Stephan Elliott Honors Terence Stamp Icon of British Cinema
Stephan Elliott honors Terence Stamp icon of British cinema, in an emotional tribute after the actor’s death at 87. The film world mourns the loss of Stamp, whose compelling gaze, powerful presence, and daring choice of roles defined a six-decade career spanning from the Swinging Sixties in London to Hollywood blockbusters and cult classics.
Among the tributes paid is Australian film director Stephan Elliott, who worked with Stamp on The Adventures of Priscilla, Queen of the Desert (1994). Close to the actor for more than 30 years, Elliott recalled a man both mysterious and very human — an icon who could fill a room with a look but one also beset by doubts about himself.
The First Encounter: A Childhood Memory
Elliott’s earliest memory of Stamp is not face-to-face but on the big screen. A child, then, he had watched William Wyler’s The Collector (1965), a psychological thriller that disturbed him.
“It scared me,” Elliott admitted. “Terence’s eyes were incredible. You may not even notice it in his early films, but in life — when those eyes would flash — he could fill a room.”
That was no legend. Stamp himself would tease that, during days of eight hours or more of shooting for Superman II (1980), he amused himself by sitting still and glaring at people until they froze. “He said he could silence a whole restaurant with a glance,” Elliott remembered. “And I saw him do it — it was awesome.”
Fear and Courage: Taking on Bernadette
When Elliott began casting Priscilla, Queen of the Desert, it was taboo to play Bernadette, a trans woman. The early 1990s were still in the shadow of the HIV/AIDS epidemic, and mainstream actors would not play LGBTQ+ roles.
“We went to many actors and they all rejected us,” said Elliott. “Terence was always our number one choice, but we believed that he would never accept.”
At first, they were right — Stamp declined. But then his agent persuaded him to reconsider. “You’re bored, you’ve done superhero movies. Why not do something completely different?” the agent suggested.
What followed was one of the bravest moves of Stamp’s life. Despite being voted among the world’s most handsome men, he embraced playing Bernadette. “He told me he was terrified,” said Elliott. “He said, ‘I am supposed to be one of the good-looking guys alive, and here I am all dressed up like an old dog.'” But the fear gave depth to his performance.
Stamp refused to look in mirrors on set and never watched daily footage of his scenes. “He said, ‘If I’m committing, I’m committing all the way.’ That’s what made Bernadette unforgettable.”
Friendship Behind the Scenes
By the end of filming, Stamp had overcome his doubts, and Priscilla became a turning point in his later career. For Elliott, it also marked the start of a deep friendship.
“Terence was a quiet type of fellow, but we got along fine over the years,” Elliott said. “He had sides — the urbane film star one way and the hard-boiled East End working-class boy the other. When you penetrated his shell, he was appallingly funny and very blasphemous at times. I loved that about him.”
Stamp used to joke — and sometimes complain — that everyone only ever asked about two productions: Superman and Priscilla.
“He’d say, ‘I worked harder than ever on Far From the Madding Crowd (1967), and nobody recalls it. But where I go, all they discuss is Priscilla and Superman.’ Then he’d roll his eyes as I giggled.”
The Shadow of a Sequel
Elliott revealed the news that Stamp had agreed to return for a sequel to Priscilla, which was years in the planning stages, with serious production in the works now.
“He’d say to me sometimes, ‘If it feels like it’s too samey, I don’t care. But if it feels new and risky, I’ll do it.’ That worked on Priscilla, and that’s why he was prepared to do a sequel,” Elliott said.
Although the fate of the sequel is now in doubt, Stamp’s readiness was evidence, according to the director, of his restless creative nature.
A Storied Career
Born in 1938 in London’s East End, Terence Stamp was an overnight sensation in the 1960s as Britain’s most prominent figure of New Wave cinema. He worked with some of the era’s most renowned directors, including Federico Fellini, Michelangelo Antonioni, and Pier Paolo Pasolini. His brooding good looks and his charismatic screen presence made him the natural choice for troubled, often macabre roles.
His performances in films such as Billy Budd (1962), for which he was nominated for an Academy Award, and Far From the Madding Crowd (1967) made him a star leading man. Subsequently, portraying General Zod in Superman (1978) and Superman II (1980) introduced him to a new generation of viewers.
Elliott pointed out that Stamp never chased fame for its own sake. “He told me, ‘I just drifted from one project to another. If someone had something interesting, I’d do it. That’s the way it’s always been.’”
The Man Behind the Mystery
Despite decades as a public figure, Stamp was still a bit of a mystery. Private and reclusive, he would spend many years away from the spotlight, but when he emerged, he had eyes glued to him immediately.
“Those eyes would melt everybody into jelly,” said Elliott. “He was a fantastic man — half movie star, half philosopher, half trouble-maker. And he’s not done yet. His films, his acting, his reputation — they will go on talking for him.”
Further Reading & Resources
