In short
Ellen Burstyn discusses her life and career, her shift away from “acting” toward authenticity (inspired by Lee Strasberg), and her new poetry book. She also reflects on directing/acting methods from masters like Strasberg, Martin Scorsese, and William Friedkin, plus specific memories from The Exorcist and Alice Doesn’t Live Here Anymore.
Guest backgrounds
Ellen Burstyn is an acclaimed actress (92–93 in the episode) known for The Exorcist, Alice Doesn’t Live Here Anymore, and Requiem for a Dream. She studied with acting teacher Lee Strasberg and worked with directors including Scorsese and Friedkin.
Key claims
Strasberg’s training taught her to “stop acting” and respond from truth without fear of mistakes. She credits a plant-based diet, exercise, and avoiding alcohol/smoking for longevity. She wanted Alice to center women’s real lives during the early women’s movement.
Notable examples
Invictus as the poem that sparked her love of poetry; Strasberg’s “imaginary coffee cup” exercise and “make a mistake” lesson; Scorsese’s end-of-day script approach leading to improvisation; Alice’s women-empowerment line “It’s my life”; Exorcist screening laughter as fear relief; the Georgetown “Reagan” scene and the stairs as subtle horror.
Written by AI. May contain mistakes. Listen to the episode to check what was said.
Chapters
Tap a time to open that second in VOEllen's Journey into Poetry
2:20 to 3:17
Ellen shares her early love for poetry and its impact on her life.
“I've been watching you my whole life and whole career after that.”
Discussing Ellen's Poetry Book
3:18 to 6:40
Ellen talks about the structure and purpose of her poetry book.
“Well, my mother had married a man without telling him that she had two children in boarding school.”
Longevity and Healthy Living
6:41 to 8:06
Ellen reveals her secrets to longevity and maintaining focus at 93.
“Now, some of the poems, I'm sure long-time poetry lovers would love, but I purposely didn't include, you know, some, like Shakespeare's not in it.”
Learning from Lee Strasberg
8:07 to 13:14
Ellen discusses her transformative experience studying under Lee Strasberg.
“I would almost imagine it would be the other way around, that you would be even more.”
Learning from Lee Strasberg
14:40 to 15:32
Ellen discusses her transformative experience studying under Lee Strasberg.
“You want pieces that feel lighter and more breathable, things that are easy, but still put together.”
Ellen Burstyn's Acting Journey
16:25 to 20:49
Ellen shares her experiences and lessons learned in acting.
“Newman being sort of the brand ambassador for naturalism in many ways, I would say.”
Directing Styles and Communication
20:49 to 24:41
Ellen discusses the communication style of directors and its impact.
“You know, I'm sure when the great pianists study with the master, it's the same kind of thing.”
Alice Doesn't Live Here Anymore
24:41 to 28:00
Ellen reflects on her role in 'Alice' and its cultural impact.
“And it didn't matter if it was in the city or in the country or where it was or what the style was.”
Behind the TV Show Adaptation
28:00 to 29:54
Discussion of the transition from film to TV in Ellen Burstyn's career.
“That sitcom is based on Alice Doesn't Live Here Anymore, correct?”
Friedkin's Legendary Directing Style
29:54 to 31:38
Exploration of William Friedkin's impact as a director and iconic films.
“Had I been smart enough to say yes to John Kelly, I won producer credit, that might have been different.”
Show all 15 chapters
Friedkin's Legendary Directing Style
31:54 to 32:48
Exploration of William Friedkin's impact as a director and iconic films.
“Therapy is one of those things a lot of people talk themselves out of without even realizing it.”
Audience Reactions to The Exorcist
36:24 to 41:49
Ellen Burstyn shares experiences from early screenings and audience reactions.
“Do you remember being at any of the early audience screenings when people saw The Exorcist, those famous, famous screenings of people passing out and all of that stuff?”
Friedkin's Directing and Storytelling
41:49 to 42:00
Discussion of director William Friedkin's unique storytelling techniques.
Ellen Burstyn on Directors and Acting Experiences
42:00 to 48:36
Ellen shares her experiences with directors and the challenges of acting.
“So many that you have to go through them.”
