so there was a point where i would have kept going. and i think you could probably imagine that had i stayed in the business and kept doing roles. on that conveyor belt. that would be fine. i love what you said. and you would read the story, it was so small compared to the story i was living. some one lent me this phrase. would you rather play it on film or live it in real life? someone i dated a woman. when they re the same, that s the magic. i want to know does that still happen? i am pretty sure it does. for a very rarified few. they aren t asking me to work with them yet. i hold that. i don t care. you only need to do one every once in a while. but i, i know that they re there. i see their films. and i still cry in the thelteat. i love the terrence malleks of
and they came and told us we were closing. that is so funny. welcome you abroad. with an apple. barrymore. the next day. the next day which would be our first performance without the director present. which as you know in a play, means a lot. when you get to open the director leaves. in this case it was writer/director, david mana. could do a whole another show about. let s not go an inch over there. hi, dave. this is, dave story. this ring. dave mana story. the producer met us at the door that night. richards. jeffrey richards. and said, i m sorry. it was a full house. it was sold out for some night to come. but can this happen it? is like when my first kid got stuck in the birth canal.
i won t go into that. and, the manager his father head run the theater before him and his daughter was about to take over for him. three generations of a family that had run that box office. so, already i am like, he is taking down newspaper clippings, he is telling me story, and it is fascinating. and i am out of my own deal. that s all you have to do to feel better something about something you feel bad about. get curious about some one else. he is telling a story. i need to till you a story. you are feeling confused and maybe a little bad. there was a show at the golden, this theater in 1958. i know, my dad was running the box office. he said. that tells you a lot about the theater right there. awe o it ran 40 performances which is what you will run when you close. and there were terrible reviews. and that, you know, it only got to run the 40. and the reviews in fact i
will rescind your deal. who wants to do the movie where the director is looking down the barrel of the lens wishing some one else would be there. the thing i want to talk about getting older, we are all decaying at the same rate. no, it is okay. it is okay. i am saying if we don t tell the story of that. who are we. if we are telling another story on our face. i say, us girls as a pep talk, if we start telling this other story and and we can t tell the stories we are going to get less and less, it s not about you know, i m not against anything. i am just saying, i want i want us to not lose complete touch with the fact of where we are because we stand for something you have a little kid now. i want my kids, we are a society, we have boys. we have a society that put older people in homes. we don t want to look older. we don t want to act older. we don t want to talk about
remember i have two of them here. and the headline read the headline begged the writer to never write again. i mean that mean. and he said i tell you this story because the play had two characters as ours did. and it was kind of didn t have a beginning, middle, end, per se, it was two people talking for 80 minutes. and what was the and the play closed after 40 performances. and the play was waiting for goodeau. i don t know that i did it. i love that. i got that story. i m christina caradona,