, who is this woman?"
The winner is Jane Fonda for Klute.
(applause)
Jane: My head was not in Hollywood.
I didn't think very much about my career anymore.
It wasn't where I was at.
I wasn't some privileged person kind of doling out money
and then going about my life.
It was full-time, on-the-ground activism.
I was on the road all the time.
I was identified with different movements,
and my life was very complicated
and very, very busy, and intense.
I do have a tendency to kind of go full bore,
200 percent, for better or worse.
It felt like a betrayal to Vanessa.
♪ ♪
One night, I laid her on a towel on the floor to change her diapers,
and she looked very deep into my eyes,
and I could tell that she was saying, "Where are you?
"Why don't you show up?"
That's what I felt.
And I had to look away.
Isn't that awful?
I was kinda in over my head.
I desperately needed structure,
I desperately needed guidance,
and, uh,
I had always turned to men for that.
Tom Hayden: We must be unified, must be invincible,
must be strong, must find solidarity,
must struggle, must have a program,
and must be the rock on which this attempt to impose fascism is shattered.
(crowd cheering)
♪ ♪
Jane: I was downtown at some theater,
and this guy shows up... Tom Hayden.
Hayden: We connected a little bit,
and, uh, I could tell
that something was going on between us.
Jane: He was a movement hero.
I was extremely intimidated.
I thought, "Oh, there's just something so impish."
He had a twinkle in his eye.
He put his hand on my knee,
and I felt this electric shock go through my body,
and I came home, and I said-- I had a roommate at the time, Ruby, and I said to her,
"I think that I've met the man that I'm gonna marry next."
♪ ♪
He had been part of the formation of the New Left.
He had been one of the Chicago 7.
He was cofounder of SDS.
I was already an activist when Tom came along.
But he had such experience, he knew
how to help me go down that path,
better and smarter and deeper.
Hayden: I had been in the peace movement for a long time.
But the first SDS national demonstration,
the largest in American history,
was in 1965.
It was 25,000 people, that would grow by 20-fold in just a few years,
and Jane was involved in all of that.
She had a role in helping with the, uh, GI coffee houses
to share information with the soldiers about their options.
"Where exactly is Vietnam? What exactly could happen to me?"
That sort of thing was very real.
She suggested that she hadn't been thinking,
and that her recommendation was to think.
And they did.
♪ ♪
It spread to campuses,
where, eventually, many thousands of young men resisted.
I was drawn by her transformation
from a Hollywood star to a political star.
Dick Cavett: It's not often that a movie star also gets involved in anything
that might irritate people, and my next guest has certainly taken that chance
and done it to the hilt.
She, as I'm sure you know, recently returned from a trip to North Vietnam.
Will you welcome, please, Jane Fonda.
(applause)
You really got pasted this time by the press and others
when you came back, as you obviously know.
Would you have done anything differently
if you had it to do over again?
♪ ♪
Jane: It's a surreal thing to live through--
what I experienced in the two weeks that I was in North Vietnam.
Flying from Nam Pen to Hanoi,
I look out the window, and I can see
American planes bombing.
Nixon was bringing ground troops home,
and he was saying that he was ending the war,
when, in fact, it wasn't ending.
It was escalating in terms of bombing of North Vietnam.
Jane: We began to get communiqués saying, this is really serious.
It looks like American planes are targeting
the dikes of North Vietnam right before the monsoon season.
If the dikes are weakened and give way,
a million people could drown or die from starvation.
I'm always interested, first, in the mechanics of how somebody gets to North Vietnam.
A lot of people say, well, you know, "How come you got to go,
and how do you feel that you have a right to speak about the war?"
And I have no more right than anyone else, you know?
Two years ago, I didn't even know where Vietnam was.
Why on earth would she conceive of the idea of going alone...
to Hanoi?
Would she have gone to Berlin
during the middle of the Anschluss?
She was, maybe, as some would say, searching for something in herself,
testing herself. "How brave am I?
Am I not just a flibbertigibbet on the screen?"
We might need psychiatry to help us with the answer to this.
(laughs) I'm not sure.
It's either brave or foolish, and I think it partook of both.
♪ ♪
Lesley Stahl: Were you trying to get the soldiers
to disobey their orders?
No, I-I...
I knew that you cannot ask a soldier to disobey orders.
You're not the one that pays the consequences.
Well, you said, this is direct quotes,
"I beg you to consider what you are doing.
"The hospitals are filled with babies and women and old people.
Can you justify what you are doing?"
Doesn't that sound like you're asking them to stop what they're doing?
I'm asking them to consider it.
♪ ♪
Cavett: And then, in your trip, you were photographed
behind an aerial gun of the, uh, North Vietnamese,
if not the Vietcong, I'm not sure. That seemed a bit tactless.
What were you doing behind an enemy gun?
I didn't think, at the time, about how it would be, uh, received.
And I can understand why people were very confused by that.
The soldiers received me there and sang me a song.
It was very moving to me because they were expressing the same sentiments
that American GIs expressed to me.
And I was applauding their song
and this was what was shown on American television.
Cavett: Yeah, yeah.
Well, I wondered how you got there.
Jane: I'm--I'm naive and I make mistakes, but...
it was my fault that I sat there.
The image of Jane Fonda,
Barbarella,
Henry Fonda's daughter
sitting on an enemy aircraft gun was a betrayal.
It was like I was thumbing my nose at the military
and at-- at the country
that gave me privilege.
♪ ♪
As I've said many times, I will go to my grave regretting that.
♪ ♪
Hayden: I wasn't there. I might have stopped it.
I would not have advised it, but you can't stop the media.
