The Murky Fringe: Let’s start at the beginning. How did you land this role?
Butter: I had a very good friend at the time who was friends with Alberto Grimaldi, the producer. Grimaldi mentioned it over drinks and the next day they called me in.
The Murky Fringe: Was there an audition?
Butter: No. It was Brando’s choice, really. I met with Bertolucci briefly and then with Brando who agreed almost immediately.
The Murky Fringe: And the rest is movie history.
Butter: The rest is movie history.
The Murky Fringe: Was he in character when you first met him?
Butter: Not at first, no. He was cordial, sure, but very focussed. We talked for an hour or two about how we would approach the scene. You sometimes hear rumors about him that he’s arrogant or distracted. He was a gentleman, a delight to work with, really.
The Murky Fringe: What about the actress Maria Schneider? You two must have talked about the scene as well.
Butter: We did, and it was a totally different experience. Maria did not want to over-think it, and I agreed. It was Brando who wanted something more concrete. Again, people think of him as getting so lost in the character that he just goes off-script, but it was Brando who wanted direction, not Maria. She was perfectly content to trust Brando. And really it was the discord of those two styles that drove the sexual tension.
The Murky Fringe: What’s the difference between French butter and, say, American butter?
Butter: Smaller batches. Local milk. Craftsmanship really.
The Murky Fringe: French pastries wouldn’t exist without it.
Butter: French cuisine altogether.
The Murky Fringe: Is Last Tango in Paris still Last Tango in Paris if it’s margarine and not butter?
Butter: [Laughing] That’s not the first time I’ve heard that.
The Murky Fringe: And what did you say last time?
Butter: However controversial, this scene showcased a primal dominance that could not have been achieved with a tub of margarine. Man reduced to his purest desire. The butter is a prop, yes, an instrument of necessity, but it’s also a symbol of simplicity, which acts as the perfect foil to the character’s complex psychology.
I apologize for such a sobering answer. I know you probably meant that as a joke.
The Murky Fringe: I did. But I’m glad you took it where you did.
What’s next for you, the French butter from Last Tango in Paris? And how do you keep from getting typecast?
Butter: I’m taking a break right now. I’d love to do more films, but I want to work with directors whose work I admire. As for typecasting, well, it’s a matter of choosing the right parts and proving to directors that I can do more than what I’ve done before.
The Murky Fringe: Would you work with Bertolucci again?
Butter: Yes.
The Murky Fringe: And Brando?
Butter: In a heartbeat.
The Murky Fringe: And what about Maria?
Butter: Of course, but I’m not sure she’d want to work with me.
The Murky Fringe: Let’s close with some word association. I’ll say one word–
Butter: Then I say the first thing that comes to mind. I know. I’ve done this before.
The Murky Fringe: Brando.
Butter: Beast.
The Murky Fringe: Maria.
Butter: Courage.
The Murky Fringe: Hollywood.
Butter: Margarine.
The Murky Fringe: Paris.
Butter: Home.
The Murky Fringe: Croissant.
Butter: Destiny.
