But the two major organizations that I serve on the board of are Citymeals on Wheels and People for the American Way, started by Norman Lear.
I’ve been a supporter of Planned Parenthood since I was in college. I always thought that was a good analogy.
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But if you own it, if you’re a citizen, a full citizen, then you work to make things better. If you’re just renting, if you just live there, you have no incentive to improve it. My father used to say that being a real citizen is like owning a home instead of renting it. How did your family inspire you to give back? So, I guess in 1990, right after Michael and I had done War of the Roses, I said, “Well, OK, I’m going to go back to Broadway.” My first job on Broadway was Geminiin ’77, I think. But that’s when the great roles for women start in theater. I thought as I got older there would be less good work for me in film. So I would always go to a regional theater like Arena Stage and kept up the stage work. I never went more than two years or so without going back onstage, because I was afraid to lose my skills, and to lose my nerve, I guess. Coming off of hit movies, was it hard to get roles on Broadway? That was a great challenge to me and a lot of fun.ĭespite several hit films, you consider yourself a theater actress. Little hints that viewers don’t question while the action’s going but add up when you see the end. It’s looks that you give that you then hide quickly. It’s trying to find or use the wrong word. But there had to be hints, so that when the reveal comes you go, “Oh, yeah, of course.” It’s a hesitancy.
The trick with the character and the challenge that I loved was that you had to believe her while you’re with her in the passage. What’s your take on Body Heat all these years later?
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