🔗 Share this article The Sundance Kid Shares His Views in 1970 Interview Back when the iconic western film first premiered, the billing featured Newman, Ross, and Redford. Now, the order is different—it’s Redford second only to Newman. Robert Redford, the Sundance Kid, stands as one of the biggest male leads after the era of McQueen. Surprisingly, though passably grateful, fame means little to him. Redford’s Stance on Hollywood “I’m not,” he states firmly, “tied to the industry. Think of that figure who walks in and out the play by The Time of Your Life, saying, ‘It’s all built on sand—all down the line’? Well, that echoes my sentiment when it comes to Tinseltown. They shouldn’t operate a creative medium like manufacturing nowadays, yet they persist to do just that. To them, film are just like vacuum cleaners or refrigerators. The approach sickens me.” The Struggle with Downhill Racer Of course, actors often claim similar things from aspiring film men. Yet he, who talks very quietly, seemingly puzzled about his own appeal, comes across as sincere. Much of it stems is that he put almost two years working on Downhill Racer only to discover battling the establishment was an even harder job than making a difficult movie. The film, which hasn’t yet been shown here, in spite of the fact early screenings occurred months ago, is out across the Atlantic earning critiques implying that it is considerably more than a skiing spectacular. “In fact,” he explains, “it explores sport and sportsmen. And the reason I want to open it here in Britain as Brits aren’t avid skiers. The odds are better that it will be appreciated as a study of a certain kind of person as opposed to just athletic action.” “Producers aimed to premiere it in Austria, targeting enthusiasts. But, really… here is a movie where an American earning a gold medal in downhill racing. Is that really going to wow them? Oh, boy, if only I’m not there. They’d criticize me harshly.” Poetry and Danger “Why downhill racing? To me an ideal mix of poetry and danger, an excellent means to illustrate the impact of competition. It requires being fearlessly committed to even attempt it. And once you’ve done it, it changes you forever.” “Imagine aging skiers lingering near current athletes. They are pathetic. They’re always moving. Nervous habits show the whole time. They’re worn out. Competition proves brutal, for pros and amateurs alike. It might train you only for the wrong things, even breaks you utterly.” A Competitive History He speaks from experience, he was once a first-class football and baseball athlete, potentially famous as a tennis player as well. “Wow, I despised losing,” he recalls, “but in the end I got so that I had to stop, win or lose. I’d often observe at the guy over the net and wonder—goodness, his left sock is coming down. That shoe will harm his foot soon, but he’s oblivious on winning he doesn’t notice. Next, I’d spot an audience member, and reflect: ‘What is he pondering right now? Is my game his proxy?, competing for him? Then it was 0–40!!’” The Forgotten Canvas An earlier interest, possibly his first love, involved brushes. He bummed around across Europe for over a year back then, interacting with artists, students and intellectuals, pseudo and otherwise. He ran out of money while in Italy, yet encountered a mentor that set up an exhibition of his work covering getting back to the US. Upon returning, his dissatisfaction again got the better of him. Acting became his path, initially on stage, followed by screen, and then movies. Projects like Daisy Clover, Barefoot In the Park, Willie Boy, Cassidy, and Downhill Racer came one after another. Then came a motorcycle film, centered on bike racing with Michael J Pollard. Subsequently, perhaps a film about modern rodeo. Competition appears dogging him for a while longer. What of his art? Redford looks a little uneasy. “Well,” he says, “I haven’t done it in years. That’s the reason I want to pause from movies and resume. Is it possible to restart? Unlikely. It’s not a hobby, right?. It’s got to be a lifelong commitment. That said, my first visit to London has stunned me in this respect. I feel compelled to paint.” “Notice the illumination here in London. It’s stunning. Each morning since arriving I rise at dawn strolling amazed. Unprecedented such light. I must come back before long. If the film premieres—if it ever does.” Respect for a Colleague “If only I were as savvy like Newman. He would have ensured that the film received proper treatment like mine has. Consider his work? “Absolutely. Even he can’t constantly defy the establishment.”