A Quote by Bonnie Hunt
Barry Levinson saw me on a tape and put me in 'Rain Man' as the waitress who dropped the toothpicks. The scene was talked about a lot. Then, all of a sudden, I started to get more auditions.
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I saw this man come out. This very handsome, debonair James Bond style man with an incredible voice. All of a sudden I'm becoming a fan and then he started putting his name on the TV screen and it said Michael Buffer and I thought 'are you kidding me?'
Maybe I'll start from the initial idea, what motivated me to do that. In 1953, I had access to a tape recorder. Tape recorders were not widely available. There was no cassette tape back then. It was a Sears Roebuck tape machine. I put a microphone in the window and recorded the ambience.
Auditions are so much fun. A lot of people dread auditions; they think they have to do it in order to get the job. I don't really mind if I don't get the job, as long as I get to do something interesting in the audition. It makes me feel more creative as a person.
When I saw the scene in 'Close Encounters,' and Richard Dreyfuss's son is screaming at him - that's a heartbreaking scene. And I remember being devastated by 'E.T.' Or when E.T. started to get sick. That broke me up a little bit.
My agent says, "You have an audition for the next Dustin Hoffman movie, playing a pioneer woman." And I go, "All right!" I passed Barry Levinson in the hall on the way into my audition, and I saw him do a double-take. I think I looked so determined that I got the job right then.
My dad one time told me, he was like, 'The only time you should lie is when someone's holding a gun to your head and says 'Okay, lie or I'm going to shoot you.' And that really stuck with me. I think about that a lot. I used to not be really honest with girls and then I dropped a song called "Starry Room" and then I started turning over a new leaf. Now, I'm completely honest with girls all the time and they just get mad at me.
I'd played dumbasses a lot. On Mad About You, I played a very dumb waitress and they saw me.
I started writing rhymes first and then put it to the music. I figured out I could lock it to the beat better if I heard the music first. I like to get a lot of tracks, put the track up and let the music talk to me about what it's about.
And I saw darkness for weeks. It never dawned on me that I could come out of it, but you heal. Nature heals you, and you do come out of it. All of a sudden I saw a crack of light ... then all of a sudden I saw another crack of light. Then I saw forms in the light. And I recognized that there was no darkness, that in darkness there'll always be light.
In my last year of drama school, I was Abigail in 'The Crucible' and Nina in 'The Seagull,' and I did some Shakespeare with the RSC. That's what casting directors saw me in, and I got put up for a lot of period drama auditions. I always get told I suit the costumes. I don't think I have a very modern-looking face.
I saw something in the news, so I copied it. I put a piece of tape - I have obviously a laptop, personal laptop - I put a piece of tape over the camera. Because I saw somebody smarter than I am had a piece of tape over their camera.
I would say a lot of it came from a lot of different drills that Coach Fleck put me through. That's my man. He taught me a lot, a lot, a lot about receiver play. And he taught me a lot about catching the ball and just hand placement.
I got started acting by going to auditions that my mom found in the entertainment section of our local news paper. Then, I got a manager and started going out on more auditions.
I grew up with a single mom who was a waitress. We were on food stamps. My mom then got Pell Grants, put herself through college to get a degree to get a better job. Because we were broke, I then had to go to a state school. I went to Temple University, and had to get loans. So I grew up in a world where I saw the government helping individuals pull themselves up, and saw it work very successfully.
Lance Armstrong showed up, and I started talking to him; I saw all these people with cancer who followed him to Paris for the Tour de France, and I saw the difference he was making in their lives. That put it together for me...having it be not so much about me, but [my being] a vehicle for it.
Somebody talked me into writing an autobiography about six or seven years ago. And I said I'd try. We talked into a tape recorder, and after a couple of months, I said, To hell with it. I was so depressed. It was like saying, 'This is the end.' I was more interested in what the hell was coming the next day or the next week.
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