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FONDA: I was filming in Rome, and me and my then husband, the French director Roger Vadim, rented a very, very old castle outside of Rome. One afternoon, I looked out of the window and I saw John Philip Law lying in the grass out in the fields and this woman with dark hair and a lovely cotton dress blowing in the breeze. I thought, “Well, that’s interesting.” And I went downstairs to make dinner. I was making gazpacho and you came in. I couldn’t believe it. I was just gobsmacked. You took my hand and you said, “You have such beautiful hands.” I thought I was going to pass out. I thought you were the most beautiful woman I’d ever seen. So, I am honored to be interviewing you for Interview Magazine. BAEZ: I would like it to be a conversation, though, because you and I have so much to share. I remember looking at your hands and thinking or saying you had the tiniest wrists in the world. Do you have any recollection of that brilliant observation?
FONDA: God. I just remembered, I stayed in Hanoi in 1972 in the same hotel that you had stayed in previously. The first night I was there, there was an air raid because the war was still going on. They took me down to this bomb shelter in the basement, and then they told me, “When Joan Baez was in the bomb shelter, she sang for us.” BAEZ: Oh god, you tell them to go fuck themselves. FONDA: I was so jealous. I mean, to have a voice like yours, you don’t have to carry anything around. It’s just your gift that you could bring everywhere you go. I don’t think they said you even had a guitar or a ukulele.
FONDA: I was surprised when you talked in the documentary about being in your 50s when you realized that you weren’t gifted at intimacy in your relations, with men or women. You don’t mean sexual intimacy, right? What do you mean by that? BAEZ: Well, it boils down a lot of times to sexual. I skittered around it to the point where I couldn’t have a lasting relationship. So, in a way, you have to exclude the intimacy from the sexuality, because the intimacy means you care about the person, you’ll share in a way that I was unable to share. I needed to control the situation and I was incapable of having a really equal intimacy with somebody. In the film, I’m joking about being no good at intimacy with one person, but great with intimacy with 2,000, because you can’t be intimate with 2,000 people. FONDA: No. But it expresses the idea perfectly, and I think it’s true of so many people who have big audiences but have a hard time being intimate. I’m a little bit that way. I always blamed the people I was in relationship with. I can be intimate with girls, with women, but not with men, and I always thought it was their fault. BAEZ: Of course it was, but I admire you for bashing on through and marrying these guys and making lives with them.
BAEZ: By the way, I did not sleep with your ex-husband. FONDA: I know. Isn’t it interesting that he told me he slept with you? While I was in Hanoi, no less. BAEZ: I wouldn’t let that out, because I was so shocked by that. Anyway, under the bridge. Move on. Oh, I have a question for you. When you say you folded up shop or, I call it zipping myself up, do you still feel like a sexual individual, and desirable? FONDA: I have no desire to have sex and yet I dream about it a lot. I’m so glad I’m single. I’ve been with guys all my life, either married or almost married, and I’m just so glad that I live alone and I can do whatever I want. I like that feeling. Don’t you? BAEZ: I do, and I’m curious about myself and people’s responses to myself at my age. Am I still attractive? Am I still desirable? I don’t want to sleep with anybody, but I like to flirt and be flirted with, and I don’t know where that starts and ends.
op you left out the juicy juicy cliffhanger
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