Impact of 'Alice' and 'The Exorcist'
48:36 to 51:45
Discussion on the cultural impact of Ellen's roles in 'Alice' and 'The Exorcist'.
“and it's like my mom was getting divorced at that time.”
Transcript
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1:00Rob Lowe:It is a pleasure to have you. I, as I'm assuming everybody, is a huge fan of yours.
1:21Hey, everybody.
1:22Rob Lowe:Welcome to Literally. I've been looking forward to this interview for quite some time um ellen burston is here she is 92 92 93 and absolutely on the mount rushmore of actors um the exorcist alice doesn't live here anymore which basically started the genre of feminism in movies and women empowerment. And of course, Requiem for a Dream.
2:02Rob Lowe:But great Lee Strasberg student. I mean, when we have legends like this, we gotta talk to them and document it and get it down because they're not with us forever. And there's no one like her. And I'm super excited to have her share her story and her new book of poetry. So standing by for Ellen Burstyn.
2:29Rob Lowe:I've been watching you my whole life and whole career after that. And I'm super excited about the book of poetry that you have coming out. When did you start your love affair with poetry? In high school. The first time that I read a poem that really struck home. Invictus. Oh, Jesus. Okay. Yeah. Serious one. Yeah. Classic. That was the last line. I am the master of my fate. I am the captain of my soul. And I went, oh, yeah. It's not always going to be like this. Oh, good. I can change this path I'm on and have a different kind of life. How young were you and what about your path did you want to change?
3:22Well, my mother had married a man without telling him that she had two children in boarding school. And then she brought us out and he was very resentful that he had to deal with these two children. So I spent most of my time from seven until I left home at 18 whenever I was home in my bedroom, not relating, no familiar relationships except with my brothers. So he was very unpleasant to us and physical. So when I read that, should I read this one? Out of the night that covers me, black is the pit from pole to pole. I thank whatever gods may be for my unconquerable soul. In the fell clutch of circumstance, I have not winced nor cried aloud.
4:23Under the bludgeonings of chance, my head is bloody but unbowed. Beyond this place of wrath and tears looms but the horror of the shame. And yet the menace of the years finds and shall find me unafraid. It matters not how straight the gate, how charged with punishment the scroll. I am the master of my fate. I am the captain of my soul. When I read that, I just went, yes, yes, yes. And that made me, that began my journey into poetry.
4:57Rob Lowe:That would do it. I mean. Yeah. And over the years, you've collected all your, this book is a collection of all of your favorites. Do you, in the book, do you give, you must give the context to why you love each poem, I'm imagining. Is that right? Yeah. Actually, I wouldn't say they're all my favorites. I have a lot of favorites that aren't in there. But I write this book for people who don't know poetry. I discovered that there were some people that just haven't been introduced to it. Sure. you know have no understanding or exposure to it and i feel that that's really too bad and then that if they knew how much fun it is and how much wisdom there is that they would appreciate poetry more so so i wrote with there are no hard points in the book there are points that are like for people who don't know poetry.
6:04Yes. So I have favorite poems that aren't in the book, but a lot of these are favorites. And they're poems I've known for a long time that when poetry was new to me, I tell them nothing.
6:17Rob Lowe:Yeah, there is a sort of sense of, and I don't mean it in any way as a pejorative or as a judgment, but there are sort of entry-level poems. that like more, it's more accessible. It's like anything. There's movies that are more accessible than others. It's, any art form has its, like an accessible starter point, I think, right? Yeah, and that's what this is. Now, some of the poems, I'm sure long-time poetry lovers would love, but I purposely didn't include, you know, some, like Shakespeare's not in it. Do you enjoy writing? You must. I mean, you now have two books. Yeah, I'm surprised how much I enjoy it.
7:06It's hard work, but there's something compelling about once you start a story or a book, it calls to you. So you want to write more. It's kind of always on your mind. unfortunately when you're sleeping too it's a sleep robber that's right a sleep robber i like
7:32Rob Lowe:i'm gonna steal that it's right you wake up do you do you are you able to have something come to you in your dreams and then yet remember it when you actually wake up um i used to i used to use my dreams a lot and um write them down and and bring creative um projects to my psyche and to ask for help and get it. But at age 93, the connection between consciousness and dreams seems to have slipped away. So I can tell I'm dreaming sometimes, but I don't remember them anymore. I miss them. So interesting. I would almost imagine it would be the other way around, that you would be even more. First of all, that's insane that you're 93.
