A Quote by Beth Grant
I had this great teacher, Milton Katselas, who was this loud Greek who had directed Bette Davis and Liv Ullmann, and brought Edward Albee to this country. He said, "Why do you keep trying to be a Rolex watch when you're the salt of the earth?" Except he said it much louder.
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I loved working with Bette Davis. Bette Davis was great to work with and a wonderful teacher, and very kind to me. We became good friends.
There's like this great thing that Bette Davis said when someone asked her, "How do you get into Hollywood?" "Take Fountain!"
When I first watched Bette Davis in 'All About Eve', I was struck by how much I felt that she is Margo Channing and that she's Bette Davis, where she was able to do both, where you're like, 'What an icon.'
Milton Katselas said, "Who are you to look down your nose at Anna Magnani and Maureen Stapleton? Who do you think you are?" I was doing this kooky meditation at the time called inner-guide meditation, where you go into a cave and you have a guide, and you fly around. So I said to my inner guide, "Take me to the energy that's blocking me from accepting my casting" - because I understood it intellectually, but I didn't want to do it in my heart.
When I direct - everything I've directed has had improv in it, because I think there's something special in a performance the first time it's said out loud that's hard to recreate.
The first expert said he had attention deficit disorder. The second expert said the first was out of order. One said he was autistic, another that he was artistic. One said he had Tourette's syndrome. One said he had Asperger's syndrome. And one said the problem was that his parents had Munchausen syndrome. Still another said all he needed was a good old-fashioned spanking.
On the set of 'Girlboss,' I had to keep introducing myself as the show runner - literally, 'Hi, I'm the boss' - to a lot of my crew. My first AD said, 'Why do you keep doing that?' I said, 'Because I get mistaken for an extra.'
There is much to be said for trying to improve some disadvantaged people’s lot. There is nothing to be said for trying to create heaven on earth.
I had the best teacher in the business. Kevin Costner was my teacher. I was acting opposite him and he was directing me. The way he directed me, for which I am eternally grateful, is he would watch the scene back on the monitor, which is sort of considered unfashionable - you're not meant to watch yourself. But he was like, "Come around. Watch this. See there, you're doing a great reaction, but you're doing it out of frame." That was exactly what I needed. I learned how to act on film from him.
I loved journalism until the day my journalism teacher, a man I revered, came by my desk and said, 'Are you planning on going into journalism?' I said, 'Yeah.' He said, 'I wouldn't.' I said, 'Well, why not?' He said, 'You can't make a living.'
We called the head of CBS and said, 'We know how network television feels about musicals. Would you even consider doing 'Gypsy?'' He said, 'If I did say yes, you'd have to have a big movie star who does not do TV.' I told him that, in our fantasy world, we'd like Bette Midler. He said, 'Get Bette Midler, and you have an on-the-air commitment.'
I said it in Hebrew—I said it in Dutch— I said it in German and Greek; But I wholly forgot (and it vexes me much) That English is what you speak!
Bwenawa brought my attention to two wooden planks raised about four feet above the ground. On the ledges were lagoon fish sliced open and lying in the sun, the carcasses just visible through an enveloping blizzard of flies. "You see, " said Bwenawa. "The water dries in the sun, leaving the salt. It's kang-kang [tasty]. We call it salt fish." "Ah," I said. "In my country we call it rotten fish.
"Do you know a cure for me?" Why yes," he said, "I know a cure for everything. Salt water." Salt water?" I asked him. Yes," he said, "in one way or the other. Sweat, or tears, or the salt sea".
One aspect of our site that I really appreciate is how I put up as much information as I've been able to keep track of: dates, the venue, the city, the country, the number of people there, the door price, opening bands, that sort of thing. One of the very first comments we had was from a guy who said, "By the way, the opening band in Albany in 1993 was not the Very Nice Neighbors, it was the Very Pleasant Neighbors." That brought a great joy to me.
Bette Davis had a phrase that called it "cigarette smoking acting" .
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