Get a closer look at some of Hollywood's perfect pairs.

Hollywood Power Couples

Get a closer look at some of Hollywood&#39;s perfect pairs.

See which big screen releases you can watch from the comfort of your couch.

Theatrical Releases Coming to Streaming

Get a closer look at these actors from their many TV and streaming series roles.

Streaming Stars, Then and Now

Genevieve Bujold spent her first twelve school years in Montreal's oppressive Hochelaga Convent, where opportunities for self-expression were limited to making welcoming speeches for visiting clerics. As a child she felt "as if I were in a long dark tunnel trying to convince myself that if I could ever get out there was light ahead." Caught reading a forbidden novel, she was handed her ticket out of the convent and she then enrolled in Montreal's free Conservatoire d'Art Dramatique. There she was trained in classical French drama and shortly before graduation was offered a part in a professional production of Beaumarchais' "The Barber of Seville." In 1965 while on a theatrical tour of Paris with another Montreal company, Rideau Vert, Bujold was recommended to director Alain Resnais (by his mother) who cast her opposite Yves Montand in The War Is Over (1966). She then made two other French films in quick succession, the Philippe de Broca cult classic King of Hearts (1966) and Louis Malle's The Thief of Paris (1967). She was also very active during this time in Canadian television where she met and married director Paul Almond in 1967. They had one child and divorced in 1974. Two remarkable appearances - first as the titular Saint Joan (1967) on television, then as Anne Boleyn in her Hollywood debut Anne of the Thousand Days (1969), co-starring Richard Burton - introduced Bujold to American audiences and yielded Emmy and Oscar nominations respectively. Immediately after "Anne," while under contract with Universal, she opted out of a planned Mary, Queen of Scots (1971) ("it would be the same producer, the same director, the same costumes, the same me") prompting the studio to sue her for $750,000. Rather than pay, she went to Greece to film The Trojan Women (1971) with Katharine Hepburn. Her virtuoso performance as the mad seer Cassandra led critic Pauline Kael to prophesy "prodigies ahead" but to assuage Universal, Bujold eventually returned to Hollywood to make Earthquake (1974), co-starring Charlton Heston, which was a box office hit. A host of other films of varying quality followed, most notably Obsession (1976), Coma (1978), The Last Flight of Noah's Ark (1980), and Tightrope (1984), but she managed nevertheless to transcend the material and deliver performances with her trademark combination of ferocious intensity and childlike vulnerability. In the 1980s she found her way to director Alan Rudolph's nether world and joined his film family for three movies including the memorable Choose Me (1984). Highlights of recent work are her brave performance in the David Cronenberg film Dead Ringers (1988) and a lovely turn in the autumnal romance Les Noces de papier (1989).

Geneviève Bujold in Chaos and Desire (2002)

&quot;Her hair is shiny and gleaming as a stallion&#39;s mane, her eyes big and
brown as chocolate jawbreakers, her tiny mouth a rosebud of surprise.
Packed into her five-foot, four-inch doll&#39;s frame is an intriguing
mixture of purloined innocence, succulent sexuality, and guerrilla
warfare.&quot; Rex Reed, Valentines and Vitriol, p. 258, 1977.

&quot;I confess it, I love the camera. When it&#39;s not on me, I&#39;m not quite
alive.&quot; Genevieve Bujold, Time 3/30/70.

&quot;I don&#39;t like to intellectualize about my acting. I don&#39;t sit around
and study the pages of a script over and over again. I don&#39;t worry
whether the period is contemporary or three hundred years ago. Human
beings are all alike. The main thing in acting is honesty, to feel the
humanity and get to the essence of the character. You can&#39;t put
anything into a character that you haven&#39;t got within you.&quot; Genevieve
Bujold, Seventeen, 11/69.

Un role m&#39;apprend quelque chose quand j&#39;arrive a trouver le courage de
faire ce qui me fait peur, a surmonter des craintes terribles. J&#39;en
ressors plus forte. Genevieve Bujold, Revue du Cinema, 4/91

&quot;It isn&#39;t so easy to live with an actress. I married Genevieve--not
Isabel or St. Joan or Anne Boleyn--but I live with them all...There is
a curious internal process going on in her that begins the moment she
signs to do a picture. At the first &quot;Action!&quot; she has become the
character, and it never leaves her until long after the last &quot;Cut!&quot;
Paul Almond (ex-husband)

[on her film <a class="ipc-md-link ipc-md-link--entity" href="/title/tt2073086/?ref_=nmqu_qu">Still Mine (2012)</a>] I liked the script because it doesn&#39;t treat old people like they&#39;re all the same or tell them what to do: be impeccable, remain the same, and never die. I picked the film because it has a quiet way of growing on you, of slowly, gently becoming implanted in your heart.

At this age [seventy-one] I am incapable of doing things I don&#39;t want to do. I live modestly, so that I&#39;m never forced to do a job to pay a mortgage, and I don&#39;t own anything. I simply do not do what&#39;s not essential. This is because I have realized the secret of life: all the external decorations are less important than giving yourself the gift of time.

Quotes

Geneviève Bujold

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