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Sondra Locke Net Worth

Sondra Locke Net Worth, Biography, Wiki in 2017-2016

How rich is Sondra Louise Smith?

Sondra Louise Smith net worth:
$10 Million

Sondra Louise Smith information

Sondra Louise Smith information

Birth date: May 28, 1944
Birth place: Shelbeyville, Tennessee, U.S.
Height:5' 4" (1.63 m)
Profession:Actress, Director, Soundtrack
Spouse:Gordon Anderson

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Sondra Locke Net Worth, Biography, Wiki 2017-2016

Sondra Locke (born May 28, 1944 or 1947) is an American actress, singer and film director.She was nominated for an Academy Award for Best Supporting Actress in 1968 for her performance in The Heart Is a Lonely Hunter. She went on to appear in such films as Willard in 1971, and six films with then-partner Clint Eastwood between 1976 and 1983: The Outlaw Josey Wales, The Gauntlet, Every Which Way But Loose, Bronco Billy, Any Which Way You Can, and Sudden Impact.She published her autobiography, The Good, the Bad, and the Very Ugly – A Hollywood Journey, in 1997. Wikipedia

A bit more about Sondra Louise Smith:

  • Filmography
  • Awards
  • Salaries
  • Facts
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Actress

Actress

TitleYearStatusCharacter
Ray Meets Helen2016post-productionHelen
The Prophet's Game2000Adele Highsmith (adult)
Clean and Narrow1999Betsy Brand
Ratboy1986Nikki Morrison
Amazing Stories1985TV SeriesVanessa Sullivan
Tales of the Unexpected1984TV SeriesEdna
Sudden Impact1983Jennifer Spencer
Rosie: The Rosemary Clooney Story1982TV MovieRosemary Clooney
Any Which Way You Can1980Lynn Halsey-Taylor
Bronco Billy1980Antoinette Lily
Friendships, Secrets and Lies1979TV MovieJessie
Every Which Way But Loose1978Lynn Halsey-Taylor
The Gauntlet1977Gus Mally
The Shadow of Chikara1977Drusilla Wilcox
Death Game1977Jackson
The Outlaw Josey Wales1976Laura Lee
Joe Forrester1976TV Series
Cannon1973-1975TV SeriesStacey Murdock / Trish
Barnaby Jones1975TV SeriesAlicia
Planet of the Apes1974TV SeriesAmy
The Second Coming of Suzanne1974Suzanne
Kung Fu1974TV SeriesGwyneth Jenkins
Gondola1974TV MovieJackie
The ABC Afternoon Playbreak1973TV SeriesNora Sells
The F.B.I.1972TV SeriesRegina Mason
A Reflection of Fear1972Marguerite
Night Gallery1972TV SeriesSheila Gray (segment "A Feast of Blood")
Willard1971Joan
Cover Me Babe1970Melisse
The Heart Is a Lonely Hunter1968Margaret 'Mick' Kelly

Director

Director

TitleYearStatusCharacter
Trading Favors1997
Death in Small Doses1995TV Movie
Impulse1990
Ratboy1986

Soundtrack

Soundtrack

TitleYearStatusCharacter
Any Which Way You Can1980performer: "Too Loose"
Every Which Way But Loose1978performer: "Don't Say You Don't Love Me No More", "I Seek The Night"
The Outlaw Josey Wales1976performer: "Sweet By and By" - uncredited

Writer

Writer

TitleYearStatusCharacter
Death Game1977screenplay - uncredited

Producer

Producer

TitleYearStatusCharacter
Knock Knock2015/Iexecutive producer

Self

Self

TitleYearStatusCharacter
The Joan Rivers Show1990TV SeriesHerself
CBS This Morning1990TV SeriesHerself
All-Star Party for Joan Collins1987TV SpecialHerself
All-Star Party for Clint Eastwood1986TV SpecialHerself
The 11th Annual People's Choice Awards1985TV SpecialHerself - Audience Member
Clint Eastwood: Director1982TV Short documentaryHerself
The 7th Annual People's Choice Awards1981TV SpecialHerself - Presenter: Favourite Actor in Motion Picture
Clapper Board1980TV SeriesHerself
Les nouveaux rendez-vous1980TV SeriesHerself
Good Morning America1980TV SeriesHerself
The American Movie Awards1980TV SpecialHerself - Audience Member
Dinah!1978TV SeriesHerself
The Mike Douglas Show1978TV SeriesHerself - Actress
Eastwood in Action1976Documentary shortHerself
Tattletales1975TV SeriesHerself
The Merv Griffin Show1972TV SeriesHerself
Allen Ludden's Gallery1969TV SeriesHerself
The 41st Annual Academy Awards1969TV SpecialHerself - Nominee: Best Actress in a Supporting Role
The Joey Bishop Show1969TV SeriesHerself - Guest

