A: My agent, who has a relationship with the casting director, called me. I was interested in at least reading it. There were actors who weren't interested. They're probably kicking themselves right now. There are those of us who are willing to take that leap of risk, who had faith. Obviously, it was a very far-fetched notion. In "Chaplin," you could hear the dialogue. With this, this is like a full-blown silent film.

But I love the '20s. I'm an old movie buff. I'm very nostalgic about old Hollywood. I sort of welcomed the opportunity and thought this could be kind of fun. It definitely could be a real hit or a real miss. If it was a miss, oh well, I can move on.

Q: What was it like to work with director Michel Hazanavicius? He isn't that well-known in the U.S.

A: When I met him, I discovered he'd really done his homework. He had a really strong vision. I told him we both shared the passion for the old movies. He knew how he wanted to film it, what he was doing. He really hired the top of the line to work with him. The cinematographer was the guy he's always worked with. The hair and makeup worked with some real big stars. People on the technical side loved the artistic side of the film. How many opportunities do you get to make a movie like this? It wasn't going to be a huge, long schedule. I took it for the art of it.

When De Palma yelled cut, “Smitty” grabbed Kevin by the arm and raced towards me. We were introduced and Kevin had a firm handshake, and a great sincere smile. “Smitty” like many others, of course, told the Errol Flynn Story and yet another actor, (Costner) was a fan of Errol’s. De Palma saw a group forming and didn’t realize I was on the set. When he came over, he bear hugged me and told his crew, take an hour, we are going to lunch. Off Kevin, “Smitty”, Brian and I went in his limo to eat.

For the next hour, Kevin sat there listening to stories that “Smitty”, Brian and I, shared, all the time, asking great questions and soaking in any and all acting advice we could give. He was very humble, and even offered to pick up the tab, but of course, De Palma wouldn’t allow that. At the end of our lunch, Kevin and I had bonded, exchanging numbers.

For many years after our first meeting, Kevin and I have stayed in touch with him still being that humble person I met some 26 years ago. So when the rest of the world praised his eulogy at Whitney Houston’s funeral last week, I just smiled because the class act that I have known Kevin to be way away from the glaring lights of a movie set, shined through.

I'll take the doughnuts, Lori, but there's still more mystery. Whose Oscar was it? It wasn't Brian DePalma's -- he's racked up some Golden Globes (and even five Razzies) over the years, but has been snubbed by the Academy. Sure, it could have been an obscure Oscar for something like "development of a system of xenon arc lamphouses" and "engineering of fluid-damped camera heads," but there didn't seem to be anything at all for any of DePalma's films except a best supporting actor win for Sean Connery in 1987 for "The Untouchables," but that didn't match the time frame. If it had indeed been something Sean Connery had touched, my mom definitely would have stolen it.

I tried to call Barton DePalma, who may or may not live in Menlo Park and/or New Mexico, according to the Internet. I left a couple of messages/crank calls here and there. So we'll see what comes of that.

“The problem with the original production,” she continued, “was that the directorial concept was very abstract, and the director Terry Hands thought the piece resonated as Jacobean drama. He achieved that through some very, very bloody scenes. Linzi [Hateley] and I presented a psychologically accurate portrayal of a deeply, emotionally disturbed mother and daughter.”

Ms. Buckley described the Off Broadway revival as “the PG-13 version of the original,” then added: “I would love this production to be more dangerous. I think that’s what we had going on that made it resonate for all these years. It’s not about adding camp to this production, but about adding even more truth. The show is perfectly timed right now, because we’re so aware of the sort of bullying in schools that Carrie experiences.”

“We get up,” Ms. Buckley said in reply. They stood, the lights came on, and the boos turned to cheers and applause for the performers in the show, which would go on to close after 21 performances, one of the biggest flops in Broadway history.