I feel like being an actor it is a great way to do your job and be a parent, because you have a lot of freedom. You have a job and then the job ends and than maybe you don't have another job for a while or maybe you chose not have another job for a while. For an actor, it's like maybe you don't see your kid for two weeks while you are filming but then you might have three months off where you are at home every day and picking him up from school. I find it's a great thing.
If you have one article of clothing that's very expensive, you don't have to have the whole ensemble and look like a Christmas tree. To wear the clothes, to not let them wear you. And to really remember that clothes are beautiful. It's like are you gonna wear something that people say: "Oh that's a great blouse." Or are you gonna wear something that people say: "Oh you look great today.." .
I feel that the thing about film and particularly about TV, actually, is it's being created now. We're living in the best time so far because there are many more women writing and women directing, women producing, and people are finally catching on to the fact that women want to go and buy tickets to see female characters and more than one in a film. So I actually think it's a very fertile time to be a woman over 40.
As the population is, in general, aging, there is more interest in what a 50-year-old, a 60-year-old, a 70-year-old, an 80-year-old is like. And one of the things that just naturally started to happen as I got older - and I could feel younger people looking up to me in a certain way and wanting to know things that I knew - I got interested in the women, in particular, who were 20 years older than me. Because I understand in a way that I didn't 20, 30 years ago, how much they know.
When you're on a lower-budget film, with one guy who maybe has a camera strapped to him, you're a much bigger part of that pie. You can be a sliver in a big Hollywood movie, but you can be a quarter of that indie movie pie. And I feel like, first of all, there is a real freedom that you feel from that, because it's like, you know what, if this is terrible, nobody's gonna ever see it, so I can be more brave.
In New York - not to say New York isn't a competitive place - but there's much more of a sense of, we're all here and some of us are up and some of us are down and some of us are in the middle, but we have a longer view of history and how it works, rather than just this week.
There's a way in which I feel like, when you're on an enormous film and there's an enormous crew and there are three cameras and there are like 20 setups for every scene, first of all, it's very... I find it very intimidating. And it's also sort of deadening in a way.
Not to bash Los Angeles, but there is always a feeling in LA of where your stock is. Are you the top of the heap at the moment or do you have the blockbuster, did you get cast in that thing?
I think what Laura Linney was saying about teaching her all the lessons as a child actor, right, that's a whole ball of wax. That's a really mixed bag of stuff. I look at so many people that I knew personally or didn't know personally but who have ended badly, have died young, have been destitute - there are a lot of bad child-actor-gone-wrong stories, a very high percentage, but I think the thing about it is that a lot of those are Hollywood stories, and you don't have that same kind of a thing in the theater.
You have people like Sarah Jessica Parker - and it's also because of her mother and where she came from and all that stuff - but how you're taught to be responsible for yourself rather than endlessly people waiting for you and bringing you things.
My mother was a failed actress, but that was our bread and butter - what we loved most to do was to go to the theater and talk about it and dissect it and understand it.
I don't even want to go back to '81.
It just feels to me like the death throes of an America that had many great things about it, but had many negative things about it. I don't want to go back.
Make America great again? Right, but now it comes back to us in a completely twisted way. And in some ways they achieve that, or they at least achieve the appearance of that, but now you try and do it again and it's just... it's so out of sync with who we obviously are as a people.
Even when the [Ronald] Reagan revolution happened, it was in large way, a "'Let's make America great again' without saying that" kind of a movement, don't you feel? It was kind of a throwback to an earlier generation.
It is interesting to see how far we've come as a society since then. But also how everybody keeps touching [Ronald] Reagan and trying to evoke him.
I think it was interesting to be steeped in that [political] world.
It was weird to be in a movie that's very clearly a period piece like Killing Reagan, but that's about a time that's within my own memory. That's really weird. And conscious memory, not just vague.
I did an after-school special as my first big thing. It was starring Butterfly McQueen. She was the name. But the real star of it was Robbie Rist, who was that little blond kid who looked like John Denver.
I have a cousin, a second cousin, who lives in L.A., and she was with me while I was getting ready. She was talking about her father and his brothers. And I remember my mother's tales of how competitive they were with each other and how they would play for blood, you know. And I thought - I'm an only child, and I don't know what that's like. I have to figure out the Southern thing.
[My mother] was taking me to Shakespeare In The Park when I was like 6. There was just a lot of theater-going and a lot of movie-going and a lot of discussion about it afterwards, dissecting it and stuff.
I was in film before I was on stage. I started acting when I was like 12. But, no, I think my mother indoctrinated me very early.
The panelists on To Tell The Truth, which is the one that I really knew, they cared about getting it right. They wanted to guess, you know? Although, when I was on as a contestant, the one time I was on as a contestant, apparently they had a rule, which was that when children were on, everybody would get a vote - and Kitty Carlisle voted for me.
I was posing as a 9-year-old girl who was a blue-ribbon prizewinner; she rode on a Shetland pony, the small horse that was the appropriate size for her.
Every Thursday or something, my mother would shoot it at NBC Studios at Rockefeller Center. And sometimes she would have me there when Morris The Cat was on, and Lassie was on.
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