At the start of your career, in 1975, your first film role was in the cult classic The Stepford Wives—a controversial movie that sparked an uproar among feminist groups. Were you surprised by the public's reaction?
Yes and no. I mean, we definitely, at that time, pushed the envelope as to what people were comfortable with. You know, it was toward the beginning of the women's movement, and this, I think, touched a nerve in a lot of women—because we were used to being puppets, we were used to doing what we were told. And so, this really heightened that. That's if you want to get political about it. Otherwise, it was just a nice horror film. And do you know how I got that part?
Please tell me...
I had been in New York for a few months and was running out of money, so I was interviewing for a part-time receptionist job. The director kept walking by and looking at me, and he finally came over and said, "Excuse me, are you an actor?" I said, "Yes, I am." He asked, "Do you want to be in a movie?" I replied enthusiastically, "Yeah, of course." It was my look that got me the role because I played the German maid—coincidentally, my heritage is German-Irish. I think I have only two lines in the movie. But what I got the most out of doing it was watching the three different actresses and how differently they approached their characters and handled things on the set. It was a real learning experience for me.
Shortly after, you had your first starring role in an iconic horror film, The Hills Have Eyes. How do you recall filming the tarantula scene?
How I recall the tarantula scene was, I went to them and said, "Look, there's no way I can get hurt doing this, right?" And they assured me that there was no way. Well, after I shot the scene, of course, somebody came up and said to me, "Actually, Dee, you could get hurt by being bit by a tarantula, but we milked it first. And if you milk them, you milk the poison out until it builds up again." So I was not too pleased that they misled me on that. It was both a fun and difficult shoot. Everybody in the cast stayed in one trailer. About two weeks in, I think, the bathroom broke. It was very low budget. But all of us were at the beginning of our careers, and so we thought, "Wow, a starring part in a movie." And it ended up getting me other roles.
This role was followed by another highly recognized one in The Howling. When you were approached for a werewolf movie, did you say yes right away?
You know, Guido, I never say yes right away. I always read the script first, and then I talk to the director about their vision, and if I like those things, then I say yes. And I fell in love with Joe Dante. I knew that it was a werewolf movie, but also, for me, it was a movie about the battle between lightness and darkness in human nature. And a little inside story: Christopher Stone, who played my husband, was actually my fiancé at the time. The producer called and said, "Oh, Dee, we've got a great cast for you. We're just still looking for the guy to play your husband." So I said, "Well, what exactly are you looking for?" And he said, "You know, somebody really strong and virile, but with a sensitive side." And I thought, "I'm engaged to him." But I knew if I said that, they'd never hire him, right?
So how did he end up being part of the movie?
I said to the producer, "You know, I did CHiPs with this actor, Christopher Stone or Smith, some S name." So they went out and found him and brought him in. He auditioned, got the part on his own. And the next day, the producer called me, and I answered, and he said, "Dee?" And I said, "Hi, Dan." He said, "I must have called the wrong number. You know, the guy you suggested — we had him in, we loved him, and we hired him. I thought I was calling his number." And I said, "No, you have the right number." And there was this long pause, and I heard, "Oh, shit." (laughs) But he was perfect for the part, and we all had a great time together.
In 2020, rumors surfaced that Argentine director Andy Muschietti might direct a Netflix remake of the movie. Would you be interested in joining the project?
I have not heard about that. I just heard that somebody wants to remake Cujo. What is this? People want to remake my whole career? I think, usually, remakes never live up to the original. I know everything would be CGI now. And I think my fans — I should ask them — but especially when it comes to Cujo, they would be upset if I went and did a cameo in a remake where they're not honoring the original films. You know, Stephen King's book is very, very different from the movie. In the novel Cujo, the kid dies at the end, and the dog was possessed by an evil spirit. I haven't been approached about anything, though. But 2020? Well, it's taken him long enough (laughs).
Before we dive deeper into Cujo, in 1982, you starred in the film you're most closely associated with, which is E.T. the Extra-Terrestrial—which, at the time, became the highest-grossing movie of all time for over a decade. What do you think was the key to its lasting impact on popular culture?
