Short film Bonnie and Clyde:End of the Line, starring Dixie Lee Sedgwick as Bonnie Parker and Dominic Comperatore as Clyde Barrow, was written and produced by Sedgwick, who is currently working to expand the project into a feature-length film. 

By Deborah Ground Buckner 

A screening of the short film Bonnie and Clyde:  End of the Line was a highlight of the Red Crown Symposium.  Starring Dixie Lee Sedgwick as Bonnie Parker and Dominic Comperatore as Clyde Barrow, the film was directed by Elaine Zicree and written and produced by Sedgwick.   This is a haunting film, stripping away the glamor and cocky confidence of the duo as portrayed by Warren Beatty and Faye Dunaway in Arthur Penn's classic Bonnie and Clyde.  Instead, Clyde, alert and tense at the slightest sound, shelters a wounded Bonnie in an abandoned barn.  The isolation and loneliness of the life of this criminal couple is vividly communicated.  They cling to each other emotionally, Bonnie wistfully speaking of the life of peace, raising a family together that she knows they will never have, Clyde recalling the demoralizing brutality he suffered in prison and his yearning to return and set every inmate free so they will not have to become what he is.   Dixie Lee Sedgwick (www.dixieleesedgwick.com) is currently working to expand the project into a feature-length film.  Intrigued, I went searching for her and had an opportunity to discuss her career and our mutual interest in Bonnie Parker and Clyde Barrow. 

1. When did you first realize you wanted to act?  

Performing was something I loved, and it started with gymnastics. I trained as an all-around gymnast.  Later, I became the lead singer in a high school garage rock band.  Much to my mothers chagrin, I decided to finish my last semester of high school at an alternative school.  It was there a teacher asked me to be in his drama class and star in his play.

2. Tell about your training.

I participated in classes and workshops for film and television taught by industry professionals.   I was cast in a variety of theatrical productions.  I attended the American Academy of Dramatic Arts in Pasadena, CAL then later The University of Washington extended course on screen-writing and acting.  There, I had a rare opportunity to study with screenwriter Stewart Stern (Rebel Without a Cause) and Larry Silverburg. 

3. What advice would you give to those beginning a career? 

Be specific about what you want.  Is it a career in film, television, theatre, commercials?  They each are a different animal and must be handled accordingly.  If there is anything else you’d like to do I suggest you do that.  The entertainment industry is THE most competitive industry there is and you must be very flexible and willing to sacrifice your time, money, resources, family, privacy.   Very few actors are continuously working. You must repeatedly be able to reinvent yourself and have the ability to bounce back.  There are ebbs and flows, high and lows.  You must have a very strong sense of self and not allow yourself to be sucked in by the positives or negatives.  Your self worth cannot be based on performance.  There will be seasons in your career when it’s a desert-- and this is normal--but when in the midst of it, that can be very discouraging.  So have other things in your life that satisfy and find ways to give back to the community outside the biz.  It will enrich you and make you a more interesting person.

4. How many projects have you been involved in as a writer?   

A few. I worked for a production house in Seattle, Early Autumn Pictures, as an in-house writer and casting assistant.  They had me writing commercials, dramatic vignettes and then a short film.

5. How did your interest in Bonnie Parker and Clyde Barrow begin?  

I went to a meeting to drop off a pilot script I had written to present to another producer.  I was invited to stay and sat next to Joe Black, who, at that time, was the assistant Dallas Fort Worth Film Commissioner.  We had a conversation about the kinds of work available to actresses, and he impressed upon me to look into writing a one- woman play about Bonnie Parker. I was very skeptical, but intrigued by what he said:  “There’s a market for it, and the film commission gets calls weekly concerning Bonnie and Clyde from all over the world.”  I knew nothing about the notorious couple other than the movie (the Warren Beatty/Faye Dunaway film), and it never struck me on any profound level, but I was surprised by Joe’s words. Having worked in this industry and being exposed to all kinds of roles, I wanted more control over prospective projects. I spent months reading and journaling and practically living in the Dallas downtown library archives.  To put it lightly, I was sold out and completely committed to the true story and felt very strongly that Bonnie's journey must be told.   

6. Did the subject first appeal to you as an actor or as a writer? 

For me, it’s about the overall story:  The downward spiral of Bonnie Parker and Clyde Barrow.   The task ahead, writing a one-woman show and performing it was daunting and very ambitious for any actress.  Up to this point, I had never really considered myself a true writer.

7. What has been the greatest challenge in researching Bonnie and Clyde?  

The lies. I have sifted through many, many books to find out there are only a few written that were faithful to the truth and tell the story without a personal agenda or media hype.   

8. What has been the most rewarding?  

Meeting so many wonderful, interesting people such as the Barrow/Parker families-- including Rhea Leen Linder (niece of Bonnie Parker) and Buddy Barrow (nephew of Clyde and Buck Barrow)-- and the many historians and authors who have answered hundreds of questions patiently.  I've enjoyed traveling and performing the play in the different towns where Bonnie and Clyde hid out and hung out. Of course, running the show Off Broadway was the epitome and a dream come true.  That was the highlight for me as an actress and writer.    

