Debbie Reynolds dies one day after daughter Carrie Fisher passes away

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      The 84-year-old screen legend who costarred with Gene Kelly in Singin' in the Rain has passed away.

      Debbie Reynolds died in a Los Angeles hospital one day after her daughter, Star Wars actor Carrie Fisher, died at the age of 60.

      Reynolds was having breathing problems, according to the Los Angeles Times, when paramedics arrived at the home of her son Todd around 1 p.m.

      Todd Fisher told the media that his mother died after suffering a stroke.

      Reynolds also starred in The Unsinkable Molly Brown, How the West Was Won, The Singing Nun, Divorce American Style, and many other films.

      This afternoon, her daughter Joely tweeted "God speed mama".

      Reynolds was married to singer Eddie Fisher, who left her for her friend Elizabeth Taylor in 1959.

      In a 1997 interview with Georgia Straight publisher Dan McLeod, Reynolds said that she was then doing six shows a week in a 500-seat theatre at her Debbie Reynolds Casino and Hollywood Movie Museum in Las Vegas.

      There she would entertain audiences with her impressions of famous actors like Bette Davis, Barbra Streisand, and Zsa Zsa Gabor.

      "I'm a lot of a cut-up," Reynolds said at the time. "Life is very precious to me. I'm 64 now, and I like to have fun. Just because you get older doesn't mean you have fun."

      The interview was conducted in advance of the release of Mother, a critically acclaimed film directed by Albert Brooks about a mother-son relationship. It was Reynolds's first major movie role in 25 years and it resulted in a Golden Satellite Award for best performance by an actress in a supporting role in a motion picture. She was also nominated for a Golden Globe.

      "I knew Albert as my daughter's [Carrie Fisher's] date, when they were in their 20s," Reynolds said. "I didn't know Albert as an entertainer, but he was always very funny. But on this movie, we were dead serious. We had to work so hard, because this was a really important film for Albert. He says it was very cathartic for him, because he feels a lot of his own mother in it."

      One scene involved Reynolds, playing the mother Beatrice Henderson, telling her son, played by Brooks, that she has a date.

      "The son is so shocked that his mother might hold hands or sit next to a man, much less anything else. So my favourite line is when Albert wrote 'Well dear, we're not having anything special, we're not intimate. We just have sex occasionally.' Such a funny line because she didn't say any bad word or anything that anyone would take offense to."

      The Motion Picture Assocation of America had earlier ordered the studio, Paramount, remove a line from the trailer about crotchless panties.

      "I'm not sure I saw those panties, but I think I might go back and check them out," Reynolds quipped. "I just don't know what I'd use them for. It's not that I've forgotten how—I've forgotten why."

      She also revealed that Carrie Fisher had called to tell her how proud she was of her mother's "wonderful" performance.

      "The picture looks simple, but it really wasn't easy," Reynolds said. "It was hard to pull so far down to be so real, and keep it simple and not try to be funny. I had to just lose me totally. And there was so much memorization because Albert really writes a lot of dialogue."

      This shoot was particularly challlenging because Brooks liked using a handheld camera and shooting long 12-minute scenes without any editing. Brooks also didn't want a single word changed. "He was very exacting," Reynolds recalled.

      In that interview, she said that she couldn't perform in films for so many years because she was busy raising five children and she had to earn a living.

      "It just didn't work out in my life that I could remain in Hollywood and sit at home and wait for some agent to call me with a job," she said.

      She also stated that had she remained in Hollywood, she thinks she would have gone on to producing and directing films. That's because she loved cinematography and editing so much, even studying these areas at MGM in the 1950s and 1960s.

      "It's very different now, because now they have the little TV monitor that they watch," she noted. "And they say 'it's fabulous' because they can really tell if the scene is any good or not. In my day, the director watched the scene and to me that should still be. But everyone uses that monitor now. They're glued to it. If I were a director, I wouldn't use it. I would use it just as a reference to how the set looks and how the overall picture looks. But as far as the scene and the emotion, I would absolutely have to watch it live."