And so you took this picture and of course it went viral.
I thought it was a problem of the celebrity spotlight,
when you're used by the media, and blown up by the media,
you will make a mistake in the media.
♪ ♪
(reporters clamoring)
Newsman: The Justice Department said it is attempting to determine
whether Ms. Fonda had violated
sedition, treason or other statutes.
Howard Smith: Distrust movie actors with causes.
They live in so rarefied an atmosphere of celebrity
that they have no conception of the ambiguity of right and wrong in real life.
♪ ♪
Jane: They needed a very visible person
who represented the peace movement
to do something really terrible,
and that was me.
(crowd cheering)
Man 1: The petition we're circulating asks the Justice Department
to prosecute Jane Fonda to the fullest extent of the law
for giving aid and comfort to the enemy.
Man 2: Jane Fonda's an outrageous liar.
She's a hypocrite and a liar.
Man 3: She's the most despicable woman in the United States.
Man 4: There are other people in films, too, that we don't ask
for advice, such as Mickey Mouse or Lassie.
Woman: I don't think she should've done the things that she's done
and said about our country and come back and lived in the country.
Fletcher Thompson: I don't care if she's a tender, young female,
a famous movie star, that is treason.
It's under active investigation.
They have not yet made a decision as to whether
to prosecute or not prosecute.
Jane: And of course, they found nothing,
so the charges of treason have been dropped.
And they don't understand that I... I came back here because I love America.
The democratic ideals upon which our country is founded
is-- are being betrayed.
-We have an obligation to resist this. -Cavett: I'm sorry, Jane.
I'm disturbed by your difference between your content and your style.
Cavett: I've always liked Jane, and I always admired
her guts, but I worried about her.
She was, to use the mildest possible word, hated.
Hayden: I mean, you had people in legislatures arguing
that she should have her tongue cut out and that she should be hung and so on.
I think, also, part of it was that she was very effective.
So, she had to be quickly stereotyped and-- and gotten rid of.
♪ ♪
It was McCarthyism recycled under Nixon,
and they just tried to smear her reputation over and over.
They would have killed her if they could.
Nixon, of course, had already advocated bombing the dikes.
One reason he did not
is that Jane Fonda was brave enough to stand on those dikes
and denounce what would happen
to hundred of thousands of peasants if the dikes were bombed.
She was willing to be attacked over that.
Abbie Hoffman: I consider Jane Fonda one of the--
the most courageous women of our time, probably the most courageous...
-(scattered applause) -...she made a conversion from a life that was so sterile
and easy to live into a life that's filled
with harassment and ridicule and requires real courage.
Jane: I'm proud of most of what I did,
and I'm very sorry for some of what I did.
♪ ♪
In Hanoi, I had met a number of POWs, and we talked,
about the World Series, primarily, and about some of their experiences.
♪ ♪
But when the POWs came home,
certain POWs were handpicked to travel around the country
talking about torture.
If Ms. Fonda thinks for a minute
that any of the people that she saw were able to speak freely,
she's got another thing coming.
I think coerced is a very mild word.
I'd use the word tortured, initially.
I think they're lying, and I think they're not only going to have to live
with the fact that they were carrying out acts of murder
for the rest of their lives, they're also going to have to live with the fact
that they're lying on their consciousness...
Jane: Torture of POWs had ended
in North Vietnam in 1969.
Three years before I went there.
Man: This court finds you guilty
of the crime of high treason against the United States.
(crowd cheers)
Cavett: Jane gave as good as she got when she was... attacked.
But Jane had a way of making things worse for herself.
Never before in the history of warfare
have prisoners of war come back looking like football players.
Never in the history of war have men come back and been able
to come off planes, saluting smartly and hug their wives.
And we should try to help each other understand
why these men are being used this way.
Not do ourselves and them the disservice of making them into heroes.
Why not the legless and armless vets who have come back to welfare?
Why not all those men who died over there on the ground--
-(woman shouting) -(gavel pounding)
-Why aren't they heroes? -(gavel pounding)
You're a gutless little traitor!
(cheering and applauding)
(man continues shouting)
♪ ♪
Jane: I was so angry that Nixon
used freeing the POWS and bringing them home
as a justification
for continuing the war and carpet-bombing North Vietnam.
I have no idea what it must be like to be a POW.
I do know that they were used by the government.
(protesters chanting)
Jane: It was a very... tumultuous and polarized time.
There was a lot of anger and blame,
and for myself, I really, I didn't know
always how to channel my anger in constructive ways.
I killed a lot of people, and I live with a lot of nightmares!
And then I got shot in this country's war.
Jane: I heard Ron Kovic speak
at a very big rally of a couple thousand people.
He was paralyzed during the Vietnam War,
and he became an activist with the GI Movement.
He said, "I've lost my body, yeah, but I've gained my mind."
And I thought, I could build a movie around that.
♪ ♪
♪ Once I was a soldier ♪
You're a mess.
♪ ♪
Were you wounded in 'Nam?
Right.
When did it happen?
A long time ago.
My husband just went over there.
(laughs) Poor bastard.
♪ Once I was a lover ♪
Jane: The studios didn't want to make a film about the war.
It took six years until we finally could get it made.
I had been working with returned veterans from Vietnam for several years.
It was a story about coming home
after being through what they had been through.
If it's over with us, it's over!
Well, what are you saying? That you're not even gonna make the effort?
(screaming): What I'm saying is...
-I don't belong in this house! -Please--
And they're saying that I don't belong over there!
Luke Martin: You know, you wanna be a part of it and patriotic,
and go out and...
get your licks in at the US of A, and...
and... when you get over there,
it's a totally different situation.