8:22Rob Lowe:I hope I I hope I have half of your spirit and writing books at 90. Jeez Louise, that's insane. Unbelievable. Good for you. Well, it's just taking care of yourself, you know. Yeah, do you have, I mean, it sounds like an obvious hacky question, but do you have any secrets to longevity and focus? Is there anything you've done consistently that you think has helped you? I don't drink alcohol. I don't smoke cigarettes anymore. I don't smoke marijuana anymore. I don't eat meat. I have a plant-based diet. I exercise, walk my dog several mornings a week, or almost every morning a week, and have a trainer workout in the gym.
9:13So I live a healthy life, and it pays off. What can I tell you?
9:20Rob Lowe:And you're exercising your mind. I mean, you're writing. Yes. Keeping that. I want to jump back in time a little bit and I want to hear about Lee Strasberg. I want to hear some... Lee Strasberg, for those of you who are not steeped in the acting tradition, is one of the great acting teachers of legend. And you worked with him personally. Isn't that studied with him personally, right? Yeah, I did. What was that like? What was he like? And what was your main takeaway? What are the tools that you have used throughout your career you got from him? It's hard to explain to people what it feels like to be working in front of somebody with supervision.
10:16I don't know if that's wrong.
10:18Rob Lowe:word not supervision but super super yes supervision yes i understand yep and that when he looked at you he saw um not only what you were doing but what it meant uh that you were doing what you were doing and where that comes from and what needs to be addressed in that in other words And he was like a magician in a way. He just really could tell what you were hiding and why you were hiding it. And what would be a better way to approach not only your work, but your very life.
11:08He changed my life in every way.
11:12Rob Lowe:How old were you when you first encountered him? I think I was already 40. Really? I already had a career. Oh, well, this is super interesting. So if you already had a career, you already had work, you already had some sort of framework to do your work, or you wouldn't have had a career in the first place, and then you meet him, what did you have to change? You obviously changed your way of how you approached a role, right? I changed everything. Everything? Yeah. The way that I went to him, I was sitting on the set of a movie I was doing that I had co-star billing. And I was looking around the set and I said, well, this is the big time.
12:04I'm co-starring in a movie with Debbie Reynolds and Tony Curtis and Walter Matthau. Next, I'll be playing Debbie Reynolds' part. And a voice in my head said, I don't want it. Just like that. And I was startled. And I knew what it meant. And I packed up my son and my furniture and I moved back to New York. I went to Lee Strasburg. and it changed my life. It changed my work. It changed how I related to myself and the work.
12:49The funny thing is that basically what you learn from him is to stop acting. You know? Right. Stop acting in life. just approach the work with a kind of clean slate.
13:08Rob Lowe:People forget what an amazing actor he was. I mean... Yes, he was. An amazing actor.
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16:25Rob Lowe:who were your were there any of your any fellows of yours in in in your sort of class at that at that time were there actors you admired or were they all young and start younger than you and starting or who would have been in that really yeah it's so funny because because maybe that's the whole point is like every Strasburg actor that I'm aware of all seem so natural and which I guess is what you're saying. It's forget the acting and be natural. Newman being sort of the brand ambassador for naturalism in many ways, I would say. Yeah. Well, because what you learn is what is real. I'll tell you the first time I worked for him, I've written this in my book.
17:13He taught sense memory, and it's training the senses to respond to imaginary circumstances. So the very first exercise was that you create whatever it is is your drink in the morning. Mine was a cup of coffee. Now you have no coffee, you have no coffee, but you feel it with your hand, and you lift it, and you hold it, and you smell it. And you make that real. So when smelling coffee and there's no coffee there, it takes a while of focus. Oh, there it is. Oh, yeah. Oh, God. You know? so I was doing my cup of coffee I didn't know him I had only been interviewed by him once in order to be accepted as a student and he looked at the card my name was on I could see him in my peripheral vision and he said Ellen do you ride horses?
