Sherilyn Fenn
Sherilyn Fenn is an American actress. She played Audrey Horne on the television series Twin Peaks for which she was nominated for a Golden Globe Award and an Emmy Award.
She also had film roles in Wild at Heart, Of Mice and Men, Boxing Helena and The United States of Leland and appeared in the television series Rude Awakening, Shameless, and Shining Vale.
Early life
Fenn was born Sheryl Ann Fenn on February 1, 1965, in Detroit, Michigan. She comes from a family of musicians: her mother is keyboard player Arlene Quatro, her aunt is singer Suzi Quatro, and her grandfather, Art Quatro, was a jazz musician. Her father, Leo Fenn, managed rock bands including Suzi Quatro's The Pleasure Seekers, Alice Cooper, and The Billion Dollar Babies. Fenn is of Italian and Hungarian descent on her mother's side, and Irish and French descent on her father's. She was raised Catholic.Fenn frequently traveled with her mother and two older brothers before the family settled in Los Angeles when she was 17. Not wanting to start with a new school again, Fenn dropped out after her junior year and decided to pursue acting, enrolling at the Lee Strasberg Theatre Institute.
Acting career
Early career (1984–1989)
Fenn began her career with a number of B-movies, including the 1986 skater film Thrashin', the 1986 teen car action and revenge fantasy The Wraith, the 1987 horror film Zombie High, and the Beauty and the Beast-inspired erotic movie Meridian. She had a part in the 1985 cult teen-comedy Just One of the Guys in which she tries to seduce a teenaged girl who was disguised as a boy, played by Joyce Hyser. Fenn starred alongside Johnny Depp in the 1985 short student film Dummies, directed by Laurie Frank for the American Film Institute. Fenn and Depp dated for three and a half years, subsequently getting engaged. In 1987, she joined Depp in a season-one episode of 21 Jump Street called "Blindsided".Fenn has described many of these early films as sexploitation films "where directors tried to convince to appear naked after the contract was signed." In a February 1993 interview she explained:
Fenn landed her first starring role, as an engaged heiress to an old Southern family who falls for carnival worker Richard Tyson, in Zalman King's erotic drama film Two Moon Junction, after which she wanted to hide for a year: "I was so embarrassed about how it turned out that I went into a cocoon for a year afterwards." Two Moon Junction was meant to be Fenn's big break, but the film turned into another sexploitation film.
After these film experiences, Fenn decided to take control of her career. "I decided to be more myself and not to be pushed into what other people wanted me to be. It's scary how little imagination many people in this business have."
Rise to fame (1990–1991)
Fenn’s breakthrough came when she was cast by David Lynch and Mark Frost as the tantalizing, reckless Audrey Horne, a high school femme fatale, in the TV series Twin Peaks, which ran between 1990 and 1991. The character of Audrey was one of the most popular with fans, in particular for her unrequited love for FBI Special Agent Dale Cooper and her style from the 1950s. Fenn reached cult status with a scene in which she danced to Angelo Badalamenti's music and a scene in which she knotted a cherry stem in her mouth. "With Sherilyn Fenn, Twin Peaks came on and effortlessly destroyed every other show's sexuality", said James Marshall, one of her cast-mates. Speaking in September 1990, Fenn pointed out: "Audrey is a woman-child who dresses like the girls in the '50s and shows her body. But she's daddy's little girl at the same time." In the show's second season, when the idea of pairing Audrey with Cooper was abandoned, Audrey was paired with other characters like Bobby Briggs and John Justice Wheeler. About Audrey, Fenn said:Shortly after shooting the Twin Peaks pilot episode, David Lynch gave her a small part in Wild at Heart, as a girl injured in a car wreck, obsessed by the contents of her purse, alongside Nicolas Cage and Laura Dern. The film won the Golden Palm Award at the 1990 Cannes Film Festival. "David's direction was, 'Only think of this: bobby pins, lipstick, wallet, comb, that's it.' It's very abstract." "I just pictured her being able to do this," said Lynch of her scene, "she's like a broken China doll." David Lynch, who once described Sherilyn Fenn as "five feet of heaven in a ponytail", said to Banner, who used that description as the title of his article, "She's a mysterious girl and I think that actresses like her who have a mystery – where there's something hiding beneath the surface – are the really interesting ones." "He's very creative and unafraid of taking chances," she said of the director. "I really respect him. He's wonderful." Also during this period, Fenn appeared on the cover and in a nude pictorial in the December 1990 edition of Playboy magazine.
She portrayed John Dillinger's girlfriend Billie Frechette in ABC's 1991 gangster TV movie Dillinger opposite Mark Harmon, and shot the neo-noir black comedy Desire and Hell at Sunset Motel in which she played a sultry, seductive femme fatale.
After Twin Peaks, Fenn chose to focus on widening her range of roles and was determined to avoid typecasting. She stated, "They've offered me every variation on Audrey Horne, none of which were as good or as much fun. She turned down the Audrey Horne spinoff series that was offered to her, and unlike most of the cast, chose not to return for the 1992 prequel movie Twin Peaks: Fire Walk with Me, as she was then shooting Of Mice and Men.
