In this unforgettable episode of Still Here Hollywood, Steve Kmetko welcomes Donna Pescow, the beloved actress who shot to fame as Annette in Saturday Night Fever alongside John Travolta and later won hearts in the hit TV series Angie. Donna opens up about her Brooklyn roots, her early days breaking into the business, and the unforgettable moment she first saw the trailer for the film that would change her life. She shares intimate stories of working with Travolta, her journey from stage to screen, and the whirlwind that followed the massive success of Saturday Night Fever. This episode is a must-listen for fans of classic cinema, 1970s pop culture, and anyone inspired by tales of talent, perseverance, and showbiz magic.
Steve Kmetko:
Yes, I'm Still Here Hollywood. And coming up on today's episode, what was your reaction when you first saw the film?
Donna Pescow:
I had just come back from an audition, and there was a theater that had this little kiosk kind of thing outside of it, and they would run the trailer, and it was a trailer for Saturday Night Fear, which I had never seen, and I was just sort of blown away. And then it was one of those--hey--are you her? You look like her. Are you her? And I said--yeah, and not sort of, and he went, that's her. This is her. And I got so freaked out, and I got so scared. I went, I have to go. And I just sort of went running back.
Steve Kmetko:
Is the rumor true that you had just worked on dropping your Brooklyn Eaves when all of a sudden you had to bring it back again?
Donna Pescow:
So, when I went into audition for this part, this wonderful casting director named Shirley Rich said I thought you were from Brooklyn. I said, I am. She said, well, you don't sound like it. I said, I don't. So, she said, go home to your family and live with them for a while, and then I'll call you back to meet the director. And so--you know--I call mom, can I? She says, oh, sure. Come on. We'll have coffee. It'll be fine. Yeah. Come on.
Steve Kmetko:
Are you still friendly with John?
Donna Pescow:
You know, John has always been, and will always be this incredibly lovely man. I mean, he's just—he's such a sweet, caring individual. And even though with all the success--you know--he's incredibly intelligent and, but he never takes on this--you know--too good for the room, too good for the--you know--he's really—he lives in the moment and he's stayed very much true to himself.
Steve Kmetko:
To many of you. This will sound like ancient history, like the pyramids or Elvis. But these three words, Saturday Night Fever, ruled the movie world in the late 1970s. It made John Travolta a movie star, instead of just Vinnie Barbarino. It made the Bee Gees pop icons, and it catapulted today's guest into dramatic actor history. This is Still Here Hollywood. I'm Steve Kmetko. Join me with today's guest actor from Saturday Night Fever and TV's Angie Donna Pescow. If you'd like to be more involved with us, it's Still Here Hollywood, you definitely can just visit patreon.com/StillHereHollywood. You can support us for as little as $3 a month. Then you can see who our upcoming guests will be and submit questions for them. You can even tell us what stars you want us to have on as guests. You'll also get exclusive behind the scenes info picks, video and more. Again, that's patreon.com/StillHereHollywood, thanks for coming in today.
Donna Pescow:
My pleasure.
Steve Kmetko:
I appreciate it. Our little set here.
Donna Pescow:
I'm happy to be here.
Steve Kmetko:
Still Here in Hollywood.
Donna Pescow:
Yeah.
Steve Kmetko:
We're happy you joined us. Tell me, you had just left school when you got the role in Saturday Night Fever, hadn't you?
Donna Pescow:
I was out of school for about a year. Not quite. Yeah.
Steve Kmetko:
How many auditions had you been on?
Donna Pescow:
This was the first film audition I ever did. I had done theater for the most part. In fact, I think this was the first on camera, anything I'd ever done. And this agent I had at the time was really brilliant in saying, ah, it's nothing, it's a little role, don't worry about it. You know, just, okay.
Steve Kmetko:
Well, it was kind of a small role in terms of the big picture, but you did things with it. You won a Golden Globe for that role, didn't you?
Donna Pescow:
I won the New York Film Critics.
Steve Kmetko:
New York Film Critics.