I think it's a magical film. I think it reaches into people's souls and transcends them to another place. For example, I had a woman come to me at my table at one of the conventions where I signed autographs, and she said, "Ms. Wallace, you're a part of a miracle in my life," and proceeded to tell me about her 10-year-old son, who was autistic, and she had never heard him speak a word—ever. She took him to see the re-release of E.T., and on the way home, he said every line that E.T. said in the movie.
Wow, it's incredible how films like E.T. have the power to create such changes in people's lives...
It surpasses barriers that we put up for ourselves—around self-love, loving others, keeping our hearts open—and it's a message that a lot of films that have stood the test of time carry. The Wizard of Oz: "You had the power all along, Dorothy." Peter Pan: "Think happy thoughts and you fly." Right? We've heard it in the classics so much, and yet we don't live it. And that's what the world needs right now. Certainly, our country needs to get back to love.
What was it like working with child actors on that movie, especially a very young Drew Barrymore?
Oh, Drew was a handful. I often said she was going to be a producer and a director. She came up to me the first day on the set, and I was in my high director's chair, and she looked up at me and said, "Hi, Dee. I'm going to sit on your lap now." And I said, "Okay, Drew, come on up." (laughs) All of the kids were just naturally talented. They were just beautiful and still so young in their careers that they had not been ruined by fame and popularity, and they were just kids having a good time. And it shows on film how much we became a family working together.
Is it true that at one point Steven Spielberg considered making a sequel?
Oh, I think he thought about it. He actually asked me about it while we were still shooting, and he said, "They're already talking about making a sequel, Dee. What do you think?" And I said, "I think you should leave it a classic." And I still think I'm right.
A year later, you starred in Cujo, which you just mentioned—a role even Stephen King praised as his favorite performance in a film adaptation of his books. How did that recognition feel?
I was very, very proud of that and wrote to him to thank him for his generosity. And to this day, Cujo is still my favorite film. Of course, I adore The Howling, E.T. the Extra-Terrestrial, and The Frighteners, but Cujo — I just feel like I gave everything I had. It asked so much more emotionally of me than anything else I'd done before or since.
You've mentioned on several occasions that this movie was the most challenging project that you had ever made, and you said that it took not only a huge emotional but also a huge physical toll on you. Could you elaborate on that?
You know, your body and your brain don't know you're acting. They go through the same chemical reactions as if you are really in fight or flight for two months. So I blew out all my adrenals, which is your fight or flight gland. They treated me for exhaustion for three weeks after I finished. Literally couldn't even move my neck for the week after we wrapped up filming. You can't get to that high emotional place without getting your energy to a very high state also. You can't emote all the emotions that are called for without committing to doing that. A lot of actors go through the same thing. One very famous actress, Vivien Leigh, really went over the deep end and barely came back. Comedy is a lot easier on your psyche, for sure.
Well, talking about comedies, even though you are labeled a scream queen, around the same time, you also starred in successful comedies like 10, Jimmy the Kid, and Secret Admirer. Do you think your non-horror work has been equally recognized?
You know, Guido, I think I'm known as an actress who can do anything. I have two romantic comedies coming out that I did last year. I have three horror films that I'm going to shoot before June. I'm very well known for my Hallmark movies and my Lifetime movies, which are usually more family-oriented. I'm lucky that way. I think E.T. the Extra-Terrestrial helped a lot. But I also have had a couple of series that are comedies. So, I don't think I get pigeonholed like a lot of actors do, which I'm very grateful for, because as an actor, I would get bored doing always the same thing.
Between the '70s and the '80s, even though you were enjoying a very successful career in feature films, you never stopped doing guest star roles in TV series or movies of the week. You appeared in episodes of Starsky & Hutch, Hart to Hart, Hotel, CHiPs. Do you have any unusual anecdotes from those shoots, or are there any appearances that stand out in your memory?
I loved doing The Five of Me with David Birney. It was about a man with a split personality. But the big actress that I will always bow down to is Angie Dickinson. She was my first guest star role in Police Woman. I remember the first scene that we did — we did my close-up — and the director said, "Great, we're moving on." And I said, "Excuse me, I think I can do it better. Can I do one more, please?" And he looked at me and said, "Really, Dee, that was great. We got it." And Angie Dickinson stepped up and said, "Sir, this is our guest star. If she wants another take, I think we should give it to her." I carried that on through my whole career, supporting all my fellow actors. I will always honor her for supporting me in getting that opportunity.