Post-''Twin Peaks'' roles (1992–1995)
After two nominations for Twin Peaks, and the pictorial in Playboy, Fenn was propelled to stardom and became a major sex symbol, with her Old Hollywood looks. In October 1990, while promoting Twin Peaks, Fenn made the cover of Rolling Stone magazine along with Mädchen Amick and Lara Flynn Boyle. In 1990 Us Magazine chose her as one of the "10 Most Beautiful Women in the World" and in 1991 People magazine chose her as one of the "50 Most Beautiful Women in the World". She posed for photographer Steven Meisel for the autumn-winter 1991–1992 Dolce & Gabbana campaign, for which he photographed her as a classical Hollywood femme fatale. In 1992, photographer George Hurrell took a series of photographs of Sherilyn Fenn, Julian Sands, Raquel Welch, Eric Roberts and Sean Young. In these portraits, he recreated his style of the 1930s, with Fenn posing in costumes, hairstyle, and makeup of the period.In 1991, Hollywood acting coach Roy London chose her to star in his directorial debut Diary of a Hitman, in which she plays a young mother determined to protect her child from hitman Forest Whitaker. According to Fenn, the turning point in her career was when she met London in 1990. She credits him with instilling confidence and newfound enthusiasm. She learned from her beloved teacher "to find the roles that you're passionate about, that speak to you on some level and which will help you grow on some level," which has then become her line of conduct. "A lot of the sentiment that acting should be about an art form rather than mass entertainment and celebrity is at the core of Fenn's attitude to the business," wrote Jessica Sully in Australian magazine Movie. "I try to keep myself centered," Fenn said. "I don't go to parties and all that. I don't think being seen or being in the right place is going to make me a better actress. I care about my work and try to do what's right in my heart." As Mike Bygrave wrote in Sky Magazine: "One of the keys to understanding Fenn is that when she talks about the characters she plays she's really talking about herself." Fenn was eager to play varied parts that could eclipse her sex-symbol image. "People who think they know me would be surprised that my whole life doesn't revolve around sex," she said. After Twin Peaks, Fenn demanded a no-nudity clause in her contracts. She turned to independent films, choosing varied and unusual roles:
A highlight of Fenn's film career is Gary Sinise's film adaptation of Of Mice and Men, in which she played a sad and lonely country wife, desperately in need to talk to somebody, opposite Sinise and John Malkovich. "Sherilyn's one of the reasons we got such a great ovation at Cannes", said Sinise. "She's like a terribly sad angel in this film. Sherilyn plays against just being a sexy and beautiful girl," he added. "Gary Sinise was one of the first people who didn't see me like a lot of other people did", she said. "It was a wonderful experience. Horton Foote adapted the novel and he fleshed out my character, and he made her much, much more." The same year, she starred alongside Danny Aiello and others in John Mackenzie's Ruby, about Jack Ruby. Fenn played the part of ambitious stripper Sheryl Ann DuJean, a fictitious character who is a composite of several real-life women including stripper Candy Barr, Marilyn Monroe, and Judith Campbell Exner. "She's got a brain and all the right emotional instincts, and that's a great combination," said Mackenzie of Fenn.
In 1993, she starred in the romantic comedy Three of Hearts as Kelly Lynch and William Baldwin's love interest. During the shooting, the relationship between Fenn and director Yurek Bogayevicz became strained as she refused to appear nude in the film.
Another of her notable film roles was in Boxing Helena, directed by David Lynch's daughter Jennifer Chambers Lynch. Fenn portrayed a narcissistic seductress amputated and imprisoned by Julian Sands, who makes her become his personal Venus de Milo in an effort to possess her. Fenn said of the film, "Society, Hollywood, some men... they want to wrap women up in a neat little package." Both Lynch and Fenn were proud of their work in it, but the film was ultimately a critical and commercial failure. However, both women enjoyed their collaboration. "Sherilyn is an amazing actress, a total bundle of energy and a real powerhouse and I think people will see a side of her that we have never seen of Sherilyn anywhere else before," said Lynch of the actress. "Jennifer's one of the brightest person I know," said Fenn. "Boxing Helena was... not perfect, but I think for the story that we were trying to tell, it turned out pretty good. What it signified was really powerful to me: how society puts us in boxes one way or another."
She then starred in Carl Reiner's neo-noir parody Fatal Instinct as Armand Assante's devoted secretary and Sean Young's and Kate Nelligan's rival. She was asked to read for the femme fatale Lola, but opted for the secretary role.
Fenn afterward portrayed Potiphar's wife Zulaikha in Showtime's 1995 Biblical TV movie Slave of Dreams opposite Adrian Pasdar and Edward James Olmos.
In 1995, she starred in an episode of Tales from the Crypt directed by Robert Zemeckis, alongside Isabella Rossellini and John Lithgow, in which she played the lover of Humphrey Bogart, who appeared in the episode via CGI special effects.
After a short break during which she married and gave birth to a son, Fenn was chosen out of more than 100 actresses to portray actress Elizabeth Taylor in NBC's 1995 telemovie Liz: The Elizabeth Taylor Story. Fenn called the role "probably the hardest job I've ever done." "Director Kevin Connor and I arranged a lunch, not an audition," said executive producer Lester Persky. "We knew 10 minutes into our meeting that Sherilyn was it. She has the same striking beauty, and because of that she's experienced some of the things in life and in this business that make Elizabeth such a fascinating person." When she accepted the part, Fenn was unaware that Taylor was embroiled in a lawsuit intended to stop both the broadcast of the film and the unauthorized biography that it was based on. Fenn stated about the controversy, "I am somebody who doesn't make choices lightly at this point of my life. I'm not somebody who wants to exploit another's woman story or life in any way." Fenn felt a kinship with Taylor, stating, "There are stereotypes of what a beautiful woman is. She struggled with that. A certain part of her life she went on that calling card. I certainly know I've come into contact with that. 'You are too pretty,' I'm told." During the shooting, Fenn supported the original screenwriter's effort to concentrate on Taylor the person, not the legend: