Some context: Spacek was born on December 25, 1949, in Quitman, Texas, the daughter of Virginia Frances (nee Spilman; December 18, 1917 - November 10, 1981) and Edwin Arnold Spacek Sr. (July 3, 1910 - January 7, 2001), a county agricultural agent. Her mother, who was of Polish, English and Irish descent, was from the Rio Grande Valley of Texas. At age 6, she performed on stage for the first time, appearing in a local talent show.
Spacek worked for a time as a photographic model (represented by Ford Models) and as an extra at Andy Warhol's Factory. She appeared in a non-credited role in his film Trash (1970). With the help of her cousin, actor Rip Torn, she enrolled in Lee Strasberg's Actors Studio and then the Lee Strasberg Institute in New York. Her first credited role was in Prime Cut (1972), in which she played Poppy, a girl sold into sexual slavery. The role led to television work, which included a guest role in The Waltons, which she played twice in 1973. Spacek received international attention after starring in Terrence Malick's Badlands (1973), in which she played Holly, the film's narrator and a 15-year-old girlfriend of mass-murderer Kit (Martin Sheen). Spacek has described Badlands as the "most incredible" experience of her career. On the set of Badlands, Spacek met art director Jack Fisk, whom she married in 1974. Spacek's iconic and career-defining role came in Brian De Palma's film Carrie (1976), in which she played Carietta "Carrie" White, a shy, troubled high school senior with telekinetic powers. Spacek had to work hard to persuade director de Palma to engage her for the role. After rubbing Vaseline into her hair and donning an old sailor dress her mother made for her as a child, Spacek turned up at the audition with the odds against her, but won the part. She was nominated for the Academy Award for Best Actress for her work in the film. Spacek had previously been the set dresser for DePalma's film Phantom of the Paradise (1974). After Carrie, Spacek played the small role of housekeeper Linda Murray in Alan Rudolph's ensemble piece Welcome to LA (1976) and cemented her reputation in independent cinema with her performance as Pinky Rose in Robert Altman's classic 3 Women (1977). Altman was deeply impressed by her performance, having stated: "She's remarkable, one of the top actresses I've ever worked with. Her resources are like a deep well." Brian de Palma added: "[Spacek is] a phantom. She has this mysterious way of slipping into a part, letting it take over her. She's got a wider range than any young actress I know." Spacek also helped finance then-brother-in-law David Lynch's directorial debut, Eraserhead (1977) and is thanked in the credits of the film.
Did she win any awards for this role?
A:
Some context: Sigmund Freud ( FROYD; German: ['zi:kmUnt 'fRoYt]; born Sigismund Schlomo Freud; 6 May 1856 - 23 September 1939) was an Austrian neurologist and the founder of psychoanalysis, a clinical method for treating psychopathology through dialogue between a patient and a psychoanalyst. Freud was born to Galician Jewish parents in the Moravian town of Freiberg, in the Austrian Empire. He qualified as a doctor of medicine in 1881 at the University of Vienna. Upon completing his habilitation in 1885, he was appointed a docent in neuropathology and became an affiliated professor in 1902.
During this formative period of his work, Freud valued and came to rely on the intellectual and emotional support of his friend Wilhelm Fliess, a Berlin based ear, nose and throat specialist whom he had first met 1887. Both men saw themselves as isolated from the prevailing clinical and theoretical mainstream because of their ambitions to develop radical new theories of sexuality. Fliess developed highly eccentric theories of human biorhythms and a nasogenital connection which are today considered pseudoscientific. He shared Freud's views on the importance of certain aspects of sexuality -- masturbation, coitus interruptus, and the use of condoms -- in the etiology of what were then called the "actual neuroses," primarily neurasthenia and certain physically manifested anxiety symptoms. They maintained an extensive correspondence from which Freud drew on Fliess's speculations on infantile sexuality and bisexuality to elaborate and revise his own ideas. His first attempt at a systematic theory of the mind, his 'Project for a Scientific Psychology' was developed with Fliess as interlocutor. Freud had Fliess repeatedly operate on his nose and sinuses to treat "nasal reflex neurosis", and subsequently referred his patient Emma Eckstein to him. According to Freud her history of symptoms included severe leg pains with consequent restricted mobility, and stomach and menstrual pains. These pains were, according to Fliess's theories, caused by habitual masturbation which, as the tissue of the nose and genitalia were linked, was curable by removal of part of the middle turbinate. Fliess's surgery proved disastrous, resulting in profuse, recurrent nasal bleeding - he had left a half-metre of gauze in Eckstein's nasal cavity the subsequent removal of which left her permanently disfigured. At first, though aware of Fliess's culpability - Freud fled from the remedial surgery in horror - he could only bring himself to delicately intimate in his correspondence to Fliess the nature of his disastrous role and in subsequent letters maintained a tactful silence on the matter or else returned to the face-saving topic of Eckstein's hysteria. Freud ultimately, in light of Eckstein's history of adolescecent self-cutting and irregular nasal and menstrual bleeding, concluded that Fliess was "completely without blame", as Eckstein's post-operative hemorrhages were hysterical "wish-bleedings" linked to "an old wish to be loved in her illness" and triggered as a means of "rearousing [Freud's] affection". Eckstein nonetheless continued her analysis with Freud. She was restored to full mobility and went on to practice psychoanalysis herself. Freud, who had called Fliess "the Kepler of biology", later concluded that a combination of a homoerotic attachment and the residue of his "specifically Jewish mysticism" lay behind his loyalty to his Jewish friend and his consequent over-estimation of both his theoretical and clinical work. Their friendship came to an acrimonious end with Fliess angry at Freud's unwillingness to endorse his general theory of sexual periodicity and accusing him of collusion in the plagiarism of his work. After Fliess failed to respond to Freud's offer of collaboration over publication of his Three Essays on the Theory of Sexuality in 1906, their relationship came to an end.
Did they collaborate?
A:
They maintained an extensive correspondence from which Freud drew on Fliess's speculations on infantile sexuality and bisexuality to elaborate and revise his own ideas.