Certainly now after I’ve been doing this for 60 years, and I’m heading into the big numbers of life here…whether I’d say to myself, do I want to keep doing this? It’s that I would miss so much of who I am without doing it. You can have goals like that, but in the business that I’m in, you really have to take it one project at a time. I want to be able to do another good downward dog when my shoulders are not allowing me. Who knows? I’d like to be healthy in five years. No, because I just don’t think like that. I don’t have room inside this head to say, “Do I feel confident? Do I know my craft?” It isn’t a value you just have to put your head down.ĭid you always envision working as long as possible? You have to simply do what you know how to do in the very best way you know how. It isn’t that you don’t feel confident, it’s that you can’t think about that. You just have to do your work no matter where you are. Success to me was always learning a craft and then having the opportunity to do that craft, whatever that took to get there.ĭo you remember when you started to feel confident that you were good at your craft? But it was never about what success looks like. I was lucky enough to meet Lee Strasberg when I was 19 when I began at the Actors Studio, and then the picture of what I wanted became clearer. It took me a while to get to the right place to start to learn that craft. But it wasn’t because I realized I wasn’t good enough. I only knew that I had been in the drama department since seventh grade, so surely it had to be the same thing. That certainly changed throughout the years because I started when I was 17, and I didn’t know really what that meant. The only thing I wanted was to be an actor. I never projected myself into the future. So, as the reluctant subject of Glamour’s latest Icons Only, she opens up about coming to terms with being called an icon, why getting older is “better than a sharp stick in the eye,” and the importance of movies like 80 for Brady. The point is, her initial instinct rarely steers her wrong, whether she’ll admit that or not. “They said, ‘Well, at least read it, won’t you?’”įield eventually did-and loved it. When they called to see if she'd be up for a “little supporting role,” the answer was a resounding yes. All she needed to know was that she’d be working with two of the people she admires most: director Michael Showalter, who worked with Field in Hello, My Name Is Doris, and screenwriter David Marshall Grant, who was the writer and showrunner on ABC’s Brothers & Sisters, which won Field her third Emmy Award. “It’s both really funny and then dark.” The film is already getting a lot of critical acclaim, which is good considering Field hadn’t even read the script when she signed on. “Even though it looks like there was a lot of dark work, there was a lot of laughter,” Field says.
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