Nominated awards

Nominated awards

YearAwardCeremonyNominationMovieAward shared with
1988Razzie AwardRazzie AwardsWorst ActressRatboy (1986)
1981Razzie AwardRazzie AwardsWorst ActressBronco Billy (1980)
1978Stinker AwardThe Stinkers Bad Movie AwardsWorst ActressEvery Which Way But Loose (1978)
1970Golden LaurelLaurel AwardsFemale New FaceThe Heart Is a Lonely Hunter (1968)
1969OscarAcademy Awards, USABest Actress in a Supporting RoleThe Heart Is a Lonely Hunter (1968)
1969Golden GlobeGolden Globes, USABest Supporting ActressThe Heart Is a Lonely Hunter (1968)
1969Golden GlobeGolden Globes, USAMost Promising Newcomer - FemaleThe Heart Is a Lonely Hunter (1968)

2nd place awards

2nd place awards

YearAwardCeremonyNominationMovieAward shared with
1970Golden LaurelLaurel AwardsFemale Supporting PerformanceThe Heart Is a Lonely Hunter (1968)

TitleSalary
Sudden Impact (1983)$350,000
Any Which Way You Can (1980)$100,000 + % net profits
The Heart Is a Lonely Hunter (1968)$4,200

#Fact
1Has come out of retirement to play Helen in Ray Meets Helen (2016) opposite Keith Carradine. She had no intention of getting back into the business, but she's a friend of director Alan Rudolph and his wife, and they gave her the script and she couldn't resist. Filming started in May 2016.
2In her autobiography, some of the terms used to describe Clint Eastwood are "monster," "sociopath" and "human failure".
3Was in consideration for the role of Denise Marshall in Earthquake (1974) that went to Geneviève Bujold.
4Cited under the pseudonym Miss Smith in "Life Extension: A Practical Scientific Approach" by Durk Pearson and Sandy Shaw.
5Offered the main role in Emmy-winning TV film My Sweet Charlie (1970) but turned it down.
6Even though she played the leading female role in The Heart Is a Lonely Hunter (1968), during Oscar season Warner Brothers decided they would suggest that voters consider her for Best Supporting Actress instead of Best Actress, hoping she'd have a better chance of winning. She lost the award anyway to Ruth Gordon (for Rosemary's Baby (1968)) who went on to co-star with Locke in the Which Way movies.
7Cameron Watson's directorial debut Our Very Own (2005), set in 1978 in Locke's hometown of Shelbyville, Tn., centers on a group of teens whose dreams of a better life have been inspired by her Hollywood success.
8Lost custody of her parrot Putty in the breakup with Clint, who renamed him Paco.
9Stage credits before her film career include "The Crucible," "The Glass Menagerie," "The Innocents," "Life with Father," "The Monkey's Paw," "Oh Dad, Poor Dad," "Tiger at the Gates" and "A Thousand Clowns".
10Former agent is Leonard Hirshan.
11Was the original choice to play the titular character in Carrie (1976). The part went to Sissy Spacek after Locke declined to do a screen test.
12Campaigned for role of Pookie Adams in The Sterile Cuckoo (1969) which was given to Liza Minnelli instead.
13Born on the exact same day as Rudy Giuliani, Gladys Knight, Jean-Pierre Léaud and Billy Vera.
14Blake Edwards promised her one of the two female leads in City Heat (1984) (ultimately played by Jane Alexander and Madeline Kahn) during pre-production when Burt Reynolds had signed on but the role of the other leading man was yet to be filled. She later asserted that Edwards was using her just to get to Clint Eastwood who'd already seen the script and turned it down, because once Eastwood changed his mind and agreed to star in the film, Edwards dropped the idea of casting Locke and gave the roles to Julie Andrews and Marsha Mason. (Mason left due to creative differences, and the casting of Andrews fell through because Reynolds had not gotten along with her while making The Man Who Loved Women (1983) and didn't want to repeat the experience.).
15Release of her autobiography, "The Good, the Bad, and the Very Ugly: A Hollywood Journey". [November 1997]
16Used to be very good friends with Maria Shriver & Arnold Schwarzenegger.
17Turned down Barbara Hershey's role in Last Summer (1969).
18Posed for Playboy magazine's "Sex Stars of 1969" issue in a semi-nude layout that was meant to change her Plain Jane image, and wrote in her memoir that she still receives those photographs in fan mail for her autograph and cringes when she sees them.
19After starring in Willard (1971), about a boy who trains rats, she directed and starred in Ratboy (1986), about a boy who is half rat.
20Locke recently sold her home in L.A. (at a considerable profit), and bought a much larger estate in the Hollywood Hills where she resides with her companion of the last 10 years, Scott Cunneen, a director of surgery at Cedars Sinai Hospital.
21Voted "Duchess of Studiousness" in senior year of high school. Her grade average was 97.72.
22Attended Middle Tennessee State University in Murfreesboro, TN for two semesters.
23Breast cancer survivor.
24Co-starred with Clint Eastwood in six films: Any Which Way You Can (1980), Bronco Billy (1980), Every Which Way But Loose (1978), The Gauntlet (1977), The Outlaw Josey Wales (1976) and Sudden Impact (1983).
25Former partner of Clint Eastwood (1975-1989). They never married.