Donna Pescow:
Best Supporting. Yeah. But I think, you get some of, in your career, you get one of those opportunities where you can really stretch it all out and do what you've been wanting to do. And I was just so lucky to do it so early on. So, I wasn't as nervous because I didn't think about--you know--how well the film would do or what all of that would be like it was just a job. So lucky.
Steve Kmetko:
A good job.
Donna Pescow:
A very good job.
Steve Kmetko:
Were you surprised at what a huge hit it became?
Donna Pescow:
Oh, yeah. I think everyone was even the studio. I don't think anyone thought that it would be such--you know--lightning in a bottle and it just explode that way.
Steve Kmetko:
Can anybody explain it?
Donna Pescow:
I'm sure there are people that can explain it better than I can, but I think the film was very much of that era. You know, I think in the 70s there were more sort of gritty films, art films, films that had really sort of intense storylines. And then when they coupled that with the Bee Gees music--you know--it was just this incredible recipe for success. But I don't know whether anyone really expected it to be what it became.
Steve Kmetko:
I heard Leonard Maltin say not long ago, that every movie is a reflection of its time. And that certainly was. John had just kind of—John Travolta had just kind of come on the scene with welcome back, Kotter. He wasn't the huge star he became and still is. What was it like working with him in the beginning?
Donna Pescow:
Working with John was incredible. He was so generous with making everyone feel comfortable and not feel like they weren't equal in importance. And he set the tone, I think, and everyone was so much of a team player and everyone wanted it to be great, and everyone wanted it to be the best they could do it. And he did something that I always thought was so extraordinary. After every scene, after every take, he would always say, are you happy? Would you like another take? Or are you happy? And I was always so amazed that his concern was very genuine, that everyone really felt good about what they put out. You know, they're on film, so couldn't have been better.
Steve Kmetko:
I remember after a long, quite a while after Saturday Night Fever came out, I went to see John in Get Shorty.
Donna Pescow:
Yeah.
Steve Kmetko:
And he has that scene where he dances with Uma Thurman. Well, when he starts dancing, the audience went crazy. And I think it's Uma Thurman all because of Saturday Night Fever.
Donna Pescow:
Oh, absolutely. I mean, he was an extraordinary dancer. And he still is. You know, I did a commercial this past Christmas with him where he, Santa Claus, and they kind of was a Saturday night, they called it Holiday Night Fever. And it was kind of a fun thing. And he still has the moves. He really. It's amazing.
Steve Kmetko:
I guess it's not the kind of thing you lose.
Donna Pescow:
I think, it's so ingrained in people that dance, you know.
Steve Kmetko:
What kind of disco dancing did they have you do in terms of getting prepped for the role?
Donna Pescow:
I had never been to a disco. And before I was such a fish out of water. Before we started filming a lot of us went to the club, because it was an actual club, but John couldn't go because he was too recognizable. And kind of took it all in and on. I thought--wow--you know--these folks are really great, Dan—the kids--you know--were really great dancers, but they were so serious about it. This was not just whatever--you know--they really had routines set, and you could see rehearsed and really were very, very serious about how their image was perceived on that dance floor.
Steve Kmetko:
You've been in so many things, haven't you? Television, film, stage?
Donna Pescow:
Lucky. Yeah.
Steve Kmetko:
How have you maintained your career?
Donna Pescow:
Oh, I don't know. I think luck has a great part of it. I just think so much of it is being really in a good mental place and being available to do what is presented to you, and be excited about it. And I've just been so fortunate to be in so many good projects. And I think a lot of it has to do with just being on a roll. I mean, I've had down years--you know--where I sort of sit there and think, well, maybe dental hygienist is a good thing but I mean, it's a rollercoaster. You never know. But I've been really blessed and I think attitude is a lot of it.
Steve Kmetko:
Did you make the right choice of career?
Donna Pescow:
Oh, I didn't have a choice. No. No. I was such a hammy kid. I don't think if I would've been a doctor—I would've lost every patient. I don't—I just don't think I was cut out to do anything else.