Also, you went on to star in The New Lassie in the early '90s. What was that experience like?
Well, I had a wonderful time shooting The New Lassie. I think we shot two seasons of that. I had done another comedy called Together We Stand for the producer, and he called and said, "Dee, would you be interested in doing The New Lassie? You know, it's low budget..." And Christopher and I had just had our baby girl, and I said to him, "Al, can I work from 9 a.m. to 6 p.m.?" And he called me back and said, "I can make that work." So I got to get my baby up every morning, have breakfast with her, play with her, and go to the set. At lunchtime, we would get in our little golf cart and tootle around Universal Studios. Her favorite thing, Guido, was the Jaws thing. She was four months old. I think literally some of her first words were, "Mommy, see big fish."
Haha, how unexpected of a child...
We would go, and every time the shark would come up, she would clap with excitement. And I thought, "Oh my God, she's going to be another horror actress." The funny thing is, she's done some horror films now. (laughs)
In The New Lassie, which was a sequel to the successful '50s series, you play the wife of your real-life husband, with whom you had already collaborated. What's it like working with your other half?
Christopher and I had a special bond in every way. Were there a couple of times where I wanted him to back off? You bet. But we had the kind of relationship—as actors and as husband and wife—that was very respectful, and so we both felt comfortable calling each other out, working with each other, or making suggestions. So it really was a very pleasant working situation.
In the mid-90s, during the filming of The Frighteners—which was a major hit for you, directed by Peter Jackson and co-starring Michael J. Fox—you faced the devastating personal loss of your husband. How did you manage to cope with that heartbreaking moment while also trying to fulfill your professional commitments?
Well, it was a lot easier because of Peter Jackson—he will always have a separate little place in my heart. I got a call initially that Christopher had had a major heart attack, and my little girl had just left after visiting me and had gone back home. She was with our nanny, who was supposed to leave the next day, and the nanny called and told me what happened. I went to Peter, and he said, "Dee, that's life. That's your family. This is just a movie. You have to go." So they put me on a plane, I came home, they did the angioplasty, and he was fine. Christopher said, "Honey, you've got to go back and finish the shoot." So I flew back—and four days later, I got a call that a blood clot had hit his heart, and he was dead.
I can't imagine how painful that must have been. But since you had a little girl, you probably had to quickly figure out what to do next...
I went to Peter again, and Peter said, "It's family, Dee. You have to go back. You have to take care of your little girl. You have to do the service." So I came back for, I think, five days, put on his service, grabbed my little girl and my nanny, and we all flew back and finished the shoot. And truthfully, Guido, I don't know how I did it, but I know that my mother taught me a work ethic—that you always finish what you start. And I had lived through watching her deal with my father's suicide. She was a great example of how to get through a disastrous trauma like that. I think I just really pulled from her strength. And I went back, and Peter said, "Dee, we never thought you'd be back."
How were you able to focus on the film with everything that was going through your mind at the time?
I got off the plane, I took my nanny and my daughter Gabby to our apartment and they picked me up and I went and shot for five hours. I filmed the scene that was my death scene, where I go up into the worm. I honestly, Guido, didn't know where I was or what I was doing, but it worked. For what I had to do, I was so raw and so vulnerable that it just worked. At the end of that day, one of our other producers came and said, "Dee, I know you're tired, but I'm going to take you to my holistic doctor." They're very into holistic medicine in New Zealand. I went; she took one look at me and said, "My God, you have no life force left at all. I have to get you back into balance before I can even treat you." By the time I left her office, I felt like I had been reborn. It was miraculous to me.
As a self-help author and public speaker, you talk about a lot of these things. This was not the first time you had experienced the loss of someone close to you, because you've also talked about your father and, more recently, the passing of your brother. What message would you give to those struggling with grief and unsure how to move forward?