I mean...
(sighs)
...you grow up real quick,
because all you're seeing is, um,
a lot of death.
♪ ♪
Jane: There were soldiers who came back feeling
that they should never have gone.
There were also men,
even though they were physically damaged,
who came back still staunch believers.
♪ ♪
I feel...
just as compassionate for them as I do
for the other soldiers.
♪ ♪
To men who were, in Vietnam, who...
who I hurt
or whose pain I caused to--
to deepen because of things that I said or I did, uh...
I-I feel that I owe them an apology.
My intentions were never to hurt them or make their situation worse.
It was... It was the contrary.
I was trying to help end the killing, end the war.
But there were times when I was thoughtless and careless about it,
and I'm-- and I am... very sorry that I hurt them,
and I want to apologize to them and to their families.
♪ ♪
Jane: During the time that it took to make Coming Home,
I was making other movies.
But a lot of that time, I was on the road with Tom.
♪ ♪
Tom said, "We have to go to the grassroots.
"We have to speak to the silent majority.
"Let's do a 60-city tour,
over three months, across the United States."
And within weeks, we created the Indochina Peace Campaign.
♪ ♪
We would sleep in people's houses, you know, waterbeds.
Sometimes, we were both sq-- in a twin bed.
And it was in a motor home, driving toward Buffalo,
when I became impregnated with Troy.
I remember we called Tom's mother, Jean, who lived in Detroit,
and she said, "You know, you're gonna have to get married."
We thought that was bourgeois.
And she said, "You know, what are you gonna do when you go on The Johnny Carson Show
"and you wanna talk about Vietnam, and they wanna talk about
"how come you're having a kid and you're not married," and that made sense.
(whispering): I really wanted to get married, to tell you the truth.
Hayden: We got a gay Episcopal priest,
who I think was thrown out of the order for having married us,
and, uh, life went on.
♪ ♪
Jane: With Troy, we didn't want him to have
his father's name just automatically, or Fonda.
You know, we wanted him to have a name that didn't have so much baggage.
So we named him Troy O'Donovan Garity.
Troy Garity: My parents made a conscious decision to...
try to live as... normally as possible.
I know that that sounds insane because they are abnormal.
-(applause) -Ah! The winner is Jane Fonda in Coming Home !
(cheering)
Garity: We went to the Oscars in a station wagon.
My father wore like a-- the ugliest suit in the world.
I wore a T-shirt with a hand-screened tuxedo thing on it.
(dog whines)
It wasn't a normal family unit.
Like we weren't, you know, vacationing in tropical paradises.
You know, we holidayed in conflict zones.
I was potty-trained
in a Vietnam bomb shelter.
I just got dragged with them.
Being in an IRA, you know, stronghold in Belfast,
and a boy comes in with his thumb blown off,
and my father dips the rag in his blood and's like, "This is your blood.
This is your fucking blood. This is your people."
I'm five.
♪ ♪
My first 13 birthday parties were fundraisers. (chuckles)
Anything that represented, like, wealth or establishment
was looked on with a lot of skepticism.
"If my coworker can't have a pool,
"then I'm not having a fucking pool.
I'd rather take that money give it to the United Farm Workers Fund."
You know, the house I was raised in, there was another family living...
in the house with us.
Uh, at times, we had organizers sleeping on the porch.
There was a homeless person that slept under the house.
I would come home sometimes and he would be dressed in...
in my parents' clothes. Yeah.
Jane: They were one house right next to the other.
Nightwatchman on one side and a Marxist writer on the other.
And we lived in this house that was-- my dad called it a shack.
We had furniture from Salvation Army.
We had no dishwasher, we had no washing machine.
It was...
I was very happy, and I was very proud of myself.
I wanted to show Tom that I could do it.
I didn't want him to think that I was... spoiled.
Hayden: We were intensely in love,
pursuing common life goals.
The neighborhood was swollen with activists, of all kinds.
Paula Weinstein: It was a really, tiny, little version of-- of a commune.
I would be invited all the time to come
for dinner and there was no dinner.
And I was like, "I don't understand, what happened to dinner?"
It was espresso. Jane's not a cook.
We would get in our little Volkswagen Bug,
and go to the local pizzeria and...
it was wonderful.
But when you combine
the fever of celebrity
with the furor of...
anti-war, um, activities,
um, there was a lot of heat around our home.
Jane: I will never forget the day that we came home,
there wasn't a drawer in the house
that wasn't pulled out and turned over.
Everything was torn out of the closets.
Papers were rifled, desks were open.
I mean, someone had gone through our house.
And it was done so blatantly, and mess--
I mean, I knew that it was... to scare us.
♪ ♪
I was aware that I was being followed,
and there was very little attempt to disguise it.
There would be these guys in trench coats with dark glasses. (chuckles)
The FBI would follow Vanessa to school.
The more I saw them the more my attitude was,
"You think I'm gonna back down?"
I mean, that's one thing, you know,
every time people think they're gonna scare me,
then that's the wrong way to approach it.
Because, no.
♪ ♪
I saw, with Tom, what it meant to build a movement,
what organizing meant.
He realized that what needed to be focused on
was moving power out of the hands of the super rich and the corporations,
into the hands of people, the way it should be in a democracy.
So, the Campaign for Economic Democracy evolved.
We knew that we wanted to spread a message throughout the country.
It was difficult because we had to raise so much money,
and it was during a recession.
So Tom and I talked about this and we thought, "Well, let's start a business
that will fund the work."
We talked about... "Maybe a restaurant."
That would have been a disaster.