Steve Kmetko:
You mean? Like, I'll be right back.
Donna Pescow:
Yeah. You know, I'd love to take out your appendix, but I have an audition, so I know.
Steve Kmetko:
You were raised in Brooklyn, right. And the character you played; Annette is from Brooklyn. Is it true, is the rumor true that you had to—you had just worked on dropping your Brooklyn Eaves when all of a sudden you had to bring it back again?
Donna Pescow:
It is true. It is. I went to the American Academy of Dramatic Arts and they have a very full curriculum. And you know, very much like a lot of conservatories. They have all aspects of getting you ready to do professional work. And they had speech class, and I remember he was a very sort of austere kind of teacher. And he said, if you have a regional accent, you will never work. I'm telling you now, you need to sound very, very much like you come from nowhere standard American speech. And so, all of the--you know--all of these kids, all of us who somewhere from Texas, somewhere from the south, some were from the East Coast, everybody had a regional accent. And we worked very hard to make sure we sounded like we came from nowhere. And I would habitually start to correct myself because I didn't—I thought it was never going to work. So, when I went into audition for this part—this wonderful casting director named Shirley Rich said I thought you were from Brooklyn. And I said, I am. She said, well, you don't sound like it. I said, I don't. And I was trying, but it seemed false because I was so confused at that point, what to sound like. So, she said, go home to your family and live with them for a while, and then I'll call you back to meet the director. And so, you know, I call mom--can I--she goes, oh, sure. Come on. We'll have coffee. It'll be fine. Yeah. Come on. You know, and then there we are. Although I think I was a little bit heavier with the accent that I did for Annette. It was a little bit more intense.
Steve Kmetko:
Did you have to work on losing it again?
Donna Pescow:
Not, not so much. I think I slip in and out of it, and now I think, I have to really make sure I don't go there, because when I'm comfortable I sort of go back into it a little bit--
Steve Kmetko:
Get comfortable.
Donna Pescow:
Okay, sure. No problem.
Steve Kmetko:
Tell me about Angie.
Donna Pescow:
Angie was such a sweet story. It was Cinderella, really. And Gary Marshall had a million shows on the air at the time. All these great--you know--happy days. Laverne and Shirley, I think Mark and Mindy. And we were all at Paramount, and we were all like one sound stage next to another. It was like sitcom college. It was kind of amazing. But Angie was--you know--again, this really lovely story that was not Silly Pie in the face, which I have total respect for Silly Pie in the face. But this was more of a--you know--a love story in a way. And one side of the tracks meets the other side and blue collar meets white collar and everything that people could relate to. So, it was very sweet.
Steve Kmetko:
What was your experience working with or for Mr. Marshall?
Donna Pescow:
Oh, I mean, it was just—it was a gift. He had such a—I know this is going to sound cliche, but he had a sense that all of his shows, people on his shows, it was like a family, and it wasn't something that you wanted to have to come to. He wanted you to want to be there. And so, it was just this lovely vibe all the time. And he hired the best people. So, the writing was great. The--pardon me--the production was great. And we had an amazing cast. So, it was really a pleasure.
Steve Kmetko:
He was so, I think, naturally funny.
Donna Pescow:
Oh, he pitched the show to me. And I mean, having Gary Marshall pitch a show is a show in itself. And I just—I kept pinching myself thinking, am I really here? Is this really happening? You know, because he was hilarious--you know--he said, this is a great show. You're going to, it's a girl. She meets a guy, and they have, he's very rich, and she doesn't, she's very blue collar. She doesn't know how to live in a rich world, and they get a maid. And the maid teaches her how to live there and how to act, and everybody gets along--you know--it's like hilarious.
Steve Kmetko:
I think he directed the movie Runaway. Oh, I know. He directed the movie Runaway Pride. And with Julia Roberts and Richard Gere, it was supposed to be kind of a distant sequel to Pretty Woman, but I remember going to a screening, it was at Paramount on a Saturday night, and the print was late. And so, he stood up before a theater full of people, and he just vamped for about 30, 45 minutes. He was hysterical.
