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Speaker 1: This is Alec Baldwin and you're listening to Here's the Thing.

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Speaker 1: Kathleen Turner made her film debut thirty years ago in

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Speaker 1: the blockbuster thriller Body Heat. Since then, she's taken on

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Speaker 1: the female roles actress's dream about playing, a word often

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Speaker 1: used to describe her work brazen. On screen, We've seen

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Speaker 1: her in Peggy Sue Got Married, Precy's Honor, The Accidental Tourist.

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Speaker 1: On stage, she's earned Tony nominations for Who's Afraid Of

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Speaker 1: Virginia Woolf and Cat On a Hot Tin Roof. Yet,

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Speaker 1: her career has not been without disappointment. Her most recent

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Speaker 1: Broadway play, High closed last year after just eight performances.

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Speaker 1: Now she's taken it on tour. She's performing in San

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Speaker 1: Francisco later this month. I had lunch with Kathleen at

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Speaker 1: Telepan Restaurant on Manhattan's Upper West Side. The restaurant was

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Speaker 1: between shifts, getting ready for dinner service, vacuums blaring around us,

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Speaker 1: dishes being stacked. As we talked Kathleen Turner, his mind

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Speaker 1: is always at work. Give her half an hour and

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Speaker 1: she'll solve the country's problems. So I've got an idea

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Speaker 1: if you want to hear it. I think we should

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Speaker 1: have a day when all women don't go to work.

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Speaker 1: If a handful of people in this country are going

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Speaker 1: to decide whether or not we will receive health care,

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Speaker 1: whether or not we have control over our bodies as

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Speaker 1: to when we wish to have a child, then what

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Speaker 1: would happen of the workforce one day, just with two

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Speaker 1: and reminded those people in Washington how important we are.

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Speaker 1: Do you think that for you? Because I know this

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Speaker 1: is true for me that at some point, maybe not

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Speaker 1: throughout your career, but at some point there was a

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Speaker 1: struggle to stay interested. No. I I think I was

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Speaker 1: brought up this way. My father was a foreign service officer.

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Speaker 1: We were always in a sense politically are you know?

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Speaker 1: Growing up? And I swear to gosh you when I

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Speaker 1: was about ten years old, my father we were at

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Speaker 1: some event, you know, like the fourth of July in Caracas,

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Speaker 1: Venice whatever or something, you know, and my father said,

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Speaker 1: please remember that you know your behavior reflects on your country.

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Speaker 1: And I can remember thinking vividly, oh my god, whatever

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Speaker 1: I do is going to be what people think of

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Speaker 1: the US, which is a heavy burden for a ten

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Speaker 1: year old. Let me tell you that might have been

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Speaker 1: unfair of him, It might have been a little rough.

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Speaker 1: He honestly believed it. And that sense of being part

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Speaker 1: of something and being responsible for something, I think was

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Speaker 1: instilled in meizens surely, very much so in some regard.

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Speaker 1: But at the same time, have you found it's been

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Speaker 1: hard for you to stay interested in this business throughout

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Speaker 1: you mean in the business of acting? Yes, no, No,

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Speaker 1: I certainly don't. I think make as much of a

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Speaker 1: priority of it as many other people I know in

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Speaker 1: the industry. But if I couldn't act, I just curl up,

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Speaker 1: shrivel up and die. Yeah. No, I can't live without it. Yeah,

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Speaker 1: has your attitude world have changed? It's gotten more passionate.

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Speaker 1: And well, I branch out now now because I've been

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Speaker 1: doing this for over thirty years now, and now I

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Speaker 1: can teach as well. Now I can direct as well.

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Speaker 1: But the but the reason I say this is because,

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Speaker 1: and I could be wrong, and this is my opinion.

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Speaker 1: This is the business, especially movies and television, the business

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Speaker 1: let's go of you or you let go of it

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Speaker 1: as interesting. And I wondered if at some point in

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Speaker 1: your career where you made films, especially there's a decade

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Speaker 1: where you make all these stones. Yeah, the world and

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Speaker 1: all this stuff is going, but you strike me somewhere

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Speaker 1: where you let go of it. I suppose so, But

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Speaker 1: did you lose interest? It was no. I never wanted

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Speaker 1: to live in Los Angeles. I had a daughter. I

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Speaker 1: was never going to bring up a girl out in

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Speaker 1: l A. Your daughter was born where here in New

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Speaker 1: York City, only raised her here. She has only lived here.

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Speaker 1: So from that period, the last movie you played like

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Speaker 1: a leading lady in Sereal mom My mom right, that's

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Speaker 1: when I got room with authorities. She's These things sort

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Speaker 1: of came around at the same time, a combination of circumstances. Yeah, yeah,

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Speaker 1: she was, and I got are A. She was in kindergarten.

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Speaker 1: So just all of a sudden, you just won't go

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Speaker 1: out there anymore. I couldn't fake it. I couldn't fake

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Speaker 1: looking and acting well, you know, there was I was.

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Speaker 1: It was very, very hard to to move at all.

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Speaker 1: We didn't really know what was going on for a

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Speaker 1: long time, you know. So I had all the fantasies

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Speaker 1: of some kind of dread disease that no one had

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Speaker 1: been able to diagnose that was killing me. And then

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Speaker 1: when they did diagnose it as all right, then they

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Speaker 1: started pumping me full of steroids and and you know

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Speaker 1: what that does, yeah yeah, And so at that for

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Speaker 1: about a year and a half, my entire woh, I'd

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Speaker 1: say longer, I'd say at least two years. My entire

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Speaker 1: focus was on being able to restore myself to some

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Speaker 1: normality of life. We lived in a brownstone when I

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Speaker 1: couldn't get up and downstairs, so we had to sell

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Speaker 1: that and move into once level apartment. You know. But

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Speaker 1: in the same way, I think I had always been

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Speaker 1: ambitious to it and working for growing up into a

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Speaker 1: full blown theater at coming home that happened in between films.

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Speaker 1: I would always go back to the stage. I met

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Speaker 1: too many actors in Hollywood, in l A film actors

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Speaker 1: who were terrified, I've ever going back to the stage.

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Speaker 1: They were afraid perhaps they had lost an edge or something. Secondly,

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Speaker 1: they were terrified that they'd be attacked because they had

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Speaker 1: been filmed successes, you know, that the critic unfair way,

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Speaker 1: somebody would be after them, you know, just because they

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Speaker 1: had the name yeah yeah, yeah, which I didn't, you know,

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Speaker 1: when I did Captain Hodgson Roof, which is my big

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Speaker 1: Broadway comeback in I remember I auditioned for and I

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Speaker 1: didn't get the part. I'm sorry, Okay, do you want

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Speaker 1: a break? No? No, no, no, no, it's okay. Who

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Speaker 1: was it? Danny Hugh Kelly? He was great, he was

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Speaker 1: so continued, yes, yeah, well okay, Well you didn't do

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Speaker 1: so bad, you know, I started along. Williams is a

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Speaker 1: good one to fall back. I'm not a bad one. Yeah,

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Speaker 1: so I did Captain hot Tin Roof. Honestly, Michael Das

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Speaker 1: was calling me up. Jack Nicholson was calling me up.

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Speaker 1: Warm Baby was calling up and saying, don't do it,

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Speaker 1: don't do it, don't do it. You know they'll just

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Speaker 1: kill you. And I said, you know, you don't understand.

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Speaker 1: I'm better on stage, and I think I am. But

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Speaker 1: I also found that making films for me. I had

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Speaker 1: an agent who once said to me, if you never

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Speaker 1: did another movie again, what would you be missing? And

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Speaker 1: at that point I was looking at the movies that

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Speaker 1: I could do, the ones I was doing, where things

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Speaker 1: were if we all went to work and everybody did

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Speaker 1: their job perfectly, if everybody was perfect, would change the world. No,

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Speaker 1: the best we can with mediocrity, even if we were.