18:26excuse me what where are we there? I said, well, I used to, and I put my cup down. He said, no, no, keep on with your cup. So I'm doing my cup, my imaginary cup. And he said, when you did ride, did you ride well? I said, well, pretty well. I had my own horse. And there was a long pause. And then he said, but you don't have to ride that cup. And I looked at him and he said, what would happen if you made a mistake? Go on, make a mistake. And I start crying. Now, what has gone on there? What was underneath that dialogue? he somehow knew about my frequent beatings I got growing up and let me know that that was over and now we're just going to do the work we're just going to create a cup and I don't have to be afraid of doing it wrong I will punish for it Now, that is such a deep teaching.
19:59There's no way to share with anyone how that makes you a better actress. But it is that somebody has gone to your core and said, speak from there, please, without fear. Releasing that fear is a life changer.
20:23Rob Lowe:And that he could see that with something as simple as one of the most beginning lessons of creating a cup. Yeah, so, you know, there's no way to really communicate what a person learns from being exposed to a master like that. You know, I'm sure when the great pianists study with the master, it's the same kind of thing. There's some other transformation that occurs that you're changed forever. And what you're changed to is your authentic self. It also requires a student who can intuit that kind of communication because it's so layered. The very thing that affected you was that it was deep and layered and nuanced and not result-driven, as actors would like to say.
21:37Rob Lowe:He didn't say, Ellen, it looks to me like you are afraid of making a mistake. which would have been a way to say it. And I would have said, no. Right? Yes. Right? Yeah. I mean, it's, so it's intuition, it's knowledge, but it's also, it's also a communication thing. I'm sure, I mean, when you, you basically picked Scorsese for Alice doesn't live here anymore And did he have that ability even then to communicate? Was he the director he is today then, I guess, is what I'm asking. And how was his communication? I'm super interested in how the masters communicate. You know, I don't know what kind of a director he is now.
22:30Because when he did Alice, he had only made one movie. He was starting out. but what he did was at the end of each day's shooting he addressed the script for the next day as written and we then came on the set but we didn't come on and do the lines we came on and did improvisation and sometimes the lines became part of it and sometimes they didn't and a transformation occurred when we approached the scene with that kind of freedom. And so whatever happened in that rehearsal is what was shot the next day. Well, that's a great technique. Yes, it was the best directing technique ever.
23:27Rob Lowe:What made you, he's so urban. He's an East Coast New Yorker. In my memory of Alice, it's been years since I've seen it. But my memory of it is it's very sort of Midwestern Americana.
23:42Rob Lowe:Like, he's such a gritty... What made you pick him? I knew Francis from... No, excuse me, not Francis from... There's some old friend. The great director, Francis. Coppola Francis Coppola yeah thank you 93 and I called Francis and I told him I was doing a movie and I wanted a director who was new and he said look at a movie called Mean Streets which hadn't been released yet that Warner Brothers owned and I was doing the film So they showed it to me and I said, I want him to direct it. And what I liked was his level of reality. That's what I was hoping for. That makes sense. And it didn't matter if it was in the city or in the country or where it was or what the style was.
24:49I wanted reality between the actors.
24:52Rob Lowe:That makes perfect sense. And yet, if you look at his filmography, that movie for me is an island. For me. It feels very, it feels like an early work in that he found his, he had a lane that's like, there's a Martin Scorsese movie. We all know it when we, like when we say, oh, it's a Martin Scorsese movie. We have an image of what that is and we know what it is for the most part. Alice feels completely outside of it to me, which makes it an incredible movie. Yeah. Well, it wasn't a milieu that he knew. That's right. That's right. But what he did know was the creative process. That's right. Of how he brings truth to each scene.
25:44And that's what I wanted.
Read the full transcript
25:48Rob Lowe:And Alice doesn't live here anymore. Or was it your direct follow-up from The Exorcist? Was that the next movie? I think it was, right? Yes. Yes, and it was because John Calley, who was head of Warner Brothers, was looking at The Exorcist every day at the dailies and called my agent and said, we want to do another film with that girl. So then I had to find the script and the director and so forth. You found the script for Alice? Yeah. Well, the script had come to me, and it was not the kind of script I was looking for. It had, I always think of it as it could have been a script for Doris Day and Rock Hudson.
