But the studio found ways to make sure it wasn’t one-tenth of 1 percent of $110 million, that’s for sure. I did! After the movie was shot, and before it came out, he gave each of us one-tenth of 1 percent. I think the whole cost was around $850,000, and the return on its investment is $110 million. It was a packed house, and the thing took off like a rocket. In July 1973 we were going to the big screening at the Avco Theater, and they had the red carpet and the yellow hot rod. (Universal Pictures executives) were thinking it would go straight to the drive-ins, and that was their opinion of it, but the movie fooled them. It’s the hot-rodders favorite movie, that’s for sure. Unlike most blockbusters, director George Lucas’ American Graffiti was a relatively low-budget production. Then I went back to the casting office to tell them I wanted to do more extra work and that’s where I met (casting director and producer) Fred Roos, who cast me in my first film, Fat City (1972). I was in a crowd scene with about 200 people for the Dustin Hoffman movie Who Is Harry Kellerman and Why Is He Saying Those Terrible Things About Me (1971). I was modeling in New York City, and from there I wanted to work as a film extra. How did you transition from modeling to an acting career? Her resume runs the gamut from a very revealing turn alongside rock star David Bowie for The Man Who Fell to Earth, to her current gig as one of the few newbies who populate pay-cable Showtime’s summertime resurrection of David Lynch’s new Twin Peaks series.
The American Graffiti cast was studded with scene-stealers such as Richard Dreyfuss, yet Clark was the one who nabbed an Academy Award nomination for best supporting actress, and she attended the same year that a streaker crashed the ceremony.
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