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Speaker 1: It's a killer. You go into the script is like okay,

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Speaker 1: and we think we're gonna be able to maybe somehow

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Speaker 1: we're gonna be able to make it better. My problem

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Speaker 1: with film more now is that I find it's boring work.

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Speaker 1: I mean not. I'm not talking about the material. I'm

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Speaker 1: talking about the process of day acting for twenty minutes,

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Speaker 1: walking away for an hour we said everything, coming back

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Speaker 1: acting the same material, just from a different angle again,

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Speaker 1: maybe shooting to three pages a day. Right, it's so boring.

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Speaker 1: It's so boring. A TV show, You're wrong, a TV show.

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Speaker 1: Tell me, oh the coming back? About that? I just

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Speaker 1: hated the commitment. I hated the idea of being that

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Speaker 1: tied down. I thought, if I had to do the

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Speaker 1: same character year after year, I would definitely slip my throat.

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Speaker 1: Well yeah, because you think this mark on my throat here? Yeah,

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Speaker 1: I had sewed up. But I've been doing a TV

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Speaker 1: show and the thing I like about it, the thing

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Speaker 1: the thing I thought i'd hate about it. You know

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Speaker 1: what I like is I like being home in New York. Biggie,

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Speaker 1: I'm home. We shoot the show here. People think we're funny,

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Speaker 1: and as soon as they wrapped me. In the end

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Speaker 1: of the day, I wiped my cat makeup off my face,

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Speaker 1: and I'm at a restaurant with my friends in Manhattan

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Speaker 1: at eight o'clock every night. I have a life. I

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Speaker 1: have a great life from the shooting. But you never

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Speaker 1: do a serious really talking about oh what a hard breaker?

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Speaker 1: Does this ever happening? This is the first time it's

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Speaker 1: happened to me, I thought, so, I really did, and

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Speaker 1: you know, and the audience response, which I was never

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Speaker 1: entire really sure if the play was as strong as

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Speaker 1: it needed to be. However, you reach point in the

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Speaker 1: amount of work that you do and your willingness to commit,

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Speaker 1: you cannot have any doubts anymore. You simply say, I

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Speaker 1: absolutely believe in this. That's how you must behave Although

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Speaker 1: in the back of my mind there will retain some

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Speaker 1: doubts as to the the play itself, had no doubts

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Speaker 1: as to the performances, or the audience response or the

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Speaker 1: heart of the material about addiction versus faith, you know,

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Speaker 1: which is to me a fascinating kind of concept. What

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Speaker 1: did the place say about that that is a constant battle,

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Speaker 1: that there is no winner, that addiction has no cure,

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Speaker 1: and that faith can be part of of making life

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Speaker 1: livable again and breaking the bonds of addiction, but there

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Speaker 1: is no cure for either, which perhaps was not as

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Speaker 1: uplifting as some people might have voted on by Ashman

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Speaker 1: this is Broadway. But it never ever occurred to me

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Speaker 1: that we'd only be open a week. I mean the

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Speaker 1: first thing I did, of course, it was just getting

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Speaker 1: sick as it all. You know they only do this too, Boddy,

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Speaker 1: when when you finished a long run or a long

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Speaker 1: commitment to our season of something, you get sick because

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Speaker 1: you care, and you get you get so sick. I

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Speaker 1: remember I would be sick. I was doing a play

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Speaker 1: and I had the flu. You get to the Saturday

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Speaker 1: Matt May, and you know you have to do the

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Speaker 1: Saturday night show. So now you're rolling into your seventh show.

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Speaker 1: You did two on a Saturday, and I'd lay on

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Speaker 1: my bed in my addressing room and I'd say a prayer.

