
People forget now, but Daryl Hannah didn’t enter Hollywood like a star, she entered it like a ghost, a girl who almost never spoke above a whisper and carried a loneliness most people couldn’t see. Her directors later said she was “otherworldly,” but in the early ’80s that quality terrified casting agents. She was too shy, too ethereal, too intense. Nobody knew what to do with her.
Until one night in 1983, when she walked into an audition for Splash and changed her entire future without saying a single word.
The room was crowded with studio executives who expected a blonde bombshell, a bubbly, flirtatious “movie mermaid.” Hannah instead walked in barefoot, her hair still wet from having dunked her head in the sink minutes before, water dripping down her shoulders. She didn’t greet anyone. She didn’t smile. She simply crossed the room, sat down, and stared at them with a kind of wounded innocence that was impossible to ignore.
Then she performed the scene.
She didn’t read the lines.
She created them.
She made little sounds instead of speaking. She moved like someone who had never lived on land before. She touched objects with curiosity, tilting her head like a creature learning the world for the first time. The room went silent. When she finished, Ron Howard whispered, “That’s it. That’s her. She doesn’t need dialogue. She’s the mermaid.”
But the real story, the one people in Hollywood still whisper, is what happened on the first day of underwater filming.
They strapped Hannah into a tail that was so tight she couldn’t bend her knees. She was lowered into a twenty-foot tank. Most actors would panic. She didn’t. She took one breath, slipped under the surface… and didn’t come back up.
Thirty seconds passed.
A minute.
Almost two.
A diver was about to jump in when she finally rose with a serene smile. Howard yelled, “Daryl, you scared us to death!” And she calmly replied, “It’s peaceful down there.” Only later did the crew learn she had been a competitive swimmer since childhood and could hold her breath for nearly three minutes.
That moment became legend: the actress who played a mermaid because, in some strange way, she actually was one.
But her life wasn’t a fairy tale.
Behind the soft voice and the luminous eyes, Hannah carried the weight of lifelong autism — undiagnosed throughout her childhood, misunderstood for decades. She avoided red carpets because flashes overwhelmed her. She hid in trailers between takes to calm her senses. Some directors found her “difficult,” not realizing she was simply struggling to exist in an environment built on noise, crowds, and scrutiny.
What she lacked in social ease, she poured into her work.
Her role in Blade Runner didn’t come from training, it came from instinct. She practiced Pris’s acrobatic movements alone in her apartment, teaching herself to flip backwards off furniture, bruising her arms until they turned purple. Ridley Scott never asked her to do that. She did it because she believed Pris wasn’t just a replicant, she was a survivor.
Then came Roxanne, Steel Magnolias, Kill Bill, each role inhabited with that rare mixture of delicacy and danger.
But here’s the thing most people don’t know:
At the height of her fame, Daryl Hannah quietly stepped away from Hollywood.
Producers assumed she was being “difficult,” “selective,” or “eccentric.” In truth, she was battling exhaustion, sensory overload, and a world that demanded she be louder, brasher, more social, everything she wasn’t.
She found refuge in environmental activism, in nature, in stillness. She literally lived in tree canopies to protect forests. She was arrested while fighting to preserve farmland in L.A. She traveled with Greenpeace. She chose purpose over applause.
And decades later, when she reappeared onscreen, older and calmer and unapologetically herself, audiences realized something:
Daryl Hannah didn’t disappear.
She simply stopped performing off-camera.
Her story isn’t about a mermaid or a replicant or a runaway bride.
It’s about a woman who survived Hollywood by refusing to become anything but exactly who she is.
Quiet.
Brilliant.
Singular.
Unmistakably Daryl Hannah.
She’s in Northfork, too, that for some reason nobody ever mentions. She plays a bald angel. The wig makes her scalp itch and she reaches under with her finger and scritches at it (skritch-skritch-skritch). The movie is about a dam going up in 1955 that will drown the town of Northfork, so government men are sent to remove the people who live there, who don’t want to leave. One thing I particularly remember about it was these giant weird spindly-tall ragged quadruped puppet animals that you’d see wandering around way off in the distance. Here’s the trailer, which shows the animals for a moment: https://www.youtube.com/watch?v=b4D_41dmCII
My favorite part in Splash is where they’re sneaking into the government marine lab to rescue the mermaid, and they have to get past a guard. They hit the guard in the head with a wrench, obviously expecting him to just crumple asleep the way people do in shows when they get hit in the head, but he does what people really do instead: He puts his hand on the injury and wails, “OW! Why did you DO that!”
Northfork was brilliant. One of my favourites, along with the original Blade Runner.
This story conflicts from what is on her IMDB page.
For instance, her shyness caused her to be tested and found to be borderline autistic. And she has agoraphobia but hid it thinking it would sink her acting career.
Still a great actress.
A lovely story about a lovely person. I had no idea she was neurodivergent, more power to her. ND women rule!