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Jacqueline Bisset * Mini Biography

Text Box:  Jacqueline Bisset (born 13 September 1944) is a British actress. She has been nominated for four Golden Globe Awards and an Emmy Award. Her popular films include Bullitt (1968), Airport (1970), The Deep (1977), and Class (1983). In more recent years, she has appeared in several television productions, most notably the FX series Nip/Tuck in 2006.

Bisset was born Winnifred Jacqueline Fraser-Bisset in Weybridge, Surrey, United Kingdom, the daughter of Arlette Alexander, a lawyer turned homemaker, and Max Fraser-Bisset, a general practitioner. She was raised in Tilehurst, Berkshire. Her father was Scottish and her mother was of French and English descent; Bisset's mother cycled from Paris and boarded a British troop transport to escape the Germans during World War II. Bisset has a brother, Max Fraser-Bisset. Her mother taught her to speak French fluently, and she was educated at the Lycée Français Charles de Gaulle in London.

In 1967, Bisset was cast in the movie Two for the Road with Audrey Hepburn and Albert Finney. Next, she participated in the James Bond satire, Casino Royale (1967), as Miss Goodthighs. In 1968, Mia Farrow dropped out of the movie The Detective (1968) opposite Frank Sinatra, and the role went to Bisset. That same year, she was cast in her breakout role as Steve McQueen's girlfriend in the hit action film Bullitt. She was one of the many stars in the blockbuster disaster film Airport (1970), which co-starred Dean Martin, Burt Lancaster, Jean Seberg, and Helen Hayes among others and was nominated for the Academy Award for Best Picture.

Bisset often appeared with her leading men in more than one film, such as Albert Finney, Paul Newman and Anthony Perkins. She co-starred with Newman and Perkins in The Life and Times of Judge Roy Bean, with Newman in When Time Ran Out, with Finney in Two for the Road, Under the Volcano and the ensemble mystery Murder on the Orient Express, also starring Perkins and Sean Connery.

Bisset has never married though she has had several lengthy romances. “I feel like I was married to them because I was very dedicated to them,” she said in a 2008 interview. “But I also used to feel claustrophobic. Like many people who don’t easily commit, I think I had a fear of being known; I was not sure there was anybody inside there”. She divides her time between homes in England and Beverly Hills, California.

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Quotes from Jacqueline Bisset

A Latin teacher told me I might make a good actress, and that stuck in my memory. I did some modeling, and Polanski gave me that small part.

A mode of conduct, a standard of courage, discipline, fortitude and integrity can do a great deal to make a woman beautiful.

At first I was always cast as the girlfriend. It was a long time before I got to play characters who were people.

At the time, 1980, people regarded actresses involved with production with a certain amount of fear, resentment and anger.

Being around people with whom you feel a connection, on many levels, not just a professional one, is very relaxing. Your ears are more open to someone who is not a cantankerous bastard.

Character contributes to beauty. It fortifies a woman as her youth fades. A mode of conduct, a standard of courage, discipline, fortitude, and integrity can do a great deal to make a woman beautiful.

I am a great lover of art, in many forms: paintings, objets, textiles. I don't have the talent for painting, but I have a very good sense of colour, a love of visual beauty.

I can't believe I've been doing it so long. In the last three or four years, I've slowed down. I'm doing only the roles I really want to do.

I could never have conceived that I would ever get to work in a Truffaut film. It was astonishing to me, and still is. I felt like an old pro, but it was still so unexpected.

I don't come in with any preconceived ideas, and although I will have done some preparation, I can go which way the director wants.

I have always watched the rushes, and have learned more because I have done so, because you can have all manner of ideas in your head, but they have to end up on the screen.

I have an intense obsession with making films. I not only love to make films, I perhaps need to make films.

I have never given up on men easily.

I have watched people who have nothing to do with the film business, but who have become part of the circle for a short period of time. They can be truly devastated when the film wraps and people leave.

I love being in my garden. I don't plant a lot of exotic flora, but I do spend a lot of time outside doing manual labour.

I really feel that the talent I have is acting. Freedom and the possibility of play-that is what I like to have.

I think I am an adult.

I want to keep my attractiveness as long as I can. It has to do with vitality and energy and interest.

I was never any good in the school theatrical productions. I always got a role like the March Hare.

I went to the premiere of The Detective with Sinatra, and perhaps people jumped to conclusions. He was very protective towards me and never came on to me sexually.

I work hard, and I tend to play hard. I very seldom rest hard.

I'd like to get my public image nearer to my reality. People have a lot of misconceptions.

I'm a perfectionist. I need to be needed. I need to do things for a man. But I don't need to do them as much, these days.

I'm a very nurturing kind of person and a sort of a homemaker. I'm just interested in things remaining fresh.
I've always loved men.

I've probably understood men too well. I realize they are predatory by nature, and I have a certain acceptance of the male animal.

Ideally, couples need three lives; one for him, one for her, and one for them together.

Marriage has just never interested me.

My view is quite simple. When your dog pees on the carpet, you do not give away your dog. You say, This dog is special. I have to teach him not to pee on the carpet. I feel exactly the same way about men. They need to be taught things.

Not everyone likes watching rushes, but it makes me work harder, and I don't feel I am watching myself, but watching the progression of the character.

Sometimes you like the personal adventure implicit in the making of a film, and sometimes you like your part in a film, and sometimes you like the final result.

The thing about anything in life is you have to get ready for it. Study, learn.

There's something about being with a group of people who become like family that must be needed in society.

This film business, perhaps more so in America than in Europe, has always been about young sexuality. It's not true of theatre, but in America, film audiences are young. It's not an intellectual cinema in America.

Time seems to stop in certain places.

To be used in a part without depth is a frustrating feeling, when you know you have something to give.

We all lose our looks eventually. Better develop your character and interest in life.

When I am working on a movie, all I want to talk about is the movie. All I want to be with are the movie people. It's like a clan. If I'm asked to people's houses for dinner, I hate to go, because they'll talk about other things.

When you share work, and you have the opportunity of seeing people you like doing what they do best, and you also interchange socially with them, it's very addictive.

Working with Candy Bergen was really wonderful.

You can sometimes learn more working with less talented people, because you learn to survive.

You need to become a good listener. As you're working, you hear someone else's lines and how you absorb them becomes your acting.

Your voice is your tool and represents you. It's very important to have a good voice where you can be understood.

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