A Quote by Faye Dunaway
I've been working on this feature script for Master Class, a play by Terrence McNally that won a lot of Tonys.
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I can't write about rich people having relationship problems and breaking up in New York. I don't know that world of Terrence McNally. I knew I had to write people who talk the way I talk. And they talked very different than Terrence McNally.
There is quite a lot of mutual misunderstanding between the upper middle class and the working class. Reviewing what's been said about the white working class and the Democrats, I realized that there's even a lot of disagreement about who the working class IS.
I do take for granted, probably, the fact that I grew up in New York City, one of the most liberal places on earth, with bleeding-heart, liberal parents who took me to see 'Rent' and Terrence McNally plays from a very young age.
If I'm ever working on a set and anyone talks about a master shot, I say there is no master shot. Before I even went to film school, I learned about movies by being in a British feature film, where everything was shot master shot, mid-shot, close-up. But I reject the idea of a master shot. You don't shoot everything mechanically; you find imaginative ways that serve the action.
I have been working a lot, and I like it. And you know, it's hard for me not to. I guess I've been working a lot because I get to play with brilliant people.
I may, and I think I represent a tradition that means a lot to me, which has really always been about fighting for others, for middle-class families, for working class - for working people, you know, and that's a tradition and a commitment that I take very seriously.
I suppose I don't have to work, but I do love working. I class myself as a working-class girl, and I've never stopped working. When I'm offered shows here, there and the other, I do an awful lot because I feel other people would love to be offered what I'm offered; who am I to say no? I'm definitely working class, and I always will be.
I don't like to play the macho card, but I grew up in a working-class family and a working-class culture.
I love live theater. I get my rocks off by doing stand-up, and I am the only actor. But to show up eight times a week and not have that time for myself; to do someone else's lines? When I work for Wendy Wasserstein or Terrence McNally, Neil Simon or even Shakespeare, I do not have the right to change the lines.
I remember when I took the role on E.R., I thought, 'I haven't really been able to play a working class woman. I've played girls, I've played funny, but I haven't played a working class woman. That sounds like something I'd like to do.
I remember when I took the role on E.R., I thought, 'I haven't really been able to play a working class woman. I've played girls, I've played funny, but I haven't played a working class woman. That sounds like something I'd like to do.'
I think I entered the market around the time when there was getting to be less snobbery about the difference between feature films and television. I think there's been a lot more receptivity on television to interesting adult stories that in the '60s and '70s would have been made into feature films. I have no problem jumping back and forth. If anything, I find it less restrictive working in television.
I get a daily master class in Jenifer Lewis, and that's been so special to me. If I haven't prepared for something, she'll ball up the script and throw it at me. She'll say, 'You're not ready for this! Go downstairs and work on it.'
The really successful work in England tends to be working-class writers telling working-class stories. The film industry has been slow to wake up to that, for a variety of reasons. It still shocks me how few films are written or made in England about working-class life, given that those are the people who go to movies.
Working on 'Westworld' has been an incredible experience in learning to make something with the scope of a feature on a TV timeline with a budget nowhere near what you would expect for a feature film equivalent.
There are a lot of communities within the Asian Pacific Islander umbrella that are predominantly more working-class or lower class, and those stories haven't been told yet, so my hope is that we see the gamut of perspectives.
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