26:40but it had basic elements that I thought could be worked with single mother for one thing I wanted to do a movie about women as I do them at the time which was we were at the beginning of the transformation for the women's movement and we were just discovering that great line that I'm not sure if I said it or another name, my friend who died recently, Diane and I, thank you. No, I think I said it. I mean, it's my life. It's not some man's life I'm helping him out with.
27:31Rob Lowe:It's a great one. And, you know, that was the transformation that was going on. Yeah. Because we were just getting it. We were not assistant people. We're actually people, you know. And that's what I wanted to bring to the screen and did. Well, and it was the beginning of many, many, many, many, many, many movies with that theme. including a hit TV show, the sitcom. Right? That sitcom is based on Alice Doesn't Live Here Anymore, correct? I mean, I'm not making this up. Right? It's called Alice. Yeah. Absolutely. Were you, sidetrack, did you know they were going to make a TV show about Alice Doesn't Live Here Anymore?
28:26Rob Lowe:Or was it one of those things where you woke up one day and went, And wow, that seems really familiar to me. No, I knew they were going to make it. When I put all of this together with Warner Brothers, John Kelly said to me, do you want producer credit? And I, being one of the stupidest people alive on the planet at that time, said, no, I don't need that. I just want to make a movie with a good party in it for me. Right? those residuals those residuals would have been nice right well i get residuals for actually in it but not for producing it so when they sold it to whatever the network was i think the author never forgave me for talking publicly into the press like i'm talking to you about what our process was that somehow I believe he felt that we had, I had distracted from his contribution, you know, in talking about, he called me and was quite angry with me after, you know, I'd done publicity and so forth.
29:47And so I think that might be why I wasn't invited to be part of the television.
29:55Rob Lowe:Amazing. Had I been smart enough to say yes to John Kelly, I won producer credit, that might have been different. Yeah, you would have had it no matter what. So Friedkin, obviously, there's so many legendary stories about Friedkin as a director. So many. I knew him just in passing many, many, many years, obviously decades after he directed The Exorcist. But was he as advertised? Oh, yes. He was. Yeah. You know, it's so funny the way movies have a resurgence. And for whatever reason, everybody is talking about Sorcerer right now. I don't know what's going on in the zeitgeist, but everybody's talking about Friedkin's Sorcerer.
30:51And it is amazing. I think it's a great companion piece to Exorcist. I think the two of them are just... You know that it didn't get good reviews.
31:02Rob Lowe:Oh, I was young enough. I was very young, but I was paying very much attention to the business. And I remember it like it was yesterday. It came out, same time as Star Wars. So Star Wars took all the oxygen out of the room and it was a huge bomb. And it put Roy Scheider, one of my favorite actors, in movie star jail for a long time. I like that phrase, movie star jail. Movie star jail, we all have a cell. There's a, we all get to, if you survive long enough, you do your time in movie star jail and sometimes you get let out Sometimes you die in prison. That's so funny, Rob.
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36:24Rob Lowe:Do you remember being at any of the early audience screenings when people saw The Exorcist, those famous, famous screenings of people passing out and all of that stuff?
36:39First of all, I was at the very first screening. and I was sitting next to Billy.
36:47And the first scary moment is when I go up in the attic. And then the candle gets blown out. And there was a scary reaction. And then there was laughter. And Billy looked at me. He said, why did that happen? And I said, because I was scared. That's right. And I read after that, that it's when people are scared, they have several methods of restoring order. And one of them is laughter. Yeah. But the movie I attended to where somebody fainted was actually while I was shooting Alice. And it came to town where we were shooting in New Mexico. and I invited all the crew to a screening and we all went and saw the exorcist.
37:48Oh, Jesus. And at one of the, I think at the part where somebody was getting a needle in their neck, which is where they fainted mostly, somebody ran up the aisle and, you know, we all saw somebody running up the aisle and then fainted and collapsed on the crowd. And I got up and ran over and took her hand and was tapping her hand. And then I realized if she opens her eyes and sees me, she's going to think she's diving in the hell or something. Oh, my God. So I said to a stranger, here, take her hand. I've got to get out of here.
