Can you recall the moment when you first felt like you had made it as an actor?
I have had an unorthodox journey. I came from situation comedy television in the ’60s, and women who started there basically died on that territory. You were really thought of as a second-class citizen as an actor. The tendency is to say it’s unfair: The industry, this big, huge, faceless nothing, is treating me badly. I couldn’t say that — if I said that, then whatever power I had as a human was gone.
You talk about finding yourself through acting. Does playing other people allow you to understand yourself? Acting, to me, is not about pretending to be other people at all. Acting is trying to create somebody that feels outside of yourself. But in doing that, you have various tools that you use. [There are] exterior tools, in how they look, where they come from, their physical attributes. Then there’s the interior of a character — you pile in their history and their emotional connections and what they’re going through moment to moment, scene for scene.
Maybe I'll Come Home in the Spring is a fun one.
She's got the magic.
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