A Quote by Douglas Fairbanks, Jr.
Curiously enough, I was one of the first to have some say in Hollywood. By sheer accident, I had four successes in a row in the early 30's and, although I was still in my 20's, I demanded and received approval of cast, story and director. I don't know how I got away with it, but I did!
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Probably my favorite job that I've ever had and probably will have - although I'm reserving judgment on 'Manhattan Love Story,' Tuesday nights at 8:30 on ABC, because it's pretty fun so far - is 'Psych,' which I did for four or five years.
I did not know at first that it would be a series; I discovered after the first novel that I had more to say about it, so I did another. And another, and then the readers demanded yet more.
When you have a director who has work you can identify from the past, it gives you some reference point as to what their interpretation of the story might be, and how that might jibe, right or wrong, with how you see it. But with a first-time director, you don't really know where you're at.
I've been working professionally as an actor since I was 20. That's going to be 25 years soon. So, that's a veteran. That's a big-time veteran. I've had some great successes, and I've had some not-successes.
Hollywood is just so strange. It's like, everyone has a whole bunch of stuff boiling away and whichever one happens first, happens. That one, we're still in the process of, you know, trying to write the script. So, it's still very early stages at this point. Yeah.
I did fringe theatre for so many years, and then I got my first play at the RSC, which was an amazing feeling, but I was 30 and had started acting in my early twenties.
My quality of life is more amazing than I ever could've imagined in those 20 years of struggling with illness. In those 20 years, I did not know the meaning of the word hope. It was just a bleak, difficult existence. With all the gifts, with all the successes that I had, it was still an incredibly bleak way of living and I want to be a messenger of hope.
The irony is I did an intimate film in France with no stars and that got me to Hollywood. It got me to the Oscars. If I had tried to imitate the Americans or the Hollywood movies with a commercial recipe, I'd never have gotten to Hollywood. Although, it was not my goal in any way, and I never thought there was any connection between Monsieur Lazhar and the Oscars.
My first in, my first break, was I met a director and got to talking with her, and she happened to be casting this movie that she had written. That was ten years ago. That got me to Hollywood. I got paid $700 bucks.
[Allied] got the attention of (director) Bob Zemeckis and Marion Cotillard. I'm glad I waited. If it had been made 15 years before, who knows how it would have looked, but it's got the best possible cast, director and everything. It's been fantastic. It was worth waiting.
I think it's wonderful when a love story begins with a great deal of romance and affection, passion and excitement, that's how it should be. But I don't necessarily know that it's the wisest thing in the world to expect that it ends there, or that it should, 30 years down the road, still look as it did on the night of your first kiss.
A lot of times I don't know if I trust the director to tell that film's story. Or I think it's inappropriate for a male director to tell a female story, or a white director to tell a black story. Everyone walks away from a movie differently, because you're relating it to your own life.
You've got to be able to know someone really well to be able to have a row and then also walk away from it and not have it matter, especially in this business. That doesn't mean to say we have many rows but I think the nearest thing to a row would be just flatly disagreeing with something .
You know when I was 20 and 30, they were insecurities. Now they're just a new normal. I'm 60 years old, so my expectations of who I am and how I look and how I show up in the world had to shift. Not because I couldn't help it, or not because I did anything wrong, but because I had to get into the natural flow of my being as a woman.
I had one well known director who kept saying, "Now Clint, this is what ...." And I'd say, "I know. I read the script. I'm the one who cast you as the director. Let me show you and you'll correct me if I'm wrong."
I pick different projects for different reasons. Usually, it's a combination of things. I admire the director, and I am interested in working with the director. Or, it's the cast. I can be moved by the story. The ideal situation is you love the director and you love the cast.
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