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Speaker 1: I'd say, please God, I hope people come and rob

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Speaker 1: the box office of the theater, and while they're here,

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Speaker 1: they come up here and shoot me in my bed

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Speaker 1: and kill me because I can't go down there and

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Speaker 1: do this goddamn show again. Is your daughter interested in

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Speaker 1: the business. She is a singer song right, with an

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Speaker 1: amazing voice and me easy ability, and her songs are

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Speaker 1: just I'm I'm stung, and she's this charming, compassionate, interesting woman.

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Speaker 1: I'm like, I like my daughter. Wow. But but well,

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Speaker 1: you know, there are a few years in there, in

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Speaker 1: the teenage years, when you really wonder how the heck

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Speaker 1: she's going to turn out. I mean you really, and

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Speaker 1: you feel it's outside your control. You did what's good

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Speaker 1: and all this stuff, and she just turned out so good.

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Speaker 1: There's my daughter's fifteen, and there's some days you don't

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Speaker 1: know yet. There's some days I want to send her

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Speaker 1: to Afghanistan. But without a doubt, there were many days

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Speaker 1: when I had that feeling when you look at your

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Speaker 1: career then, because this is something I do which I

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Speaker 1: don't do, I don't think back, I don't want, I

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Speaker 1: don't care. No, there is no museum of Turner in

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Speaker 1: my house or anywhere else, no shrines to her. But

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Speaker 1: when you think about it, when you think of like

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Speaker 1: when I look back of myself and when I was

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Speaker 1: beginning in this business, I'm like that poor schmuck because

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Speaker 1: I didn't remember that if I only focused on my work.

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Speaker 1: I have to tell you something terrible. I agree with you.

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Speaker 1: You were often a schmuck. Yes, you were just very

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Speaker 1: full of yourself a lot of the time. Really, I

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Speaker 1: believe so. You think so much. Yes I do. I

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Speaker 1: think I was. I would say no, I did. I

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Speaker 1: didn't even get a bit of this one. But there

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Speaker 1: you go. I probably was too well. I was gonna say, yeah, yeah,

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Speaker 1: you call a spade a spade here. Yes, indeed, I'll

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Speaker 1: call you law turner for nothing. Don't. But anyone who

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Speaker 1: has worked with me, See, the only people who would

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Speaker 1: say that are people who have never really worked with me.

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Speaker 1: But when you look back, when you do look back

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Speaker 1: and think about what you were like, they're making films

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Speaker 1: to each other. Well, we can have more of that too,

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Speaker 1: in a moment, more in a moment. But make all

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Speaker 1: the film, these great films. When you look back at her,

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Speaker 1: what do you think of her? What was she like

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Speaker 1: to you? What were you like when you were first starting?

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Speaker 1: I make you did but naive? I think I was

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Speaker 1: very naive. Film kind of happened to me, you know.

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Speaker 1: I came to New York to be a Broadway starter.

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Speaker 1: I was always I grew up in London, great theater

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Speaker 1: shows and stuff. I never had any contact with film

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Speaker 1: or with TV making. Well. I first moved to New York.

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Speaker 1: I got a sup bumper. I was on the same

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Speaker 1: Yeah you would, because you were going on somewhere past

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Speaker 1: in the hallway. And then came buddy that I always thought.

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Speaker 1: I remembered you were shot body Heat and you came

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Speaker 1: back to say hello to some of those people, of course,

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Speaker 1: and came to New York and had a drink with

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Speaker 1: some of them, and I got to see so I

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Speaker 1: say hello, good body fleetingly and you were just shot by.

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Speaker 1: They all looked at you like you were you know, secretariats. No,

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Speaker 1: not just that people you say, you know, well, where

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Speaker 1: have you been you? I haven't seen you for six months.