Donna Pescow:
Incredible.
Steve Kmetko:
What talent he had? Great guy.
Donna Pescow:
And he loved what he did. So, that was part of what was so appealing—he really just, his heart and soul was so in it.
Steve Kmetko:
And his sister Penny?
Donna Pescow:
Brilliant.
Steve Kmetko:
Brilliant. And I think he directed a number of episodes of Laverne and Shirley, although I'm not positive—I didn't do my research on that part, but I just know he was a great guy.
Donna Pescow:
Oh, amazing. And again--you know--I've had this incredible run of luck with first time experiences. That was my first TV show. Saturday Night Fever was my first film and to experience the kind of production—the kind of artistic full-on scene in all of it. It was just amazing. I was so blessed and very spoiled very early on. So, I just assumed that's how it was going to be all the time.
Steve Kmetko:
Oh, contrare.
Donna Pescow:
On contrare.
Steve Kmetko:
How did Saturday Night Fever change your life?
Donna Pescow:
Oh, I went from leaving pictures and resumes to getting phone calls saying they want to set up a meeting with you and Dino Dees. And I thought, do you have the right number? You know, it was just there—it was a leap. It made a career happen. And I was really just blessed because I had no clue that, I mean, I knew this was unusual, and I knew that I was really in a world that I didn't quite understand yet. So, I was overwhelmed, I think a lot of the time. And when I look back on it now, I think of it differently. Because I realize just how spectacular at the time. I just kept going forward, thinking, all right, just get through it and it'll be fine. I was nervous all the time.
Steve Kmetko:
I've had experiences like that.
Donna Pescow:
Yeah.
Steve Kmetko:
Usually when I'm dating just get through it.
Donna Pescow:
That's it.
Steve Kmetko:
You had to do quite a bit in that movie. I mean, you ran the gamut of emotions. The backseat of a car. A member of your crew group that you were friendly with in the movie falls off the bridge and dies. I remember you particularly in that scene, because you had to get so emotional that it was very effective.
Donna Pescow:
Thank you.
Steve Kmetko:
Do you ever wish you could go back and experience it again?
Donna Pescow:
You know, that's a great question. I was so young and new to it all, and I had such good training. I had graduated from the academy, as I said, and then I worked with Lee Strasberg, and I had wonderful training. And I was so able to just immerse myself in the work and not think about all the exterior things, whether it'll be successful, what this will do for my career, will it make a lot of money? You know, all of that. None of that was in my thinking. Because I didn't know anything about it, and I didn't think to think about that. So, I was really so into the scenes and the character and what was going on within the film. I don't know if I could do that again, because I know too much now, and I'd worry about other things now. And you get not judgmental in a bad way, but you start to almost start thinking about what it's going to look like before you even done it. So, you're working on two different levels. One is like--what'll be--you know what--how should I do this? And how will it look on film? And what am I doing with the character? You know, where Saturday Night Fever, it was just acting. It was just about that, which was, I don't think there's anything better for an actor. Yeah.
Steve Kmetko:
When's the last time you saw it?
Donna Pescow:
You know, they--oh gosh--it's got to be at least 5 or 6 years ago. I mean, I've seen pieces of it--of course--but just to really watch the whole thing. They did a screening of it at Hollywood Forever. They have these--
Steve Kmetko:
Oh yeah, the cemetery.
Donna Pescow:
Yeah. Yes. And so, they asked me to speak and sort of introduce the film and my son, who was I guess 20 maybe, oh, no, wait a minute. He was younger. You know, he came to the—with my husband and we all, and this was the first time he'd seen this film on a big screen in its entirety. And that was exciting for me and scary for me all at the same time--you know--because of all these scenes we're discussing. So that's the last time I really saw it, where I was emotionally invested in it.
