A Quote by Melissa Leo
You know, when I got started on television in the '80s, you would go to the costume department, and if you were a female they put you into a skirt. And you had a pocketbook, usually a shoulder bag.
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If a woman waits 10 years to invest, "I'm busy", "I've got to do this", "I can put it off", "I gotta find the right financial..." It costs her $100 a day. $100 a day! And if we had money falling out of her pocketbook at the rate of $100 a day, we'd change our pocketbook; we'd fix our pocketbook.
I had promised myself when I first got started that if I got to the point my life where I started feeling 'Gee, I'd rather be at home than at work', and that started happening more often than not, that it would be time to leave. I'd wake up some days and go "Oh, I don't even know if I want to go face this anymore". I would, I would go do it, I'm a dutiful kind of person and not afraid of work.
When I was coming up in the '80s television, if you were on television that meant either you were a young actor just coming up like I was, or you were an older actor whose career was over and you had to go on television.
When I first started working at MIT, back in the '80s, our writing department had a joint cocktail party with the Harvard writing department. It was kind of oil-and-water.
You couldn't define the '80s when the '80s were happening. We kept changing. We had shoulder pads, then we didn't. It was revealing, and then it was decoration. It was a lot of things at once. It was defined when it was over.
Maybe I over-do the 'not-80s' thing. It should be a part of my life that I've got some sort of pride in, but I've got this huge chip on my shoulder about '80s nostalgia - and it annoys fans sometimes.
In the sports hostel, I would not eat the boiled egg and would store it away in my bag. But eventually, Nambiar sir found out and gave me a yelling. There were so many eggs in my bag and they started smelling.
When I got into high school, that's when I stated dabbling in fashion design. I got involved in the theater department's costume design and started to think that maybe I'd major in fashion design.
If I were going to prom again, I would wear a huge skirt and plain cotton tank. A big, poofy, flotation-device-sized skirt. I wish I had done that.
I got into television criticism because I thought it would be easier than film criticism. Film, you had to know 100 years of history, and TV you only had to know 40 when I started. And I thought, "Well, that's going to be so much easier." But film stayed pretty much the same. And television has changed so many times that my head hurts. So I made the wrong call there.
It was a department where you had honesty and integrity stamped right on you when you came into the Los Angeles Police Department. If you violated that, or if you were a dishonest cop, you were terrible. We got rid of you as quickly as possible.
You know, when we were kids, we had to go to a theater to see a movie. And then television came in and you had to wait until midnight to see the one you wanted to see. Now, all you've got to do is go to a store and buy it and you can watch it whenever you want!
What was great about the 80s was that you still had record companies who would get behind developing you as an artist. You had these bonkers heads of department and A&R people who, even after a flop album, would let you make another one.
My second or third year in the engineering department, I got very frustrated, and I sat down with myself and had a soul-searching conversation with myself and said, 'What I'd really like to do is see if I can write comedy.' ... I moved to L.A. stone cold. Didn't know anybody; didn't know how to go about it. Really started from scratch.
Well, I had an immense respect for Cirque du Soleil when I first say them in the '80s on a television show and just thought, you know, this group is really reinventing the circus, as you know. Because there wasn't three rings. There were no animals.
Jazz stopped being creative in the early '80s. After your acoustic era, where you had the likes of the Miles Davis Quintet, when it gets to the '70s it started being jazz fusion where you had more electronic stuff happening, then in the '80s they started trying to bring back the acoustic stuff, like Branford Marsalis and the Wynton Marsalis & Eric Clapton sextet. It started dying down from there. Miles was still around in the '80s and he was still being creative; he was playing Michael Jackson songs and changing sounds, but a lot of people were still trying to regurgitate the old stuff.
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