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Speaker 1: I've been shooting a film, you know, a movie in

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Speaker 1: Los Angeles, like, oh, what's it called Body Heating? It went, oh, honey, okay,

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Speaker 1: I confess I went went out to be a porn star. Yes,

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Speaker 1: but then you made those movies in that. Was there

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Speaker 1: something you wish you did differently? No? No, I turned

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Speaker 1: out a lot of things. You know, it turned down

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Speaker 1: your basic body heat two three, four five. You know,

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Speaker 1: after romancing a lot of events. It seems as though

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Speaker 1: every time you have a success in one sort of genre,

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Speaker 1: then you're just supposed to do that. Yeah, but you

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Speaker 1: already did that. They want to make five of those

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Speaker 1: in a row because it proved successful. But it's not

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Speaker 1: interesting to me. I proved it was successful, thank you

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Speaker 1: very much, but just in a voyeuristic way for me.

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Speaker 1: Give me an example, what was it like working with

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Speaker 1: John Houston? Very interesting? Tell me because I idolized Houston.

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Speaker 1: I mean, you got to work with John was the

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Speaker 1: one before his last Pristine's Honor was his last Means

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Speaker 1: You film. You know, we had terrible, terrible Emphasema couldn't

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Speaker 1: move without oxygen tank. You know, he would see him

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Speaker 1: count the steps he would have to take to get

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Speaker 1: from one place to another, you know, sort of counting

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Speaker 1: the breaths that he would need. Didn't stop he's thinking

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Speaker 1: any but he would I think probably gave us more,

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Speaker 1: gave Jack, I mean, more more liberties than he would

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Speaker 1: have I think so, because he would have someone pointed

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Speaker 1: that out to you, to someone who knew his methods,

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Speaker 1: say that to you his daughter, and it's a different

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Speaker 1: Houston on his film. Yeah, he would say all right,

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Speaker 1: you know, you show me something and then we'll go.

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Speaker 1: So I'd look at Jack Nicholson go, well, okay, how

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Speaker 1: about we started the scene where like I'm face down

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Speaker 1: over the arm of the sofa and you're just pulling

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Speaker 1: away at the camera company, you know, and Jack goes, oh, yeah,

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Speaker 1: that's great. I mean we aren't. So you know, my

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Speaker 1: idea was the who's on top in the bed scene,

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Speaker 1: you know, when we've ultimately rolled off the edge of

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Speaker 1: the bed, with Jack going my back, my back the

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Speaker 1: whole the time anyway, So he would give us more

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Speaker 1: freedom I think than than yeah, and they come in

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Speaker 1: and say yes or no or you know, right direction

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Speaker 1: or whatever. But there was one day in particular when

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Speaker 1: it was a scene where the day where the character

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Speaker 1: really had to break down in fear of her life

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Speaker 1: because she'd been caught out, you know essentially, and we're

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Speaker 1: shooting in this terrible aclaustrophobic little house which made every

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Speaker 1: angle and lighting the issue impossible. And he would have

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Speaker 1: the camera and everything he's set up, I've waited four

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Speaker 1: hours coming. We'd be one run through and he'd say, no,

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Speaker 1: I don't like it this way and going and I

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Speaker 1: ain't taking another four hours, hour after hour after hour,

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Speaker 1: so you're ready to scream and cry and kick with frustration.

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Speaker 1: And I overheard him say to one of the first ads,

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Speaker 1: do you think she was ready? Now? Not the youth?

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Speaker 1: So I yes, I was ready. That was the only

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Speaker 1: time he really did that to me. Who was the

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Speaker 1: director that you think out to? Who was the director

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Speaker 1: you really admired Coppola? Coppola from yeah, tremendously. He had

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Speaker 1: such an extraordinary grasp of the possibilities of the images,

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Speaker 1: in of what the camera could do and when I

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Speaker 1: could see. And I learned so much from him. Bizarrely,

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Speaker 1: some of my best work, I think was for Ken Russell.

