A Quote by Norma Shearer

I always chose sophisticated parts because you can't really be interesting as a young girl or outstanding as an ingenue. — © Norma Shearer
I always chose sophisticated parts because you can't really be interesting as a young girl or outstanding as an ingenue.
On the one hand, I always get the young ingenue, pretty parts. But I don't think of myself that way because I was an ugly duckling when I was growing up. I have to be reminded when I play a part sometimes that I'm playing the pretty girl.
It's difficult for a young girl like me. Because there's a certain time for young actresses, which is like a really juicy period when all the parts are love interests and young heroines. Of course, there's always work for men whatever age they are.
I never felt like a happy-go-lucky ingenue to begin with. And parts are written better when you're older. When you're young, you're written to be an ingenue, and you're written to be a quality. You're actually not written to be a person, you're written for your youth to inspire someone else, usually a man. So I find it just much more liberating.
Having a boy play a girl (and when I say 'play a girl' I don't mean that he is represented as a girl, because he is represented as a young man) is complicated. He knows he's looking at photographs of a girl and copying those poses. So the audience sees him as a man, but he can only see himself as a woman, because that's the model he's looking at. It was a really interesting exchange.
Part of me feels like when you had a lot of success in your teens and 20s, it gets harder for you in your 30s because people are so attached to you as this ingenue. So even though you're older, they still think of you as that girl - that waifish young girl. And so it was sort of like a struggle.
Fly flight is just a great phenomenon to study. It has everything - from the most sophisticated sensory biology; really, really interesting physics; really interesting muscle physiology; really interesting neural computations.
I could never play the ingenue, the girl next door or the very successful young doctor. That would be a bore.
The kind of roles that I'm right for on stage tend to be quite young, and ingénue roles can be a little unfulfilling. They tend to fall into one slot: play the innocent young girl who comes on and does a lot of crying.
Ingenue parts are plentiful. And once you get old, they'll start hiring you again for character parts. But the middle years are tough.
I think I've had a fairly meandering career. Because I did start so young, I think that I've always chosen my parts based on what's interesting to me and what I think would be challenging or fun, or someone I've always wanted to work with or a place I've always wanted to work in or a topic.
I was never the ingenue, so hopefully that'll make it easier to age and still work. I know a lot of actors who are really dissatisfied with where they're at even though some of them are huge stars and I feel like, 'Oh, my God, you're at the top.' Something interesting will come. It always does. I have faith.
I played the ingenue, of course, when I was young - but even with those, I tried to make interesting choices and mess them up a little bit - make them layered and complicated and not all stereotypes.
I love sneakers on a girl. I don't know why, but I guess it's because I'm still a young. I really like just like a girl who has style - a girl who does her own thing, is unique in what she's wearing and works what she's got.
I say I'm a rebel. I'm continually fighting against [sexism]. I don't take parts because they're for the sexy girl. I take the sexy girl parts and try to give them something else and make them a character.
I remember when I started acting and didn't get a part and was really jealous of the girl who got it. My mom would say to me, "If you don't get a part, that means it's not your part. It's just not yours. You will have your parts." It really recalibrated me at a very young age to where I could be driven because I was trying to achieve things for myself, and that had nothing to do with what anybody else was doing.
My first husband, John Barry, was a composer. I couldn't believe that this sophisticated, talented genius chose me and not any of the other girls. I was so flattered, so excited, so in love with him. Of course, my parents were horrified, as he'd been married once and had a daughter with the au pair girl.
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