A Quote by Frank Gehry
My father was an urchin that lived in Hell's Kitchen. He was part of a family of nine. I mean, there were times that were better and worse, but mostly, by the time we got to L.A., they'd lost whatever they had. And it was a sad time. And both he and I became truck drivers for different companies.
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Unfortunately, this past birthday, my son was up the entire night before, very sick with that horrible - I think it was called the Norovirus or whatever the hell that was that was going around. So I got it. And then my husband [Paul Scheer] got it. We were both fighting it because he had planned this whole day for me, and we were both pretending it wasn't happening. We were literally driving ourselves to a massage and facial that he had planned and at one point, I was like, "I can't drive anymore. I need to get in the passenger's seat."
The family I'm from, well, no one had their name on big buildings. My family were builders of a different kind. Builders in the way most American families are. They used whatever tools they had - whatever God gave them - and whatever life in America provided - and built better lives and better futures for their kids.
There were nine children in my father's family and eight in my mother's. My grandparents did the best with what they had. After the Depression, they were scratching out a living and working hard. They kept the family going.
Childhood is not dead. Children were worse off when we were hunter-gatherers; they were threatened in medieval times and exploited during the Industrial Revolution. Was it any better in the time of Charles Kingsley or Charles Dickens?
There were obvious budgetary and time constraint differences. With Jamie Marks is Dead, we were operating on a pretty small finance level. So it was definitely run-and-gun, 16-hour days, every day. I would come back, and I was so exhausted I would fall asleep in my clothes. Obviously, with The Giver we had a little bit more time to take the full three months. So that was different, but in both there was still a creative environment, and by that I mean that it was still collaborative, performance was still valued, and it wasn't lost in the money.
I had a very special family life. My mother and father made sure when we were home, we were part of the family, not a TV star. And the other thing: my father was fully employed while I was doing the series.
I was wishing I was invisible. Outside, the leaves were falling to the ground, and I was infinitely sad, sad down to my bones. I was sad for Phoebe and her parents and Prudence and Mike, sad for the leaves that were dying, and sad for myself, for something I had lost.
When I started out, there were many different companies... you could leave and go to a different territory, and there were so many different styles. What we have now is WWE has survived the test of time, and all the other companies have fallen off the face of the earth.
The newspapers were against me. They were telling me that the Australian dream was a home. But that dream became worse and worse as they had to live further away from the city. My dream became better as we could build higher and higher.
At first, 'Family Ties' seemed to just be a wonderful project of its time. These were the Reagan years, the new conservatism. Alex P. Keaton quickly became the Fonzie of the '80s, so it seemed very much a product of its time. But I soon began to realize that it went far beyond that. These great family shows transcend whatever time they are in.
There was nobody in the family who had ever done anything like that before. My brothers - I had two brothers. They were twins. They both became architects. They were both six years older.
And then she thought that you went on living one day after another, and in time you were somebody else, your previous self only like a close relative, a sister or brother, with whom you shared a past. But a different person, a separate life. Certainly neither she nor Inman were the people they had been the last time they were together. And she believed maybe she liked them both better now.
The experts or the cynics say, "Oh, those were the good old days, that's when drivers were really drivers. They didn't have all these aids." You know what? What we had, we did the best with and when we got more we provided what was needed.
I don't think anyone has ever been in a better place at a better time than I was when I was editor of Vogue. Vogue always did stand for people's lives. I mean, a new dress doesn't get you anywhere; it's the life you're living in the dress, and the sort of life you had lived before, and what you will do in it later. Like all great times, the sixties were about personalities.
My idea of success was to be a boy - possibly because my brothers, Leon and Arthur, were my father's pride and joy, whereas he had to be introduced to me several times before he got it firmly planted in his mind that I was part of the family.
My father worked in the Post Office. A lot of double shifts. All his friends were in the same situation - truck drivers, taxi cab drivers, grocery clerks. Blue collar guys punching the clock and working long, hard hours. The thought that sustained them was the one at the center of the American dream.
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