Bruce Dern on Gandhi, snakes and the ‘golden calf’ of Hollywood
In a candid interview with The Guardian Culture, Bruce Dern reveals why he declined the role of Gandhi, his enduring physical routine, and the sentimental nature of his new Canadian production, Northbound.
Ninety-year-old Hollywood veteran Bruce Dern is currently in Edinburgh for the world premiere of his latest film, Northbound, where he discusses a career spanning collaborations with Alfred Hitchcock, John Wayne, and Quentin Tarantino. Speaking to The Guardian Culture, Dern reflected on his enduring presence in cinema, noting that despite his age, he still jogs daily and refuses to consider himself old. He described his new role as Arthur, a character fleeing a nursing home to return to his childhood home in Canada, as a sentimental journey that mirrors his own reflections on a life spent in the industry.
Dern revealed he had previously turned down the role of Gandhi in Richard Attenborough’s film due to a combination of terror regarding snakes and the logistical demands of the production. He explained that the role required a daily running routine which he feared would be unsafe in India, a concern that led him to decline the part which was eventually taken by Martin Sheen. This decision highlights the pragmatic considerations that often underpin high-profile casting choices, even for actors of Dern’s stature.
The actor’s career has been marked by a trajectory from overlooked trainee to celebrated performer, a path he likened to a marathon. Dern recalled his time training at the Actors Studio in New York under Elia Kazan and Lee Strasberg, where he felt he was often the second or third choice for roles. He noted that it was not until he received an Oscar nomination for his role in 1978’s Coming Home that he felt he truly belonged in Hollywood, a sentiment echoed by his recent Best Actor win at Cannes for Alexander Payne’s Nebraska at the age of 77.
Northbound, a low-budget production shot in Canada over 30 days during the Olympics, represents a different facet of Dern’s current work. With a budget of approximately $1.6 million, the film is described by Dern as a sentimental piece, somewhat akin to a sweeter cousin to Nebraska. The production’s modest scale contrasts with the blockbuster history of his earlier career, yet Dern remains engaged with the material, viewing it as a fitting final lap for his character Arthur.
Beyond his current projects, Dern shared anecdotes that illustrate the colourful nature of his interactions with industry legends. He recounted meeting Marilyn Monroe at the Actors Studio, walking her home across Manhattan where she broke down in tears upon seeing Greta Garbo. These stories, delivered with his characteristic garrulousness, underscore a career defined not just by roles played, but by the enduring relationships and memories formed within the film community.