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Speaker 1: You know who's certifiable I mean, but then he's he's

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Speaker 1: certifiably a genius too. How many movies did you make

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Speaker 1: with only one? Oh? He had a way of For example,

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Speaker 1: in Crimes of Passion, there's a scene and she's his

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Speaker 1: fifty dollar hooker on Hollywood Avenue at night. The scene

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Speaker 1: takes place in this hotel room and the walls are

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Speaker 1: papered with this shiny, hideous pink and purple shiny wallpaper,

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Speaker 1: and he had a flashing neon light set over to

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Speaker 1: the side that was like the motel sign on the street. Yeah,

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Speaker 1: that was the only light. Are acting I had to

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Speaker 1: take place within the timing and the pulsing of that

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Speaker 1: neon lamp which he regulated, you know, and the reflections

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Speaker 1: that came off the wallpaper. It's genius. The older I get,

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Speaker 1: the more it's all technical to me. Now, I agreed,

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Speaker 1: you either have the inspiration or you don't. I don't

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Speaker 1: need anybody to inspire me to play the part. Typically,

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Speaker 1: But but in the theater where you've done all this

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Speaker 1: complex material, who were the theater directors who were the

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Speaker 1: most memorable to Who's someone who you just had loved

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Speaker 1: working with him in the theater cat Tin Rufe, whose name,

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Speaker 1: of course just left my head, British director, absolutely brilliant. Yes,

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Speaker 1: and then also with Virginia Wolf, which was some of

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Speaker 1: the most anthony page some of the most gentle misdirecting

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Speaker 1: directing I've ever had. I mean, you didn't really realize

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Speaker 1: until much further into the process how much he was

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Speaker 1: actually giving you. You know, when you did that part,

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Speaker 1: I really got to the end of Martha finally you did. Yeah,

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Speaker 1: but it took that whole time. Was it tough? To

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Speaker 1: do that. No, it was glorious. It was glorious to

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Speaker 1: feel so used up. It was so satisfying. You understand,

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Speaker 1: there's a thing that that's happens, and then you don't

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Speaker 1: have to share this opinion. I understand. But like Elizabeth Taylor,

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Speaker 1: like Bacall, like Stock or Channing, you're asked to play

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Speaker 1: women who have a lot of authority. You're asked to

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Speaker 1: play women who straightened people out a lot in the show,

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Speaker 1: or don't depend very independent woman and and and there's

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Speaker 1: a kind of a forcefulness to that. Do you find

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Speaker 1: that you would rather play the other side of him?

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Speaker 1: You can't play the weak women. You'd victim, you know.

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Speaker 1: And I think that's a real limitation. Yeah, something in

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Speaker 1: me would just kick and scream and come out. I

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Speaker 1: just know that if I actually said, okay, okay, okay,

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Speaker 1: I'm gonna do this poor help us little woman who

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Speaker 1: doesn't fight for anything, I would betray it somewhere down

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Speaker 1: the line, I know I would. What do you want

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Speaker 1: to do next? What's the part you having done in

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Speaker 1: the theater? I just got a whole slew, which is

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Speaker 1: always nice. Having just lost my job. You know, they

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Speaker 1: lost you? Yes, thank you a couple of interesting ideas

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Speaker 1: you've come up. One is o play called The Killing

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Speaker 1: of Sister George. Do you remember this? Oh about a

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Speaker 1: pretty stradio drama. I'm not sure how I feel about it,

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Speaker 1: which is very intriguing to me. There's a great deal

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Speaker 1: of humor and everything. At the same time. The woman

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Speaker 1: is absolutely wretched, awful, abusive, you know, qualities that I

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Speaker 1: truly despise. The other side I just adore. So I

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Speaker 1: gotta have you know, we're gonna sit down and have

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Speaker 1: a reading on that one. Is there other alb you

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Speaker 1: want to do? Well? He's writing a new one, yeah,

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Speaker 1: which is interesting. Was that experience like working with him?