#Quote
1I am reconciled that I will probably not work again, but if I do it will be something 'meant to be'.
2[from a 2013 interview] I still get scripts sent to me, but nothing extraordinary enough to motivate me to try and overcome all the obstacles to get the films made. And yet, I would say that today I feel unfinished professionally, both as actor and director. For many years I fantasized that a brave director would come along and offer me a role I couldn't refuse, a role that would be as wonderful as the one that began my career. And, even more so, I fantasized about the perfect little quirky script with money attached that I would want to direct. Of course, neither has happened. At first, I felt very displaced, as if I had lost my identity. I had worked making films my entire adult life. It was work that I loved. It was my work as well as my pleasure. I was not a person who had other hobbies. Eventually I came to find the peace and beauty in my everyday life - my home, my gardens, my pets - and was able to walk away.
3I have many flaws, not the least of which is thinking too much of the other person's feelings and not enough of my own. Because of this, I try to please too much. I hate conflict and so I avoid it until it is almost too late and then I have the battle of a lifetime. I am a terrible worrier. I have to some degree overcome this one, because I learned that the things we worry about are rarely the things that actually happen. It's always something we never thought would or could happen - like what Clint did. Also, I had no breast cancer in my family so I didn't worry about that, and of course it did happen to me.
4I believe Clint knows who he is; he just doesn't LIKE who he is. I do believe that Clint loved me as much as he is capable of love, and in the first 8 or so years together he really WANTED to be the man he knew I saw in him. I think he tried very hard, but eventually one's nature cannot change.
5Richard Schickel has made a living off writing puff pieces and documentary films about Clint. As I know those times and that subject well, I know Schickel's books are full of misstatements and downright fabrication, not only about me but others. He glorifies, practically deifies, Clint.
6[regarding suppression of her autobiography] I was shut out of most venues to promote the book, in particular the networks. Remember, Bob Daly (president of WB) had, at one time, run CBS. The influence was there. I was told by my publisher that Oprah Winfrey wanted me to come on her show. As it was being scheduled, I was suddenly canceled and Clint was set to appear on the show instead. At that time, and even rarely today, Clint had almost never appeared on such a talk show. The gay magazine The Advocate was set to do a big article on my book, which was a natural because of Gordon being gay. Suddenly Clint was giving them an interview and appearing on the cover and I was out ENTIRELY. Why could they not have run both pieces if indeed it was an innocent coincidence? Liz Smith, a very highly regarded and read New York columnist, wrote a supportive rave review about my book - and me - in her column. When her column appeared in the L.A. Times, the review and all references to my book were excised from it. The rest of her column was intact. Warner Brothers had some sort of association with L.A. Times. I was told at the time what the connection was, but have forgotten. Entertainment Weekly, a very well read entertainment magazine, also gave my book a rave review. It was pulled and a bad review appeared instead. I am fairly certain that Warner Brothers had some financial involvement with Entertainment Weekly - perhaps they even owned it, I can't recall.
7[if a film were made about her life story] I honestly hope that it will not be made, because I fear it could fall into hands that would turn it into something ordinary, like some awful movie for television. I haven't given thought to who might possibly make a good film of it. I think it's best left as a part of my book, although so many people say that it should be a film. Unfortunately Hollywood would probably only be interested in exploiting the Clint section of the book.
8Clint never really gave direction to the actors, certainly not to me. I was very much on my own. I always wondered how much better my performances might have been, had I had a director who really worked with me. Certainly Clint's method of printing the first or second take didn't give me time to find all the texture of the moment.
9[her reaction to finding out Clint Eastwood sired other women's children while still involved with her] I just thought, 'Oh my God!'. Either he changed from white to black or I had been living with somebody I didn't even know.
10I'll never have to work again. I don't know what I'm going to do. But I think I want to work. Clint said, 'I will never settle. I will take you to the Supreme Court.' But I stuck with it. I battled against huge odds. I feel vindicated.
11A real marriage doesn't need those papers. But a real breakup does.