38:28Rob Lowe:So I turned her over to somebody else. The thing about The Exorcist in all great movies is that there's, for me, there are these little grace note scenes that get lost amongst the bigger, more obvious stuff. And to me, I remember when Reagan, when you have the party at your Georgetown house and Reagan is supposedly upstairs asleep and there's that astronaut and she comes down the stairs and everybody can't believe like, oh, what is the kid all doing awake? All of a sudden there's that moment and you go over to you and say, oh, Reagan, are you okay? And she looks at the astronaut and says, you're going to die up there.
39:10Yeah.
39:10Rob Lowe:And goes to the bathroom on the floor. Yeah. To me, that's the gnarliest thing in the movie. I mean, honestly, I mean, that it's such an amazing, like who would write that? Where did that, that's such an amazing, amazing moment in a movie where you said to the audience, buckle up. Yeah. Well, you know, there was a lot of research done on actual cases. I don't know if that was one of the things that he saw when he was researching, but... Amazing. The chest of drawers moving across the floor was from the research event. I, whenever I go to Georgetown, I run the exorcist stairs. It's my, one of my favorite.
40:07Rob Lowe:That was, I shot a movie there years ago and, and all the young people would always go, let's go smoke a joint on the exorcist stairs. But then you go there and you realize, wait, the apartment window isn't there. Cause you know, they, they, the way they made your house look, because when the priest falls out of the, gets ejected out of the window and falls down the stairs, there's nothing, it's an effect. But those stairs are pretty creepy. It's a great, it's like the Hollywood sign. It's an all-time movie set for sure. Have you ever visited it? Have you ever been to the Exorcist stairs in Georgetown?
40:42No. Oh, come on. I spent enough time there.
40:50Rob Lowe:That would freak people. People would faint if they saw you. That's right. My favorite moment in that whole movie is with Lee J. Cobb, where he comes to visit me and I make him tea. And then he starts asking me about the stairs. And I realized from what he's saying that my daughter pushed him out the window. But I can't show that. You know, I have to realize that so it's readable for the audience, but not for Lee Jacob, the detective. That's one of my favorite spots because it's subtle and scary. Yeah. Do you have a Friedkin story as an actor who collects great director stories? Anything come to mind?
42:00Rob Lowe:I'm going through them. So many that you have to go through them.
42:10Rob Lowe:Ellen, have you seen the great YouTube thing where he's talking about Al Pacino? That's a great one. No. Oh, have somebody look that one up when we're done with our interview. It's really great. He's, you know, it's him talking about actors and acting and he's just, you know, doing his thing. It's so great. So opinionated and belligerent and funny. Yeah. He was quite something, that one. He was. he, do you have a type of director that you are continually attracted to in terms of, like, I love a leader. I love to be led. I want to go onto a set and I want to know that's the director. And because particularly now, with video villages and everything else is like, you can't, sometimes you can't tell who the director from the script supervisor, from anybody.
43:08Rob Lowe:It's like, and maybe it's because I grew up watching these types of movies that were directed by big, big personalities. Coppola, Friedkin, even Lucas as a, as a, um, more of an introvert still was occupied a lot of, a lot of space in the room. So I can imagine the working with Friedkin was the same. Oh yeah. Yeah, my worst memory of Billy was when Linda slapped me across the face and I had to fall on the floor. And I had a wire around my midriff so Linda didn't have to really slap me and this stuntman could pull me to the floor. And so we rehearsed it and I said to Billy, he's pulling me too hard.
44:06Tell him not to pull me so hard. And Billy said, well, it's got to look real. I said, I understand it's got to look real. I'm telling you, I could get hurt. Tell him not to pull me so hard. And the stuntman was standing there listening to this. And Billy looked at him and said, okay, don't pull it so hard. As I turned away, I felt behind me, Billy, cancer. and on the take the guy pulled me so freaking hard that I screamed in pain which is on camera I mean it's in the film and I looked to Billy to say cut which he did not do and I saw him moving the arm of the cameraman to move in closer to film my screaming in pain closer and i was so enraged at that that i screamed i think now this might be my memory i might have rewritten my part here i'm not sure but i think i screamed turn the frigging rewrite camera off.
45:30Now, I might have just said turn the camera off loudly and in agony. But in my mind, I swore. And he just was getting the shot. And that was his criteria. Anything to get the shot.