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Speaker 1: Very hands on, he's very press he's very very present.

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Speaker 1: At the time though his partner of thirty or five

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Speaker 1: years was dying. In fact, it was a race between

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Speaker 1: whether we open on Broadway first or his partner would

370
00:22:13,160 --> 00:22:16,879
Speaker 1: would breathe his last So I'll be probably gave us

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Speaker 1: less attention then he has in many, many, many years,

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Speaker 1: which I rather liked, because he can be difficult. He's

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Speaker 1: very very controlling about the interpretation of material. Yes, and

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Speaker 1: he's not as good a director as he thinks he is.

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Speaker 1: Do you go to the theater much you watch a

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Speaker 1: movie goer and a theater goer. I go to theater

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Speaker 1: more than films. I always have. You know, when your

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Speaker 1: show is canceled, you say, and the idiots put money

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Speaker 1: in that, you know, which just makes you angry, because,

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Speaker 1: of course there's no rhyme or reason. I liked Good People.

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Speaker 1: I was interested by the play. It's intricate, interested in writing,

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Speaker 1: and I think that Francis McDormand it's lovely, lovely work.

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Speaker 1: Then of course that was the Book of Mormon. Honey.

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Speaker 1: I don't usually laugh out loud and public, and I

385
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Speaker 1: was simply cowling. And at the end of the show,

386
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Speaker 1: this guy in the aisle behind me had his phone

387
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Speaker 1: out and he said, I'm tweeting Kathleen Turner, Pete and

388
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Speaker 1: her partents. I said, go right ahead, go right ahead

389
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Speaker 1: on um how I'll be very honest with you about something.

390
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Speaker 1: I've been in tremendous physical pain myself for the last

391
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Speaker 1: couple of years, very bad back from doing a play

392
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Speaker 1: on a raped stage when we did street Car two.

393
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Speaker 1: I never had one back problem in my life, and

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Speaker 1: I was fairly young that I was thirty four. I

395
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Speaker 1: did that play in I was thirty four. My back

396
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Speaker 1: has never been the same. Now I can't take anything

397
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Speaker 1: because I can't work in my business. In this business,

398
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Speaker 1: I can't be high. I used to make that mistake.

399
00:24:03,880 --> 00:24:06,400
Speaker 1: I made it bad, you know. In terms of when

400
00:24:06,440 --> 00:24:08,520
Speaker 1: the r A was at some of its very very worst.

401
00:24:09,440 --> 00:24:11,960
Speaker 1: I was doing show on Broadway, and I was doing

402
00:24:11,960 --> 00:24:15,920
Speaker 1: indiscretions with the raped stage by the way, which really

403
00:24:15,960 --> 00:24:18,919
Speaker 1: can kill you any case. As soon as that curtain

404
00:24:18,960 --> 00:24:23,760
Speaker 1: came down Sunday night until Monday night, I drank because

405
00:24:23,800 --> 00:24:27,480
Speaker 1: I'll tell you, alcohol kills pain. But you have to

406
00:24:27,480 --> 00:24:29,760
Speaker 1: stop by Monday night because you have to be back

407
00:24:29,840 --> 00:24:33,359
Speaker 1: on stage Tuesday. So I would get through the week thinking,

408
00:24:34,119 --> 00:24:36,640
Speaker 1: you know, four over nights, three more nights, two more

409
00:24:36,720 --> 00:24:39,879
Speaker 1: nights until I can start. I couldn't take pills. You

410
00:24:39,920 --> 00:24:42,640
Speaker 1: can't take pain pills. You can't thank the TV show.