Then we thought, "Maybe a car wash that doesn't rip people off."
Well, that-- You know, I mean, we had no idea.
And then one day, I suddenly thought... (gasps)
"The Workout.
If there's one thing I understand, it's working out."
-(up-tempo music playing) -(woman cheers)
Jane: One camera.
There were no teleprompters or anything like that.
I wrote the script sitting on a floor of a hotel room.
We did our own hair and makeup.
I mean, it was a spit and a prayer.
And the rest is history.
♪ ♪
That video came out, and almost overnight
became and remains the number one home video of all-time.
Are you ready to do the workout?
And it was owned by the Campaign for Economic Democracy.
The organization owned it, not me,
and all the profits went into the organization.
Right, two. And back, two.
It sold 17 million copies.
A video industry developed, because everyone wanted
to buy my video and use it over and over and over.
I'm the first non-engineer
to be inducted into the Video Hall of Fame.
You know, they credited me for building the video industry.
It was a pretty interesting time for me
because people recognized me in a whole different way.
Women would come up to me and say, you know, "I don't need sleeping pills anymore."
Another one would talk about how she felt different, she felt stronger.
It's funny, when I thought about it, that was true for me.
You know, I had suffered from an eating disorder for a long time.
Nobody knew. You know, one of the things about bulimia
is that it's a... it's a disease of denial.
You know, it takes a lot of subterfuge.
♪ ♪
You're very tired, and you're very angry,
and you're very self-hating.
And I realized,
I'm heading into a really dark place,
and I'm-- I either am gonna head to the light
or I'm gonna succumb to the dark,
and it's a life or death thing.
♪ ♪
I went cold turkey.
It was really, really hard.
There was something about taking control of my body, in that way,
that got me over the addiction.
It changed my perception of myself.
I think it was Thomas Jefferson who said,
"Revolution begins in the muscles."
♪ ♪
And it was a revolution for me,
but it was completely unintentional,
you know, I did the workout to fund the organization.
It was for Tom.
Weinstein: They formed a team around politics,
and around the children.
But she didn't have as much confidence
as I think she should've in those days,
And Tom is so compelling that he's a hard force to argue with.
Jane: You know, here is a man who was considered an intellectual,
he was considered a star in the movement,
and he'd written-- I don't remember how many books he'd written.
And then I write Jane Fonda's Workout Book,
and it becomes the number one on the New York Times for two years.
Two solid years.
The Workout Book ? (scoffs)
I mean, if I was him, I would have had a certain degree of resentment.
♪ ♪
He thought I was superficial.
That I wasn't smart enough.
But I was producing my own movies,
the kind of movies that say the things that I think need saying.
Hello, this is Kimberly Wells,
and I'm here at the Ventana Nuclear Power Plant,
owned and operated by California Gas & Electric.
Jane: China Syndrome was the story
of a cover-up at a nuclear power plant.
(alarms buzzing, beeping)
This is Jack Godell. We have a serious condition.
You get everybody into safety areas and make sure that they stay there.
-(alarm bells ringing) -Radiation in containment!
Jane: We were very much attacked for,
for making it, the movie.
But then, the movie came out and two weeks later, Three Mile Island happened.
Man (over loudspeaker): All pregnant women and preschool children
should evacuate out of a five-mile radius...
Newswoman: The China Syndrome has given Jane Fonda a new standing
in American society.
She's now a heroine in her own right.
She's the Cassandra of the Nuclear Holocaust.
Jane: It's shocking that people from this area
had to go to see The China Syndrome
in order to try to understand what was happening to them.
Redford: Jane has always had an impulse to go right for the heart of things.
We were aligned in the same way that things were not right.
The question was how we were gonna go about it,
and I felt, if I spoke out,
that there would be a lot of resentment.
That didn't mean you couldn't do it that way, and that's the choice that Jane made.
And it had a lot of strength and a lot of power to it.
She made a lot of enemies, but that's gonna happen
when you step up and speak on the national stage.
What I admire about her is that she did it and she didn't look back,
she didn't change her tone or her voice.
She said, "This is what I believe,
"this is what I feel, and this is what I'm gonna say."
♪ Tumble outta bed and stumble to the kitchen ♪
♪ Pour myself a cup of ambition ♪
♪ And yawn and stretch and try to come to life ♪
Jane: Forty million women work in offices,
and for the first time in history, they're beginning to organize,
they're beginning to say, "We deserve respect, we deserve equal pay for equal work."
♪ Workin' 9 to 5 What a way... ♪
Lily Tomlin: Jane is always looking for
what's the most important current issue to deal with,
and 9 to 5 was her invention.
She decided to do a movie about the 9-to-5 women.
Well, look, couldn't we just all get together and... and complain?
Complain to who?
Let's face it, we are in a pink-collared ghetto.
Let's have another drink.
Jane: We all knew we were doing something that was important
for women office workers,
because we dealt with all the issues:
sexual harassment, unequal pay...
♪ ♪
...the importance of flex hours,
the importance of childcare, all these things.
♪ ♪
Garity: My mom was using film
as a platform to try to affect change.
My parents were really doing it.
They were boots-on-the-ground,
dedicated mission, "We're going forward."
That's where their heads were at.
My parents walked the walk, for sure.
♪ ♪
They bought these hundred acres on top of this mountain in Santa Barbara
and started a summer camp.
I mean, it was every walk of life.
Children of farm workers, the children of the heads of studios,
the children of Black Panthers.
Weinstein: Laurel Springs was really a fantasy
that they, together, made a reality.
If you're a true movement person,
you understand about passing it along,
and watering the fields, and making the seeds grow.