45:50Rob Lowe:That's what they did in those days, man. You watch Francis in the documentary Hearts of Darkness that Eleanor, his wife, did on Apocalypse Now, where he's directing my old good friend Marty Sheen. Drunk, got him drunk, hits his, you know, and I've interviewed Francis on the show. And that's the way they grew up. I mean, now, if you work for a Disney company thing, movie, any type of thing, you can't stand more than three feet above the floor without being harnessed into something because their insurance thinks you're going to hurt yourself. Can you imagine? You just could, you cannot do today.
46:40Rob Lowe:When you just told me that story and you said that you were on like sort of a ratchet, I know what that device is. I can't believe they put you on that. That's insane. But that's the way we rolled in those days, right? I mean, directors were kings. And that injury on my lower back was permanent. Really? And caused me trouble today. Yeah. Wow. Yeah. Well, I mean, it's probably not worth it, but I mean, I hope you're getting a lot of mileage out of saying, Yeah, it's that old exorcist back injury. That's a conversation starter. Yeah. I think Linda Blair has the exorcist neck injury. She's like, yeah, I turned my head 360 degrees and I've never recovered.
47:32You know, she, do you know what she does with her life? No, I don't. Stray animals. Oh, really? Yeah. Yeah. Yeah.
47:47Rob Lowe:I'm a big sucker for animals. I do dog rescues. I love hearing that. Oh, well, maybe you should connect with her because she, I send her money sometimes, but she needs money for, because that's her life is rescuing animals. And she has no way to support herself. That's amazing that she did that. I mean, it's a legendary thing to be able to have that part in the zeitgeist of the world. Well, this has been amazing, I have to say. I've been looking forward. I knew you were coming on. I've been looking forward. I just have such a visceral memory of watching. I saw Alice before I saw The Exorcist. and it's like my mom was getting divorced at that time.
48:46And, you know, I was on the peripheral,
48:49Rob Lowe:like being aware as just a young, as a kid of women sort of claiming their lives.
49:01Rob Lowe:And obviously that was, to me, that was like the epicenter of it. That was the real beginning. It's funny, you didn't take producing credit, but as a producer, you did the number one job that a producer has, which is like feeling the zeitgeist and finding a project that speaks to it. Yeah. I was recently doing a film in Australia, and it had a lot of producers, which I think were actually investors. Sure. But two of them were women, and they came on the set, and they were talking to me. And one of them said to me, do you know what you represent to women around the world? I said, yes, no, not really.
49:50It's true. And she said, no, you're it. You're the leader. I don't remember her exact words. I'm not quoting her exactly. But I said, from Alice? She said, yes. So I didn't know, actually. Really? I didn't know that it was around the world. You know, I didn't know that women went way beyond my boundaries. Yes. And infected. Infected. Affected. Affected. Affected.
50:30Rob Lowe:You infected with The Exorcist and you affected with Alice. Yeah, right. I just didn't know that, but it was very occasion. I tried not to let it be food for my ego, but it took some effort. I was very glad that it had widespread effect. Well, I know people listening are going to, if they haven't seen it, are going to watch it. which is great. There's nothing better than sharing favorite movies with people who haven't seen them. And like, there's so much to recommend about that movie. It's Marty Scorsese, Early You. I mean, it's a... Either way, I won't keep you anymore. You have been fantastic.
51:17Rob Lowe:This has been a great... And I think we need to do this every decade. So when you turn... At 100... That's what I'm saying. Yes. Oh, I am very aware. 103. Mark it on the calendar. All right. You and me. And we're going to do more deep dives into your amazing career in life. And I'm super excited to read the book, which, by the way, comes out on any day now. I think it's out right now. Anybody who's interested, Ellen's Poetry Book is out anywhere you buy books. And thank you for coming on this. You've given me a great inspiration to start the rest of my week. Thank you so much. hello you've reached literally in our lowdown line where you can get the lowdown on all things about me roblo 323-570-4551 so have at it here's the beep hi rob i'm cindy i'm from nevada My amazing mom recently retired, and her and my dad are going to embark on a summer of world travel.
52:27But my mom hasn't done much international travel before. So for Mother's Day, I was thinking of getting her some gifts that she can use on planes, trains, at hotels. So can you let me know what travel gift ideas you would have for her? Thank you.