First of all, I'm a clairaudient channel, which means I hear messages, okay? I've talked to a lot of people on the other side. All they want is for us to move on, be happy, be successful, live our lives, live in love. So, to hold yourself down with any guilt is not what they want. And it's just vitally important that we love ourselves enough to move on from our story. Everybody has a story, but you have a choice: This is what happened to me, and that's why I can't, or this is what's happened to me, and I'm going to choose to do this anyway. And therein lies the secret of your success or your unhappiness. I have a good friend who has a saying: If you keep telling your story, you will keep living your story. We don't want to live our stories. We want to create and choose the belief systems that will give us the story we want.
What makes you choose the things you want to be part of your story and reject the things you don't?
According to my channel, all of us choose the family that we're born into—most of the time to learn what we don't want so that, when we mature into adulthood, we're very clear about what we do want. I knew I didn't want the grief of death. I didn't want the burden of alcoholism in my life. I knew I wanted health and support and unconditional love in my relationships. And I have been quite successful in creating that happiness in my life. Do I honor my dad? You bet. He was a creative, beautiful man who had a lot of demons. And he taught me to focus on the creativity and the beauty of his soul, and not the despair of his physical life.
On the other side, there's also this very powerful story. You became a mother after six specialists told you it was impossible. What kept you holding on to the dream of motherhood despite the odds?
I didn't accept the odds. I was far enough in my creative work to know that we are our own creators. And if there is a message I could give your audience today, it's: don't listen to anybody else's limitations. People will limit you to keep you safe. You don't want to be safe. You want to be brave and create your life the way you want it. When I said I was going to stop teaching school and go to New York to be an actress, everybody said, "Are you crazy? Nobody knows you. You don't know anybody. Don't go to New York." I said, "Thanks for sharing — going anyway." In less than seven years, I starred in E.T. Don't let anybody else limit your dreams. Just go.
This is one of the most important concepts you address in your books, which is self-creation. Would you like to specify what this concept means and how it can be useful for people in their day-to-day lives?
Yeah. The first rule in all creation is: you must know what you want; you must be clear and specific about what you want. Most of us, Guido, are taught to say what we don't want and to hold ourselves small. People will say that if you hold yourself small, God loves you more, more people love you more, you don't threaten people. Actually, in Australia, they have something called the tall poppy syndrome: don't grow taller than the tallest poppy. Not a message I ever wanted to apply to myself. You know, one of the greatest challenges we all have is man's interpretation of what God said. God said, "These miracles and more you will do." Well, you can't perform miracles if you hold yourself small. So follow your dreams; your heart is where you hear your dreams—not your mind and your brain, which make you doubt.
Going back to your acting career, there's another credit of yours, a more recent one, which is The House of the Devil, where you worked with Ti West. Even back then, were you able to see the potential that later led to his successful career?
Absolutely. Otherwise, I wouldn't have done that with him. But I watched the little work that he'd done before that. I spoke with him. He had great insights, and I just thought the whole piece was written really well. I like to go in and work with young filmmakers. My name, especially in horror, can help get their project done and help get it distributed. And if I think they're talented and the script and the character are good, I'm always open to doing that.
Could you give us a quick overview of your most recent projects? Because you've done Stream and so many other things...
Oh, gosh. Well, I can't mention the titles, which are probably going to be changed anyway. One of my favorite films that I have coming out, that I did last year, is kind of a weird combination of Christmas film, family film... I actually played Dee Wallace, and then I played a character in it. Very, very creative script. Yeah, I'm really excited to see how that one turns out. I think I've got two or three coming out. And two films that I'm getting ready to do are horror, and one of them is sort of a comedy mystery. So, again, I'm exploring lots of different types of characters.
Do you feel that helps you reach a wide variety of fans?
Yes, I love my fans. I love to interact with them. That's why I love doing the conventions and hearing stories, like the one that lady shared with me. One young man—probably in his 20s—came up and shared a story with me about how, when he was in fourth grade, he lived in a small town in Texas and his parents got divorced. He was shunned; even his best friends wouldn't talk to him, because that was, you know, a sin—to get divorced. And that summer, E.T. came out. And of course, Mary and her husband were divorced, and all of a sudden he said he was welcomed back into the fold. His friends welcomed him back—all because of that movie. And that is the power we have: to encourage, to enlighten, and even to bring people together.