Garity: We were all on this mountaintop together
and we were forced to coexist.
And it was at Laurel Springs that I met Lulu.
Jane: Lulu, when she first came to camp, she was maybe 12.
And she was... giggly, and bright, and...
funny, with this wonderful laugh and everyone just adored her.
She came two summers, and then she disappeared.
And when she came back, she was a different person.
She had been sexually abused repeatedly by an acting coach.
She was shut down.
Her life was dysfunctional, disorganized.
Her parents had been Black Panthers. Her father was in jail.
She was failing in school.
It was like the flame had gotten real tiny, but it was still there, you could see.
And I said, "I'll tell you what, Lulu,
"if you bring your grades up to a B,
"I'll bring you to Los Angeles, to Santa Monica, where we live,
"and... you can live with us and go to school down there,
if your mother lets that happen."
And that's what happened.
Lulu Williams: She didn't even say, "I want to adopt you or I want you to be
my daughter." It was just-- it just kinda evolved into that,
'cause it really just was "I want to help this child."
So when I came, I just started living in their house, and then it became, you know,
I was just another kid in the house.
♪ ♪
Garity: It all goes back to my mother's childhood.
I think her light was almost put out...
when she was a child.
So, I think she likes to find people who are in danger of losing theirs, and re-- and...
and rekindle it.
No, my mom was... not orphaned, but pretty damn close.
(birds twittering)
Jane: I had always wanted to do a movie with my dad,
and this play seemed like a perfect thing.
Garity: She bought On Golden Pond for them,
she produced it, she made it for him,
to... have a deeper shared experience with him, before they couldn't anymore.
Hayden: It was about the reconciliation of a hard dad,
and a emotional daughter.
It was more than a script, it was an opportunity for love and reconciliation.
Hello, Norman.
-Oh, look at you. -Happy birthday.
Look at this little fat girl, Ethel.
(chuckles) Oh, Norman!
-You're as thin as a rail. Isn't she? -Sure...
Jane: Katherine Hepburn and my father played my parents,
and I was extremely intimidated.
The parallels were very, very close between the characters, and-- and...
my father and I in real life.
But we never spoke of it.
We never spoke about anything like that, ever.
Hayden: There was a great deal of invisible healing going on.
For Jane, it was the ultimate catharsis.
Jane: In the movie, the main scene between Chelsea and her father
was a scene that, whenever I would read it and during every single rehearsal,
I would become very, very, very emotional,
because it was so very close to home.
I wanna talk to you. I, um...
I think that, um,
maybe you and I should have the kind of relationship that we're supposed to have.
What kind of a relationship is that?
Well, you know, like a... like a father and a daughter.
Eh, just in the nick of time, huh?
Worried about the will, are you?
Well, I'm leaving everything to you,
except what I'm taking with me.
Just stop it.
I don't want anything.
It just-- it seems that you and me have been mad at each other for so long.
I didn't know we were mad. I thought we just didn't like each other
Jane: Knowing that my father doesn't like
to have anything that's not rehearsed,
everything has to be rehearsed down to the nth degree,
I decide to save one thing that I'm gonna do when I think it's his last close-up,
because I want him...
to do something unplanned. I don't know what it-- how he would react,
but it will be emotional.
I-- I wanna be your friend.
Jane: I reached out and I touched his arm.
Does this mean you'll... come around more often?
It'd mean a lot to your mother.
And he put his hand up,
but I saw...
the tears in his eyes...
and, you know, it just-- it meant the world to me.
Hayden: He loved her. That he couldn't express it in three words
is a kind of tragedy.
But in his eyes and in his face, he still expressed it.
And the winner is... Henry Fonda, On Golden Pond.
(cheering)
Oh, Dad, I'm so happy, and proud, for you.
(applause)
Garity: On Golden Pond isn't a movie. It's a vehicle to try to make
her family closer.
Perhaps because she felt other parts of her family... were in limbo.
♪ ♪
You know, my sister definitely had a harder time
relating with my mother than I have.
Hayden: I remember coming back from the hospital,
with newborn Troy,
and Vanessa, happily staring at him.
But it was also apparent that he was the different one.
He was the prince.
Jane: Vanessa saw me
taking Troy with me, as I had not taken her.
And she saw me living with Troy's father...
which was not her situation. And I can't imagine that it wasn't difficult for her.
Weinstein: The thing about Jane is, she had to learn how to be a mother...
because that isn't what she experienced. She experienced,
"Come down and say good night to the guests,
and go back upstairs and be your perfect little selves."
And even thought her mother was loving, she was clearly sad.
She must've, as a child, really felt that sadness,
you know, it had its effect. She's not a natural caretaker.
She had no training for emotional intelligence, at all.
Garity: My mother didn't have a good example of what
a healthy relationship looked like,
neither did my father.
Jane: Neither one of us were big on talking about our feelings.
Our lives became more and more like... on two separate tracks.
Tom once said,
"If Jane and I find ourselves together,
it was a mistake in scheduling."
I think that in the end, neither one of us were happy.
Hayden: Living with a public figure,
who has, uh,
movie studios and-- and public relations firms working
night and day to make her larger than life, uh,
it is-- it becomes artificial. The house becomes a prop,
suddenly, uh, the bedroom could become a prop,
the children are props.
Where's life?
(people cheering)
She felt the call of Hollywood.
That was very jarring to me.
I was drinking and womanizing.
I wasn't ready to be the husband of somebody
that was preoccupied with being an actress.
Weinstein: He was very rough on her.
I think she was very lonely.
It was a vulnerability she couldn't allow in and I think a truth she couldn't allow in.