12[on Clint Eastwood] I discovered he was a liar and a cheat who was leading a double, no, a triple if not a quadruple life, and who was terrified of being found out.
13My personality, or persona or whatever, is really more in line with directing. If I had seen more women's names on the credits when I was a child - you know, "directed by Gladys Hooper" - I think I might have drifted more in that direction. As an actor, you take on the role of the child. You follow orders, and people are there to take care of you and pamper you. As the director, you have to be the parent.
14[on directing Ratboy (1986)] There were many times when I said to myself, "why did I have to pick a story like this?". If I wanted to direct, why not go out and find a Top Gun (1986) and make some money? You know, something sensible. I felt I had to go for it. For me, the story had the heart of a fairy tale and the head of a morality play. I had the sense of it owning me, in some way. It swept me off with it.
15I think the reason actresses are taking a back seat to actors is that they're putting the wrong women on screen. They seem to put a new fashion model in a starring role every year. And being simply pretty isn't enough. It's boring. Using models in place of actresses implies that women have nothing to contribute to the screen. Acting is a profession and a special talent is involved. Films have moved away from pretty boys to actors with interesting faces. It's time they did the same thing with actresses.
16People associate strength with masculinity. In this age of action movies specializing in masculine virtues, it's very difficult for an actress to play a strong woman. In the old days, Joan Crawford and Bette Davis managed to be strong and feminine simultaneously. So did Irene Dunne. The best example of all, perhaps, was Vivien Leigh as Scarlett O'Hara. They dominated the screen, but not the leading man. Actually, a strong woman adds to the masculinity of the man she is playing opposite. Katharine Hepburn and Spencer Tracy played powerful characters to their mutual advantage. Claudette Colbert didn't dominate Clark Gable in It Happened One Night (1934). Yet she played a very strong woman. You need a strong and talented man to begin with if you hope to maintain your femininity. But I think a good many leading men confuse masculinity and strength. They're insecure about women's roles that accentuate strength.
17[1978] I'm not really very ambitious or very aggressive. I won't play politics or games to get roles. And so I really work very seldom. I think I've done ten pictures in the ten years that I've been in Hollywood. Actually, I don't mind not working, but I hate doing poor material, so I'd rather not work than do something I don't like.
18[1968] I'm very ambitious. I'm Mount Vesuvius - with a cork in my head. I'm ready to burst. But I'm not so anxious that I'll take the first opportunity that comes along. I'm going to wait for a golden part to come along before I take it. If not golden, at least silver.
19I really get livid when somebody calls me Sandra or Sandy. Actually, my parents named me Sondra rather than Sandra so that people would not call me Sandy. Almost everything has a contradiction through common usage. Names have associations. You know, people look at their names.
20I am a romantic. I want to cry when I throw out my Christmas tree, and I have a lot of feelings about magic and fantasy. I believe in elves and giants. I believe that fairy tales are nothing more than news reports of what once happened.
21Externals don't throw me. I'm like a turtle. If I don't like the going, I just pull my head in.
22Success is just a drop in the bucket, a grain of sand on the beach.
23I never felt at home in Tennessee. I felt I'd been parachuted out at the wrong spot somehow.
24I've had some great parts, it's just that you're always looking for something that will take you in a different direction. People only see you in those boxes you've been most recently seen in. That way, they don't have to think or be creative.
25Everyone always wants to type you. With me, I started out as a vulnerable waif and for many years that's all anyone ever wanted me to play.
26As an actor, if there's a good role you can take it for the role's sake and not worry about the fact that the whole story doesn't seem to work. The actor won't get the blame for it. You'll do a good job and they'll say, 'The story stinks, but Sondra Locke was good in the part of whatever.' I look on acting as a great vacation now. You work a few weeks, get paid a lot of money and everyone pampers and takes care of you.
27No matter how big actors get, they always somehow think, 'Today is it -- tomorrow everybody's going to wake up and hate me.'
28In acting, you're subject to what everyone else does to you: the light someone else puts on you, the pace someone else sets for the scene, how someone else cuts you together, what they throw away and what they keep. Pretty soon you realize, 'This is great, but there must be something a little more.'


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