Steve Kmetko:
I saw it not too long ago. I don't know why, but I just called it up--you know--now with television, you can just speak into your remote control. And up it comes. It's, which I think is great. We never had that when we were younger.
Donna Pescow:
No. We had--well--we had one television and everybody had to decide who was going to get their choice of show
Steve Kmetko:
Yeah. And we had to make certain the antenna was in the right direction. And we had a little thing that you used that would rotate the antenna on the roof.
Donna Pescow:
Oh gosh. That's so funny.
Steve Kmetko:
Hey, and we were the last to get color tv.
Donna Pescow:
We were too. We were too.
Steve Kmetko:
Yeah. And we'll be right back. What was the whole audition process like for Saturday Night Fever?
Donna Pescow:
It was from what I remember—they gave us sides, which are just--you know--little pieces of the script, which made very little sense outside of having the whole script. But nobody is given the whole script at that point in your career, very rarely. And so, it was partially the material in the sides and a lot of improvisation and which I loved that actually made it better for me. So, they'd give you the first, by the way we had two different directors. Initially, John Abson was supposed to direct it, so I had a few auditions with him. And then when they switched directors and brought John Batam on, I had a few auditions with him. So, it was this interesting process where somewhere in the middle there was a pretty good time factor. So, I just assumed it wasn't happening. And again, because I didn't know anything about the movie, or, and I thought it was some little role—I kept thinking, why are they bringing me in so many times on this little sort of—I'm thinking it's like a walk-on or something. But anyway, so that was the process was--you know--for the most part, the sides and a lot of improv just to get—I think both directors really wanted it to be authentic, and that's what they were going for, to really make sure it was a believable character.
Steve Kmetko:
And then Gene Siskel came out and said, it's one of the best movies ever made.
Donna Pescow:
Isn't it extraordinary?
Steve Kmetko:
And he even bought John Travolta's suit at auction.
Donna Pescow:
He did. He did. Yeah.
Steve Kmetko:
That kind of help. Doesn't hurt?
Donna Pescow:
Does not hurt.
Steve Kmetko:
One of the biggest critics of the time. What was your reaction when you first saw the film?
Donna Pescow:
Wow.
Steve Kmetko:
You must have been nervous night.
Donna Pescow:
I away, I was blown away. I mean, there's a funny story where I was--you know--I think it took almost a year, I guess, from the time we finished till it was released or we're to it. And so, --you know--I'm back on auditioning for Broadway shows and whatever, and I was walking down Broadway and there was a theater. I had just come back from an audition and there was a theater that had this little kiosk kind of thing outside of it. And they would run the trailer, like there was a little TV monitor inside, and they'd run a trailer of an upcoming film. And there's a bunch of people standing around it. And I'm kind of thinking, oh, and I made my way into it, and it was a trailer for Saturday Night Fear, which I had never seen. And I was just sort of blown away. And I'm standing there, obviously people think she's a little bit over the top here, like, looking at all this. And then it was one of those, hey, are you her? You look like her. Are you her? And I said, yeah, and not sort of, and he went, it's her. This is her. And I got so freaked out and I got so scared, went I have to go. And I just sort of went running back. But it was very—it was very freaky. It was very, very weird.
Steve Kmetko:
Were you friends with Karen Gorney on the set?
Donna Pescow:
No. No. Not really. I mean, we were, when we'd be there at the same time, but it was very rare. Because we didn't have any scenes together.
Steve Kmetko:
Right. You played.
Donna Pescow:
Except for that dance scene--you know--obviously at the end.
Steve Kmetko:
And you were competing for the same man, kind of--
Donna Pescow:
Yeah. But you know, it's really funny because you could do a movie and never meet the other people that are in the film unless you have scenes together. And you know--of course--I had met her and we were able to get to know each other to some extent. But I think I got to know her more after the film.
Steve Kmetko:
Are you still friendly with John?