So I think she would've gone on accepting that.
He fell in love with somebody...
um... and I found out.
♪ ♪
It did knock the foundation out from under me because...
I just never could have imagined life without Tom.
If I'm not with Tom Hayden, then I'm nobody.
Weinstein: Here she was alone at a critical moment for an actress.
when you're still beautiful, and sexy, and everything,
but the guys don't want to play with you anymore.
When Redford was making the movie Legal Eagles
and Debra Winger got cast, and Jane didn't,
she went, "Oh my God, it's happened.
"Redford isn't fighting for me, or the studio doesn't want me,
they want the new, fabulous young star."
Jane: It was a very difficult time.
Just dark... and painful.
And then, a friend of mine gave me the name
of this unbelievable psychic...
who...
predicted...
things-- I mean, down to the minutiae.
She said to me, "I see money. I see so much money."
♪ ♪
And then she said, "And I see land... as far as I can see."
♪ ♪
Of course, it was Ted Turner.
Reporter: The words used most often
to describe Robert Edward Turner III
are controversial,
rash,
flamboyant,
controversial,
ambitious,
competitive,
-and controversial. - (applause)
You bet your bippy.
Ted Turner: The best advice is never do anything.
You'll never get in trouble if you don't do anything.
But on the other hand, you'll never get anywhere either... you know.
Faint heart ne'er won fair lady.
♪ ♪
Jane: The day after...
my divorce from Tom Hayden was announced, the phone rang,
and this booming Southern accent,
he said, "Would you want to go out with me?"
And I said, "Well, I'm having a nervous breakdown.
Call me in six months."
And six months to the day, Ted asked me out again.
Ted was a genius,
billionaire,
entrepreneur,
but he was also gorgeous.
I mean, he was really a handsome man, and very, very sexy.
♪ ♪
On the first date...
the way...
he looked at me...
I felt like I was being eaten.
He was devouring me,
and I got goosebumps all over me.
Then he said, "You know, I don't know much about you,
"so I went into CNN and I pulled your archives.
There was a stack about that high."
Then he said, "Then I went and I pulled my archives.
And mine are this high. Mine are bigger than yours."
I mean, by the time we got to the restaurant, which was only 15 minutes away,
I felt like a tsunami had rolled over me.
♪ ♪
When he took me back,
at the door he said, "Can I hug you?"
And he hugged me, and he said, "I-- I'm-- I have to tell you that I'm smitten"
In his heart, Ted is not a wealthy, powerful, privileged person.
He's a little boy who likes to play,
and who has wild brilliance,
and that's what I was attracted to.
♪ ♪
Weinstein: Ted adored her. He'd never put her down.
Ted is fucking great.
I pronounce you, now, man and wife. You may kiss the bride.
(clapping)
(laughter)
All right!
Weinstein: Their wedding was hilarious, just hilarious.
It's the only wedding after which we all mounted horses and went grouse shooting
♪ ♪
Jane: I'll never forget here on our second date in Montana.
I remember driving around and he looked out of the window of the Jeep at a bird that was--
you could see it in silhouette,
and he said what it was,
and he told me the nesting patterns of the bird.
And I thought, "I could love this man."
It was so clear...
that he... had a connection to the land,
and to the critters,
and-- and...
(whispering): ...so do I.
♪ ♪
I grew up in the Santa Monica mountains,
and I knew all the little animals,
and the bugs, and the skunks, and the coyotes, and I loved them.
The household wasn't very happy,
so that's where I found happiness.
We were both children of suicide,
so we understood each other.
Like me, he had found solace in nature.
We would ride every day, sometimes three, four, five hours.
And hiking, and fly-fishing.
You know, we had adventures.
Jane, am I correct that you've given up making movies?
Oh yeah. When I met...
Ted, I was thinking about doing it anyway,
but when I met Ted, that clenched it.
She'd begun the marriage by saying to Ted, "I'll give up work,
but you give up girls."
You mean ranching can take the place of all the excitement of doing the movies?
Ted can.
♪ ♪
(indistinct chatter)
Is that from you, Jeff?
Turner: Gee, that cost a fortune!
(lively chattering)
Williams: I thought that would be a disaster,
with our liberal, crunchy granola,
leftist kids coming into his family.
And it melded amazingly well.
♪ ♪
I learned a lot...
with the men in my life, but I learned the most with Ted.
His vision was macro,
and I'm micro.
So we were a great partnership.
Weinstein: It was...
a stunningly, interesting marriage.
Because they shared a view of the world, an internationalism,
a curiosity.
And it was great to be out of Hollywood in that dismal period
where she'd be looking for gigs.
It was fun.
But, you know, in the end, it didn't last.
Jane: Hi, Marta.
I'm good, I'm in a car heading for my favorite ex-husband's
ranch in Montana.
♪ ♪
I think you look great.
-Ha, I don't-- -I think you look great!
You look great, too.
♪ ♪
Oh, it is?
Gettin' old is hard, isn't, man?
Oh, it is.
(birds chirping)
That tree looks great. Do you ever sit under it
-with your various girlfriends? -No.
(chuckles)
That's your tree.
It's good to see you.
♪ ♪
Yeah.
(unintelligible)
Well, we had fun in here.
Can I be bossy for a minute?
Sure.
This isn't a good idea.
Why?
Because you walk into the back
of a whole lot of pictures.
You should turn them,
and some of them should face this way, and for-- Oh!
Awww.
♪ ♪
Jane: We had a wonderful 10 years.
But I had to hide a part of me,
in order to please him.
He would call me when I was in L.A. and he was in Atlanta,
and he would say, "I'm... shrinking."
