SHE PLAYS WELL WITH OTHERS

SUSAN SARANDON is so well known for so many roles that she’s recognized for different movies depending on what part of the country she finds herself in. Presently shooting a film in Iowa, fans mention “Stepmom,” “Bull Durham” and “Speed Racer.” But her recent portrayal of Doris Duke in “Bernard and Doris” has its admirers as well.

The HBO movie centers on the long-term relationship between the wild heiress Doris Duke and her butler Bernard Lafferty, played by Ralph Fiennes. Alternately badgering and berating him, Sarandon’s Duke comes to depend on Lafferty completely and he, in turn, is devoted to her.

Sarandon, a magnificent 61, won the 1995 Academy Award for her portrayal of Sister Helen Prejean in the film “Dead Man Walking,” directed by her partner of 20 years, Tim Robbins. Her first of four other nominations was for 1981’s “Atlantic City.” But after 40 years of acting, the prospect of awards still holds delight, and characters like Doris can still surprise her.

--

What was it about Doris and the story that appealed to you?

She was definitely glamorous and more aggressive and indulgent than most of the supporting parts I’ve been playing. I don’t think since “Dead Man Walking” I’ve had a role that’s so completely a two-hander -- where so many scenes are just one on one, which is, for better or worse, so dependent on the playmate that’s across from you.

--

How was Ralph Fiennes as a playmate?

Ralph is so divine to work with. Like Sean [Penn], he’s consummate in his dedication to the specifics of the part. When someone’s there for you, and you’re that dependent on them, whether it’s Natalie Portman or Sean Penn, when you have that kind of a story, you completely fall in love with someone who’s there for you like that, because it makes you better. It’s seeing how much we trusted each other and how much we were able to kind of dare the other person to be better. [Director] Bob Balaban gave us an atmosphere where that could happen, in the way Tim did for “Dead Man Walking.”

I always see every story that I tell as a love story. And this is a particularly eccentric one. I think a very telling scene is the one where she asks him, ‘What do you want from me, you don’t want to go to bed with me, what is it?’ And he says, ‘I want to take care of you.’ I don’t think anyone had not asked her for something. I found myself unexpectedly shocked by that scene. That’s one of the moments that keep you addicted to acting, when you find yourself surprised by what happens and you have that kind of a partner.

--

What are you working on now in Iowa?

I’m filming a very odd little movie with a first-time director, starring Cillian Murphy and Ellen Page. It’s called “Peacock” and it is a thriller and there’s a mounting sense of dread through the whole thing, but it is very odd.

--

There is a dearth of good roles for women over 40, yet it seems like you’re working as much as ever. How do you manage that?

I don’t mind playing supporting parts, and I do need them to be interesting; that’s the only criterion. I have been more available to work now that my kids are older. The last couple of years I’ve been working more and not just during the summers.

--

After all the accolades you’ve already received, what would it mean to receive an Emmy nomination?

I think it means that people are still thinking of you in that way, and I think that it does go in waves of -- not popularity, but a kind of recognition -- so it would be great to be tossed up there again with more contemporary people. I would love that. And I think the Emmys are great because they encompass so many different genres.