Donna Pescow:
Yeah. I mean, I don't see him very often, but that commercial that we did last year was sort of amazing because suddenly we're revisiting that whole world again. And that was kind of spectacular. And John has always been, and will always be this incredibly lovely man. I mean, he's just, he is such a sweet, caring individual. And even though with all the success--you know--he's incredibly intelligent and, but he never takes on this--you know--too good for the room, too good for the--you know--he's really--he's lives in the moment and he's stayed very much true to himself.
Steve Kmetko:
Oh, you've been married to your husband Arnold for a very long time.
Donna Pescow:
I know.
Steve Kmetko:
Tell me about that. The thinking--I'm trying to--the thinking is from the outside looking in that Hollywood is full of divorced people.
Donna Pescow:
Yeah, I know. And we're married let's see, it will be 38 years. And I think that's a golden anniversary in Hollywood. You know, I have to say with all of the luck I have had in my career—this is some of the luckiest stuff that ever happened to me, is meeting Arnold and having our son. And that keeps me more grounded and more in touch with reality than anything else. And I really am one of those people that I love to work, but I also love to go home. And I feel so fortunate that even though he and I have been married all this time, nobody makes me laugh more, nobody is better company. I can't—during COVID when everything was shut down. You know, I occasionally I'd say to him, gee--you know--it doesn't feel all that different. I mean, it does, of course, in terms of going out and seeing friends and all that. But I was happy to spend 24/7 and there'd be moments--you know-- we'd say--let's take a break. But for the most part it's still wonderful.
Steve Kmetko:
What does Arnold do?
Donna Pescow:
He was in advertising. He had his own agency, and he's a writer. So, he did a lot of very well-known copywriting in various times of his life until before he opened up his own agency. So, he had a real understanding of this world without being in the same field as me, which was a really good thing.
Steve Kmetko:
I would imagine it would be difficult to come home and having done the same thing both of you all day long, you need to get away.
Donna Pescow:
Yeah. You know, I think it's great to know what's going on in someone's work life and what it takes for them to do that and respect that. But that requires a lot of give and take. And it doesn't always work. You know, somehow, we lucked out-- you know--I mean, there's always hills and valleys, but--you know--I've always said, I'm better with him than I'd ever be without him.
Steve Kmetko:
Did you keep anything from the film?
Donna Pescow:
You know, again, hindsight, right. If I would've thought about it—I would've kept that little jacket because it was just such an iconic thing for that character. But no, I didn't—I kept the cross that she wore. If I can do it, I will always ask if I can take one little sum--you know--from each character. But no, I didn't take any of the, I mean, I'm sure all of that polyester is still alive somewhere.
Steve Kmetko:
Yep. Say, I think I missed it somehow. I don't know how, but I understand you were also in the finale of The Sopranos.
Donna Pescow:
Yes. Yes.
Steve Kmetko:
What was that like?
Donna Pescow:
That was extraordinary. I had watched that show religiously. I was so in love with that show and the characters and everything about it. And I kept thinking--can't they--can't they find something for me? Or is he's in there something I can audition for? And it was just one of those things where--you know--it didn't happen until the very last episode. And it was amazing. That was the—obviously the show's last production. So, it was very emotional for the people that were on that show. And I kind of felt somewhat intrusive because it was such a deep thing for when they would do their last scene and they would leave and everybody would sort of surround them. And as the actors kind of left, if this was their last scene--you know--the ad would say, and this is so-and-so's last, and they'd applaud and cry. And I just--it was really amazing to be a part of that. The other side of the, David Chase was the director of the last episode, so--you know--can't get better than that. And it was just this incredible thing. And I think it was the first time for me. I was in such awe of what was going on. I had to stop myself from being a real fan girl and just get into it because oh my God, here, it's a sopranos apartment. This is their living room. And oh, there's Carmella and there's Tony. You know, I became fan girl, and I had to just sort of talk myself down, you know.
Steve Kmetko:
Don't jump.
Donna Pescow:
That's it.
Steve Kmetko:
Edie Falco.
Donna Pescow:
Ugh. Unbelievable.
Steve Kmetko:
Nurse Jackie. I love that show.