When he is removed from his object of love,
and he's alone,
he actually does feel like he's getting small.
It's very deep and very serious.
Ted can't be alone.
And so my whole life
had to be about him.
It was rare that I could go to a conference.
The women's conference in Beijing, I had to really negotiate.
The Cairo conference, the UN conference on population and development.
I began an organization called the Georgia Campaign
for Adolescent Pregnancy Prevention,
and it was very, very important to me.
But there was a lot that I wanted to do that I couldn't do.
As we moved through the decade that we spent together...
I became more of a feminist.
And so, my focus was more and more on...
on women's empowerment.
But it's hard to be a complete feminist if you're in a marriage that doesn't quite work.
None of my marriages were democratic,
because I was too worried about pleasing.
I had to be a certain way in order for them to love me.
I had to look a certain way,
and I looked different for all of them.
I wanted to be living as a whole Jane,
fully realized Jane.
I hoped that Ted would feel okay about it, because...
I really loved him, and I was hoping that it would be forever.
But that's not the way it played out.
♪ ♪
Susan Lacy: When you and Jane parted, how did that affect you?
It was...
very difficult. I...
thought it was a...
(sighs)
...a mistake.
I've survived, and so has she.
But, uh...
I feel like I was happier when I was with her than...
subsequently.
♪ ♪
Jane: When you reside within your own skin,
you-- you can feel it.
You're holding...
all of you:
your anger,
your kindness
your judgmentalness.
Everything that makes up what you are,
including the fact that you may be stronger and braver than the man you're married to.
♪ ♪
When the time came that I said to him, "Ted, this isn't gonna work...
"unless there are changes,"
we were in a car, and...
all the oxygen left the car, and I knew...
it's not gonna happen.
♪ ♪
It was awful.
And...
I could hear a voice saying,
"Oh God, Fonda, come on. He's handsome, he's cute,
"he's sexy. You know you never have to work again.
Lighten up. Come on."
And over here, there was a softer little voice saying,
"If you stay...
"you will never... be authentic,
"you will never be able to be whole."
(distant blender whirring)
Dina, I burnt out my blender.
Jane: After Ted Turner, everything was so...
wildly quiet.
It was probably the most profound turning point of my life.
I left this man...
and one part of me was so sad,
and the other part of me said,
"I'm gonna be okay.
I don't need a man to make me okay."
That-- that was it, and I never went back.
Jane: The problem is you don't understand the problem.
It's not personal.
I'm still being treated the way I was for 40 years, and I'm not gonna settle anymore.
Can't you see how disrespectful you were being?
I might, I will, I am. Yes, we've talked about it.
Doing? Doing?
I'll tell you what we're doing, we're-- we're-- we're--
we're making vibrators for women with arthritis.
Okay. God...
Seventy-eight years old, I have a scene in bed with Sam Elliot.
Pretty good, huh?
It was fun, too.
♪ ♪
Jane: Paula Weinstein, who's my best friend,
she called me and she said, "The Zanucks who were producing the Oscars that year
want you to present an award."
And I said, "I can't, I'm not in the business anymore."
She said, "Shut up,
"Vera Wang's gonna make you a dress
and Sally Hershberger's gonna cut your hair."
(applause)
I came out...
I could hear a gasp from the audience
'cause I looked really good.
And right away, I got offered Monster-In-Law.
♪ ♪
You know, I thought, "Well...
"people are gonna go see it because of Jennifer Lopez,
"but they're gonna discover, or rediscover, Jane Fonda."
(air horn blares)
♪ ♪
I'm sorry, I thought it was air freshener.
(laughs maniacally)
Jane, I'm-- I'm telling you, I couldn't be, uh,
happier for you. I'm a-- This thing has just been tremendous.
And I would think after this run of the play, you would like some time just to relax, but no!
You see, I'm the brand ambassador for L'Oreal
for older women, but they never--
nobody's ever had a brand ambassador my age.
I competed with Margaret Mead, and what they have me doing...
-(audience laughs) -...is um, hand cream, face cream, and embalming oil.
Jane: I never thought I'd still be doing this.
If you would have told me, that I would be my age now,
and still working,
I would have been totally flabbergasted.
Photographers: Jane! Jane! Jane!
I'm just kind of amazed that I have...
managed to recreate a career, and I'm--
as busy as I am.
God!
-I mean, can't a lady have a-- -Leona!
We don't have the trust of the public anymore.
Get it back!
I forgot, I forgot to slow down, I'm sorry.
Jane: Now, I'm making a movie with Bob Redford again.
Robert Redford: She is so busy.
No grass grows under her feet.
She puts me in the shade.
You ready for sushi?
Yes, I am.
Tomlin: Grace and Frankie, when it came along, just seemed right.
We can play out this part of our lives
in a project that speaks
what we wanna speak about.
Older women, older people, older, uh,
gay people, older straight people.
How am I gonna explain to my kids that their grandma makes sex toys for other grandmas?
Well, I'll tell you what to tell them, honey.
You tell them that we make things for people like us.
Sam Waterston: She lived her life in front of us,
and as she's grown older, she's shown us what that's like.
She's not afraid to be out there.
We are sick and tired of being dismissed by people like you.
-Mic drop. -It's about answering back,
not going quietly into that great good night.
And then go ahead and lower down and when you lower down, I want you to let your knees bend.
Great, and then pull right back up again.
-So-- -Using my arms?
You could use both so r--
Jane: I'm glad...
that I look good for my age.
But I've also had plastic surgery, I'm not gonna lie about that.