9. If readers want to learn more about the subject, where would you suggest they begin? 

Begin by considering the source and whether the author has done any deep investigation.  It was important for me to research every angle:  The families, the cops, the victims, the other gang members, the newspapers and magazine articles.  In my opinion, John Neal Phillips (Running with Bonnie and Clyde:  The Ten Fast Years of Ralph Fults; My Life with Bonnie and Clyde by Blanche Caldwell Barrow, edited by Phillips)  is the modern day expert, and I highly recommend all his books. Further, Jim Knight and Jonathan Davis' new book (Bonnie and Clyde:  A Twenty-first Century Update), Pat McConnel (Over the Wall: The Man Behind the 1934 Death House Escape) too.  Then, of course, Fugitives is a must read, written by Bonnie’s mom, Emma Parker, and Clydes sister, Nell Barrow Cowan.  But start with Phillips, that book is the foundation. I do have others listed on my site for further reading. Go to:www.bonnieandclydeendoftheline.com  and click on the reading list tab at the top of the page.

10. Your one-woman play based on Bonnie Parker's life has won critical acclaim. Why was it important to you to tell Bonnie's story?

Because Bonnie’s story is similar to many women.  She was a caretaker, co-dependent, and it is this misconception: I can help him, I can change him, if I stay he will change.  I can sooth his wounded soul.  (Sister, it just isn’t going to happen.)  Bonnie had so much potential in her young life and had many accomplishments, and yet, these did not meet that deep need for attention and approval that she craved.  Bonnie believed she could get out at any time, but there is a point of no return where she is trapped and gives in to Clyde’s death wish. 

11. What do you find easiest and most frustrating in performing alone on stage?

Shedding of myself at the beginning of the journey was fearsome, because her journey is so disturbing and terrible.  The first time I performed the piece, I was absolutely petrified.  What made performing this piece easer was to remind myself it’s about Bonnie, tell her story.  That belief pushed me way beyond my comfort zones as an actress, and I realized that when all barriers are dropped and there is complete truth to the character, there is no fear of any thing or anyone.  It didn’t matter if the NY Times Theatre critic was in the audience or a manager or a CBS scout or my mother.  I am so into what is going on with my character and her passage I’m not concerned about whether the audience is with me or not.  I realized immediately that if I’m there, they (the audience) will follow.  During performances, you can hear a pin drop, dead silence and sometimes I’d wonder if they were sleeping or sneaked out or if they cared.  What I found is the audience is into her just as deeply as I am; it’s very intense, everyone is thinking and caught up in her struggle.  The hardest aspect was finding the humor to give the audience a break.   The frustrations have been performing in a space where the theatre isn’t exactly sound proof and I’d find myself competing with a band across the street or choir practice down the hall in a smaller theatre,  or at a dinner theatre in a couple of restaurants, the clanging of dishes--things I have no control over.  But what I do have control over is myself and my performance, so in these type of situations I’d become more intense and pull the audience in even closer. It was excellent training dealing with these challenges.  I’ve worked with actors that can’t handle distractions well and that is not a good thing, you must have that laser-eyed focus and allow nothing to get in your way, not a cough, or talking or music or anything.  Take control of the room and keep your wits about you. 

12. You have mentioned that the play has evolved as you have learned new information. Are you still engaged in learning, or do you believe you have “found the answers” to Bonnie now?

We will never know all the specifics, but I believe it’s important to keep an open mind and, if new information arises, to examine it and see if it holds any water. I’m still learning.  But as far as the film is concerned, I have grounded physiological determinations about this couple that must be explored on film.

13. You present a complex Bonnie Parker, a bright, extroverted girl, a good student, a writer, who also happened to be a lead member in one of America's most notorious criminal gangs. How have your audiences reacted to seeing all these different sides of Bonnie? 

Very favorably.  People have been unusually surprised and touched by her journey.  My director would have me leave my safe dressing room and go out and shake the hands of the attendees.  This was very intimidating initially, but over time I looked forward to talking with people after the show.  The response was always the same, “I never knew that, excellent.” After a preview performance in New York, two men were sitting on the front row, and after the show I spoke with them.  These big men told me they couldn’t stop crying in the last act. We are all multidimensional creatures, and audiences appreciate all the colors and layers of this character.

14. You are currently working on a feature-length film about Bonnie and Clyde, wearing the multiple hats of writer, producer and actor. What are the biggest challenges you are facing?

Right now, finishing the script and acquiring all the financing necessary to shoot on film.  I do not anticipate starring in the feature.  I have some A list actresses in mind for the role. 

15. The film began as a short, Bonnie & Clyde—End of the Line. Telling a story in a short format is a special process in and of itself.  How difficult is it to expand the idea into a feature-length film?

I am very familiar with these characters and their journey.  However the most difficult aspect is what to cut and what to keep so the story is streamlined, lean and clear without any rabbit trails.

16. Undoubtedly, any film about Bonnie and Clyde will be compared to the Warren Beatty/Faye Dunaway film. Realizing you are still in development and may not be able to go into great detail, why did you want to address the subject on film again? 

I was surprised to discover how many films have been produced. The classic film was never meant to be an historical account;  it attests more to the zeitgeist of the late 1960's, of violent public rebellion. It doesn’t reveal anything about the actual people involved.  I have found the facts to be much more interesting and revelatory.  My take on these characters is a completely different perspective than the classic film “Bonnie and Clyde.”  Otherwise, you’re right, why produce another Bonnie and Clyde film if it goes where the others have gone before.

17. What impression of Clyde Barrow and Bonnie Parker would you like people to draw from your work? 

My director, Elaine Zicree, of the short film has said it best; “In days when banks could steal a man's farm and legally machine-gun down laborers for asking a living wage, the line between Good Guys and Bad was far less clear.  And, in my book, the dignity, the courage behind the struggle to do one's best (win or lose) is always a story worth the telling.”