Donna Pescow:
Fabulous. Yeah. Yeah.
Steve Kmetko:
And she's a good actress.
Donna Pescow:
Oh, she's amazing. And she was so lovely. She was just so lovely. And Jim mean, everyone was really, and this was their last episode, and I just knew what that must have felt like. And they really extended themselves. It was.
Steve Kmetko:
Kind of like the Mary Tyler Moore show where they all walk out.
Donna Pescow:
Yes.
Steve Kmetko:
Hugging each other.
Donna Pescow:
That's s true. That's so true.
Steve Kmetko:
What would you tell your younger self about Hollywood?
Donna Pescow:
It changes daily. Life changes daily. Your status changes. That was the hardest thing for me to understand. Because I was really—I was like 22 when I made that move. I was really--you know--so I had no life experience to base anything on. And I think when you're young and something enormous hits--you know--you have a couple of paths that you can take. One is you get too full of yourself and you sort of become a bit of an and you ruin your career. Or you listen to advice that is not great. And that could hurt you. I was really lucky that I had very good people taking care of me in that sense. But I didn't—I think it was hard for me almost after I became well known, because then when things--you know--sort of lighten up--you're not getting the kind of work or the offers you think—you don't know how to deal with it. You have nothing to base it on. So, I know that sounds really nut, but I think I would tell myself to just take it as it comes and don't expect things to have order that you need order in your life and in your personal life. And then you, I think you can handle the craziness of the career better.
Steve Kmetko:
But the Hollywood mindset is that always in the back of your mind? At least when I was living out here, even just doing TV—just TV—I always thought--you know-- there's a competition going on. There's always someone out there who wants your job.
Donna Pescow:
That's true. And I think it's also flavor of the month, things change. It's age. You know, I'm not—there are not as many roles for me now that there were then. And it's so unpredictable and people are unpredictable and the way they behave is unpredictable. And one of the smartest things someone ever told me was, don't assume--you know--how a person is going to behave until you spend a little time with them. Don't assume they're in the same mindset you are. You know, because that's, I think, in life, that's a great piece of advice because you just assume people are going to think like you think, and then when they don't or they don't behave the same way—you're so blown away by it that it paralyzes you.
Steve Kmetko:
It's hard to regain your footing.
Donna Pescow:
Yeah. Yeah. So, that's a life lesson.
Steve Kmetko:
The movie was also a big boost to the careers of the Bee Gees. Do you have a favorite song from the soundtrack?
Donna Pescow:
Wow. I always think of that soundtrack really as another character in the film.
Steve Kmetko:
It was.
Donna Pescow:
I loved them all. I think the Yvonne Elliman song, if I Can't Have You Really Was more sort of Annette's song. But all in all, I think every one of those songs were so great. I mean, I still hear staying Alive on the radio on a pretty regular basis, which is amazing. And at my age, I have a whole new feeling about that song. But I think my favorite song of all—maybe How Deep Is Your Love? That's a beautiful song.
Steve Kmetko:
I agree. Do you have a favorite TV show these days?
Donna Pescow:
Oh, boy. With the 8,000 shows that are out there now—wow—I love the Bayer. I love that's--you know--it's like now I'm--I've got 30,000 titles going through my—I love the limited series. I was crazy about Ripley when they did the Townsman.
Steve Kmetko:
Oh, yes.
Donna Pescow:
That was just brilliant. I love when they take another stab at something that was great, and try and sort of revisualize it. I think television, generally speaking now is better than it's ever been. Because you're getting some of the best artists writing, directing, acting to now do limited series so they have more time to really--you know--do a storyline and really push the envelope.
Steve Kmetko:
Would you do TV again?
Donna Pescow:
Oh, yeah. I'd love to. I mean, I still do. I still--you know--put my put my name out there. But I wouldn't do something I didn't like. That's there's the luxury, that's success to me. If you can say no to something that you just don't feel like you really want to do for whatever reason and you can actually--you know--say I'm okay without that check right now. I can--I don't want to do that. That's success. So, I'm trying to pick out shows I really, really like to do. I did a g Grey's Anatomy last year. And again, that was fun because I've been watching that show for years. And they offered me a lovely role, so I thought I'll have fun. You know, that's, it's just, it's a gift--you know--I take nothing for granted.