On one level, I hate the fact that I have had the need...
to alter myself physically
to feel that I'm okay.
(Jane and instructor talking)
I wish that I wasn't...
like that.
I love older faces.
I love lived-in faces. I love Vanessa Redgrave's face.
I wish I was braver.
But, um...
I am what I am.
♪ ♪
Your age is less chronological,
and more spiritual, and attitudinal.
I was so old at 20.
I mean, maybe people who knew me then would have said, "What?!"
But on a soul level, I was really...
I saw no future.
I was very dark,
very sad person.
There was no joy.
I didn't really know who I was.
It took me a really long time to find my own narrative.
Weinstein: Few people move me as much as she does.
She's gotta fight all her life
her insecurity,
knowing her own value.
And that's a journey that continues for her. I think she's gonna have that...
forever, but-- but nobody braver to tackle it.
♪ ♪
Jane: When I watched my dad die,
I felt that he...
had a lot of regrets.
I do not want to get to the end of life...
with a lot of regrets, and I know that the regrets won't be what I did,
they'll be for the things I didn't do.
This is the beginning of my last act.
In order to know how to go forward,
I was gonna have to know where I'd been.
♪ ♪
Let's see.
That's my grandmother.
That's the house where my dad grew up.
Jane: If you really go back,
and try to understand who you've been,
you have to understand who your parents were.
Why were they not able...
to really look at you with eyes of love,
reflect yourself back with eyes of love.
Why did they have duct tape over their eyes? Why did narcissism blind them...
from being able to really see you?
Who were their parents? Why did their parents...
treat them the way they did?
♪ ♪
I began, in 2000, to write my memoirs.
I dedicated them to my mother, because I thought it was gonna force me...
to figure out who she was.
I found out that my mother was the life of the party.
"Everybody loved being around your mother!" They did?
"Oh my gosh! Oh, and she was-- I mean, men loved her."
And her father's, my grandfather's side, of the family said, "Gasp!
"Oh we all wanted to be close to your mother. She was a rock."
I was like, "My mother?" It was such a...
unlike my image of who she was. It just stunned me.
All these conflicting stories came to me and I'd always sensed that...
(sighs)
...she must have had a really hard childhood. And, um...
so with the help of a lawyer, I got her medical records
from the institution where she killed herself, and...
um...
I found, from her medical records
that she suffered from manic depression, that's what they called it.
It's today called bipolar.
And there was this little autobiography,
they must have asked her to write her life story.
What a gift.
Suddenly it's like,
it had nothing to do with me!
It wasn't that I was not lovable.
It's that things would happen to her, she had a very, very
hard childhood, and, um,
it broke her, in some way on some fundamental way, it broke her.
Garity: I think the most defining moment in my mother's life
was the death of her mother.
Jane: My mother died in 1950,
and I never had an inclination to come here.
And at the time, it's the right time for me to come and...
and visit her grave.
♪ ♪
I finished her life story.
And all I wanted to do was take her in my arms
and just say, "I'm so sorry.
"I'm so sorry. I'm so sorry that I wasn't...
"more loving to you, I didn't know. I'm so sorry you had to go through that.
Please forgive me."
♪ ♪
Their incapacity to love wasn't because you weren't...
worthy of love, but it was because they, too, had been wounded.
♪ ♪
And then you can forgive.
It goes from one generation to another, and...
somebody's got to break the cycle.
One of the reasons that I wanted to write my book was
because I wanted my daughter to know
why I wasn't a better parent to her
and that it had nothing to do with her.
♪ ♪
I get so sad...
when I think of what I wasn't for my daughter that she needed.
And it's hard to take that in 'cause it's so painful,
but it's never too late, I think.
There are things between us now that...
didn't used to be there, and I think we both feel it.
Deep down, we love each other.
I hope that she'll be able to forgive me.
And I feel lucky that I have my family, and my extended family.
I'm now having relationships that are much more democratic.
But I am most myself when I'm with my women friends.
Like a lot of people, I sort of thought that I would
at some point, you know, kind of retire, and...
but that's not gonna happen.
♪ ♪
Reporter: Actress Jane Fonda traveled to Standing Rock
to serve Thanksgiving meals to demonstrators.
This is a battle for, not just Standing Rock, but for everyone.
Jane: It's hard to be really happy if your life doesn't have meaning.
People turn to religion because it gives them some meaning,
but I am an activist.
Hey, hey! Ho, ho! Donald Trump has got to go!
But we're in a whole new era.
When there's a catastrophe that's happened, we have to be out in the streets.
(protesters chanting)
We don't have to choose between the environment and the economy. That is a false choice.
Reporter: Actresses Jane Fonda and Lily Tomlin
among several celebrities joining the protest,
and marching with the demonstrators.
(crowd cheering)
Jane: Say it with me:
I pledge to resist!
Weinstein: She is not a fly-by-night activist.
It is deep in her soul.
There is no stopping that part of herself 'cause it feeds everything.
Jane: They wouldn't let us in,
but we can still take our money out!
(crowd cheering)
Garity: There's this kinetic energy.
She won't stop.
She's on a mission.
This intent to do well
keeps her demons at bay.
Sometimes I want to say, "You don't need to prove anything else to anyone.
"You don't need to push... so hard, constantly."
But...
she is who she is and...
I-- I, quite honestly, I wouldn't change anything about her.
♪ ♪
Jane: I had spent so much of my life feeling if I'm not perfect, no one can love me.
And then...
I realized that trying to be perfect is a toxic journey.
We're not perfect.
We have to love our shadow,
we have to embrace and accept our shadows.
And sometimes, good enough is good enough.
♪ ♪