I consider anybody who has been able to make a living in this business [movie business] without having to do something else for a living for any period of time let alone 43 years would be a miracle.
Creating art (music, books, films, etc.) can be beautiful and liberating, but trying to sell art, well, that is the movie business. There are few winners, and lots and lots of losers.
You can tell when someone likes you just because you're in a movie, because all they talk about is the movie, and all they talk about is the movie business.
I'm used to doing comic books, where every month there's a new comic book! I find that the movie business is not quite the same. It doesn't move quite as fast.
I think it's really important to have a life and have interests outside of this [movie] business, and not rely on this business to validate you as a human being. If you do that, you're really in a dangerous spot.
The '90s were a time when not just the movie business, but every aspect of American life, became a lot more corporate. There's a line in Jonathan Franzen's essay "Perchance to Dream" about how "the rich lateral dramas of local manners have been replaced by a single vertical drama, that of commercial generality." I wanted to examine that great homogenizing force that came in during the '90s, since Hollywood seemed a place where it was particularly active.
When you start in movie business... It is a business, actually. Nothing to do with art. Picasso is art, and Giacometti, but film acting is no art. Just the luck of being discovered, maybe.
I feel incredibly blessed. I'm happy, but all of this movie business, and working as an actress is really hard. When you're not working is when you have to stay positive and remind yourself that you're talented. What's due for you is due for you, and you don't know when that's going to come. That's something I struggled with after I got out of school, wondering how long I was going to have to wait. Then beautiful jobs started coming to me. Now, I feel that my path is going to be what it's going to be, and as long as I relax and breathe, I can enjoy it.
If you're going to go into the movie business it is so full of heartbreak and you get so close and it doesn't happen and then once in a while it works out and it is the fantasy, like it is that dream. So riding the highs and lows of it you got to have an iron constitution and you got to be able to do what David Dinkins actually one said - "Well you know some days are good, some days are bad, but anytime there is a bad day I know the next day is going to be good and vice versa, so you just can't put too much stock in that moment."
The other thing being at UCLA was just being in California and around the movie business. Which I honestly believe, and I've told this to screenwriters, you have to do. You have to be there in order to write or direct movies.
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