Steve Kmetko:
What do you do for fun these days?
Donna Pescow:
This. I have pod to go to podcasts. Fun. We travel a little, we--you know--just go to shows, go to concerts, whatever--you know--comes along. I don't have a major hobby because I've always thought of my work as the big--you know--brass ring at the end of it. So, I don't know. I'm just sort of having fun on all of it with both sides of it. Personal, professional.
Steve Kmetko:
Not many people can say that.
Donna Pescow:
No, I'm very lucky. I'm very lucky.
Steve Kmetko:
In your career, what was the most challenging event for you?
Donna Pescow:
Ooh. Challenging. In terms of a role or in terms of, of, I mean--
Steve Kmetko:
It's dealer's choice.
Donna Pescow:
Yeah. Well, I guess the most challenging personally for me in my career is accepting the fact that I am not going to work--you know--unless I'm doing another series—I'm not going to work 12 months a year--you know--or a lot—I'm going to do more sporadic work. And that's hard at times. Because you want to do what you love. So, that's a big challenge. You know, the other thing I think is deciding if you want to make a big change--you know—sometimes Arnold and I will say, it'd be nice to move maybe to you someplace that has a, you a beautiful forest or a beautiful beach or something, and just say goodbye to all of the stress and whatever. And we say, yeah, it's great. And then it goes away.
Steve Kmetko:
It passes.
Donna Pescow:
It does.
Steve Kmetko:
Is it true you played the first lesbian on soap opera?
Donna Pescow:
I did. I did. I had just finished Angie and the producer and the casting director of all my children who I knew called and said, listen, we're finally getting permission to do a storyline. And it was an a, b, c show and say they'd like to get someone who--you know--not only could, you know, do the role, but who's a little more well-known and kinder of make it a little bit of a big guest part. And I'm listening to this and I'm thinking--okay--what, tell me about, and they started talking about it, and I was so blown away. I said, oh my God, what an opportunity. I mean, yes, I'd love to. And I mean, to break that ceiling. I mean, that's extraordinary. And I have to say, if there is a role that was the most rewarding for me, in a sense that it touched people and it changed the conception of--you know--just a stereotype, you know that it opened it up to reality. That would be the role. I would just read this mail from people who felt that they were represented--you know--realistically. And they were no longer this closeted element of a person that couldn't be represented at all. And it just sort of opened the doors to wonderful opportunities for the gay community to be represented in a real way. And I just was so grateful to have that opportunity. And it was I think we did it over 6 weeks, but it aired for a longer period of time. I can't remember exactly, but it was just extraordinary to be a part of that.
Steve Kmetko:
Well, it wasn't all that long ago that we were non-existent.
Donna Pescow:
Insane, insane--you know--and being in this industry--you know--you forget that because people are for the most part themselves and they don't have to feel like they can't be themselves in any way and worry. I mean, there was certainly an issue with people that were afraid it would affect their career or whatever. But I had no—I guess understanding of how much suffering was going on with people not being able to live who they were. And you know, really talking to people prior to doing the role. And then after doing the role—I was just a horrible time, you know. And then of course there was the whole--you know--aids situation going on and everything. And, you know, this was my little opportunity to have a voice in it all. So, I was grateful and still am, you know.
Steve Kmetko:
One last thing, Donna.
Donna Pescow:
Okay.
Steve Kmetko:
I hope our paths cross again.
Donna Pescow:
Me too.
Steve Kmetko:
Thank you very much. This was delightful.
Donna Pescow:
I thank you. This was great.
Steve Kmetko:
Still Here Hollywood is a production of the Still Here Network, all things technical run by Justin Zangerle. Theme music by Brian Sanyshin and executive producer is Jim Lichtenstein.