52:46Rob Lowe:Thank you for the question. That's really, really a good question. So I will tell you what are musts for me. Noise-canceling headphones and a great sleep mask. And the sleep mask needs to be cupped so your eyelashes don't get smashed. So I don't like the – it can't be the flat kind. We want some puzzles, you know, whatever puzzles she's into. A good pair of sunglasses. and a great pair of hiking shoes. Right? That's pretty good. Also tells you what I'm into when I'm traveling. And sure enough, in the Macy's gift guide right now, you can get your mom noise-canceling headphones from Beats or JBL, you know, long flights, a Nikon mirrorless camera.
53:42Rob Lowe:Oh, that's a great idea. Of course, great for capturing every moment. wow, I should have thought of that Hey Rob this is Vernon from Ohio my mom is finally redoing her kitchen her beloved kitchen and I want to get a few things for Mother's Day that she can use in there once renovation is complete stuff that's useful and also stuff to make it feel a little more homey and I was wondering if you had any ideas about that so yeah, thank you Great question. There's nothing I love more than A, somebody from Ohio, and figuring out what's great to put in the kitchen. It's where we start our days. It's where family gathers.
54:30Rob Lowe:And I think people's kitchens always say a lot about them. I got to have a good coffee area. And I do mean area, like a corner. It's got to have the coffee, different types of coffee. It's got to have maybe a French press, but also a drip. Maybe there's an espresso machine. That can take up a lot. And not everybody's into coffee, but I would say that. Some people like tea. My wife does. So she has a tea section. That is always great. Air fryer. An air fryer is pretty sick. In the Macy's gift guide right now, you can get your mom a new KitchenAid stainless steel mixer or a cast iron signature La Crusade Dutch oven.
55:16Rob Lowe:Oh man, the cast iron signature La Crusade Dutch oven is the bomb because not only are they great, but they look sick. So hopefully that's helpful. Thank you to Macy's for sponsoring today's Lowdown line. You can find amazing gifts like these and more at Macy's. Just visit macy's.com slash gift guide or book an appointment with a personal stylist at your local Macy's. Yeah, all good stuff.
55:52Wow, what a legend.
55:56Rob Lowe:What a legend. I hope everybody who's interested in movies and actors, please share that. That was really special to have her and have that talk with her. Uh, anyway, um, as usual, there'll be more to come next week, but that was a special one. Uh, I'll try to top it next time on Literally.
56:23Rob Lowe:You've been listening to Literally with Rob Lowe, produced by me, Sean Doherty, with help from associate producer, Sean Calvano. Research by Jeff Fox. Engineering and mixing by Joanna Samuel. Our executive producers are Rob Lowe for Low Profile and Nick Liao, Adam Sachs, and Jeff Ross for Team Coco. Booking by Catherine Cook. Music by Devin Bryant. Special thanks to Hidden City Studios. Thanks for listening. We'll see you next time on Literally.
56:58Rob Lowe:Calling all daydreamers and date nighters. Come immerse yourself in the rich culture of Texas. and dig into our mouth-watering barbecue. Trailblazers can explore our natural wonders. And beach lovers will wonder why they've never felt so relaxed before. You're invited to discover experiences you can only find in Texas. Visit TravelTexas.com and plan your trip today. Let's Texas. The Spriteberry Blast is here. A crispy blue Sprite with a dollop of cold foam. It's very, very good. One of many new drinks now at McDonald's.
From the publisher
Rob is honored to be joined by Ellen Burstyn today! Legendary actress Ellen Burstyn (The Exorcist, Interstellar, The Last Picture Show, Requiem for a Dream) joins Rob Lowe to discuss the poem that saved her life, memories from shooting The Exorcist, her secrets to staying sharp at 93 years old, life-changing lessons from the genius acting teacher Lee Strasberg, handpicking Martin Scorsese for an early film, movie star jail, and much more. This episode is brought to you by Macy's
macys.com/giftguide. Make sure to subscribe to the show on YouTube at YouTube.com/@LiterallyWithRobLowe! Got a question for Rob? Call our voicemail at 323-570-4551. Your question could get featured on the show!
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