Faye Dunaway orders crew member off set for being in her eye line in newly-unearthed clip, as HBO prepares to release documentary on Hollywood icon

She is one of the most talented actresses in Hollywood, but it has long been rumored that she is one of the most temperamental.

And newly unearthed footage of Faye Dunaway filming a 1996 commercial shows the Oscar-winning actress’s famously demanding side as she snaps and snaps at the crew.

Dunaway, now 83, can be seen ordering a crew member to head out just because she could see him.

After losing concentration while promoting her live show Master Class, a play based on the life of opera singer Maria Callas, Dunaway glares at an unseen crew member behind the camera lens and says, “Can you please leave, you’re right.” my eyeline.’

The star, who made a name for himself as Bonnie Parker in the 1967 film Bonnie and Clyde, then looks angry, turns sharply and walks away to start a new take.

Earlier in the same clip, Dunaway is heard berating crew members over a signal, as one crew member shouts “Action.”

Clearly irritated, she said, “Mo, you can’t do that, we have to get going, you have to wait and I’ll give you a sign.”

Moments later, Dunaway once again shares her irritation, saying, “What’s going on, I’m not ready?”

The behind-the-scenes clips have delighted fans of the star, who is also known for her fierce role as Joan Crawford in Mommie Dearest.

They come as HBO prepares to release a documentary about her life, titled Faye, whose premiere she will attend next month at the Cannes Film Festival in France.

The one-hour, 31-minute documentary runs through the highlights of Dunaway’s career, including her major roles in Bonnie and Clyde, Chinatown and Network.

The production will feature conversations with Dunaway’s son, Liam, and several colleagues and friends such as Sharon Stone, Mickey Rourke and James Gray.

It’s unclear if the actress will address her long string of controversies in the film.

In 2019, Dunaway’s return to stage acting was cut short when she was fired for punching a crew member and insulting staff.

The actress was set to play Katharine Hepburn in “Tea at Five,” a Boston production that would head to Broadway in 2020.

Sources close to the production claimed that Dunaway was “verbally abusing” the crew, causing them to “fear for their safety.”

A scheduled performance for July 10 was canceled just before curtain when Dunaway punched and hurled objects at staffers who tried to put her wig on her.

Shortly after the “Tea at Five” fiasco, former assistant Michael Rocha filed a lawsuit claiming the actress harassed him by calling him a “little gay boy.”

According to court documents, Dunaway “regularly and relentlessly subjected the plaintiff to insulting, demeaning tirades” and used his sexual orientation to “demean and humiliate him at work.”

Perhaps most infamous was the lengthy voicemail she once left to a biographer who apparently asked too many questions about Mommie Dearest instead of other films.

In the nearly two-minute rant, Dunaway said she wasn’t interested in “dawdling and dawdling at mommy dearest’ and ‘didn’t even want to talk about it’.

She directed her anger at her then-husband, Terry O’Neill, calling him a “big, big liar.”

An Instagram post from the Oscars only seemed to play on Dunaway’s insecurities about the 1981 film, which is often blamed for derailing her otherwise illustrious career.

It was based on a 1978 book by Joan Crawford’s adopted daughter Christina about abuse she claims to have suffered. Touted as a potential Oscar contender, the film’s turbocharged scenes instead turned it into a camp classic, leaving audiences howling with laughter at scenes intended to be deeply moving or disturbing.

The account released an 83rd birthday tribute featuring only Mommie Dearest clips, including Dunaway singing “No wire hangers!” before punching adopted daughter Christina, played by Mara Hobel, after finding the offending items in a closet.

Despite Dunaway winning an Oscar in 1977 for her role as a ratings-obsessed TV executive in Network, no excerpts from that film were released.

Mommie Dearest, on the other hand, received no nods from the Academy upon release. It swept the boards at the Golden Raspberry Awards for worst films, with Dunaway being named worst actress.

Fans even accused the Academy of taunting Dunaway over the choice of the over-the-top Joan Crawford biopic.

“She’s going to hate this so much, thank you,” one netizen commented under the post.

“So epic that the academy posted this on her birthday…best gift ever,” exclaimed another.

Yet another user said, “This movie ruined her career and she likes the movie so much lol.”

Dunaway began her career as a Broadway actress in the early 1960s, appearing in Robert Bolt’s A Man for All Seasons and Arthur Miller’s After the Fall.

She was taught by method acting pioneer Elia Kazan at his Lincoln Center Repertory Company and is considered one of the finest actresses of her generation.

In 1967, she made her breakthrough as Bonnie Parker in Arthur Penn’s biographical crime drama, Bonnie and Clyde.

Although the film was controversial upon its release for its depiction of intense violence, Dunaway was nonetheless propelled to stardom.

She followed it up with a role in Norman Jewison’s The Thomas Crown Affair in 1968, for which she was again praised.

Problems began to arise in the late 1960s and early 1970s, when Dunaway starred in a series of unsuccessful films, including A Place for Lovers, The Extraordinary Seamen and The Arrangement.

Her performance in Roman Polanski’s Chinatown brought her back into the spotlight in 1974 and garnered critical acclaim, including an Oscar nomination for Best Actress.

Dunaway won the award just a few years later, after a critically acclaimed performance on Network.