411
00:24:42,680 --> 00:24:45,920
Speaker 1: I can't take pills. You're not clear, you're not timed,

412
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Speaker 1: you know. Yeah, it's so good. I found extraordinary people

413
00:24:52,320 --> 00:24:57,520
Speaker 1: to help me in terms of physical therapy, swimming, massage,

414
00:24:59,720 --> 00:25:01,680
Speaker 1: on and off. I bet I've quit smoking. I don't

415
00:25:01,680 --> 00:25:06,119
Speaker 1: know how many times it's okay, I don't know. Yeah, yeah, right,

416
00:25:06,920 --> 00:25:09,800
Speaker 1: Well I'm quit at the moment. We'll put that. Let's

417
00:25:10,080 --> 00:25:15,720
Speaker 1: again smoking, yes for you. I'm so proud of you,

418
00:25:16,320 --> 00:25:19,879
Speaker 1: and acupuncture and and every single day. The thing that

419
00:25:20,320 --> 00:25:23,720
Speaker 1: has helped, the single most thing, the best is pilates.

420
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Speaker 1: That's what I take is the best. Has it ever

421
00:25:27,080 --> 00:25:28,760
Speaker 1: affected your work? Have you had to work from a

422
00:25:28,800 --> 00:25:32,400
Speaker 1: show where you were agony? Oh? God? And in Discretions

423
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Speaker 1: there was three story metal staircase that the characters had

424
00:25:37,560 --> 00:25:40,280
Speaker 1: to go up and wait on a catwalk up there.

425
00:25:41,359 --> 00:25:44,600
Speaker 1: I kept tissues and a mirror and lipstick and powder

426
00:25:44,680 --> 00:25:46,679
Speaker 1: up there, and by the time I got to the

427
00:25:46,720 --> 00:25:48,399
Speaker 1: top of it, I got to get sit down with

428
00:25:48,440 --> 00:25:50,920
Speaker 1: the gun. I would be sobbing I have better on it,

429
00:25:51,000 --> 00:25:53,399
Speaker 1: And then I would hear a line from Roderiese and

430
00:25:53,480 --> 00:25:55,800
Speaker 1: I would wipe my face, put the lip soup back on,

431
00:25:56,040 --> 00:25:59,200
Speaker 1: repad on my nose, and go back down. And that's

432
00:25:59,240 --> 00:26:01,240
Speaker 1: what got me through it every single night, which is

433
00:26:01,359 --> 00:26:04,159
Speaker 1: letting myself stop. By the time I got up, I

434
00:26:04,200 --> 00:26:07,800
Speaker 1: have had nine operations on my knees and my feet

435
00:26:07,920 --> 00:26:11,159
Speaker 1: and and stuff and hand and things, but I have

436
00:26:11,280 --> 00:26:14,240
Speaker 1: never had that back problem. I've always been lucky. Do

437
00:26:14,280 --> 00:26:16,639
Speaker 1: you still have the house, and I just sold it.

438
00:26:16,840 --> 00:26:20,840
Speaker 1: You sold it in November. The kids grow up, they

439
00:26:20,880 --> 00:26:23,640
Speaker 1: don't want to spend the summer out there. And then

440
00:26:23,680 --> 00:26:27,080
Speaker 1: my husband and I divorced five years ago. How do

441
00:26:27,119 --> 00:26:30,520
Speaker 1: you like being single? Love it? I love it twenty

442
00:26:30,560 --> 00:26:34,040
Speaker 1: two years, twenty two years. And now you know what

443
00:26:34,080 --> 00:26:37,600
Speaker 1: I love. I love to get home, be in front

444
00:26:37,600 --> 00:26:39,199
Speaker 1: of the door of my apartment and know that no

445
00:26:39,200 --> 00:26:43,200
Speaker 1: one else is inside. It's such a relief. I don't

446
00:26:43,200 --> 00:26:46,480
Speaker 1: have to take care of anybody. I think maybe it's

447
00:26:46,520 --> 00:26:50,000
Speaker 1: more of a woman thing. I don't know. But first

448
00:26:50,040 --> 00:26:52,359
Speaker 1: thing I'm going to do tomorrow is go get my

449
00:26:52,400 --> 00:26:55,080
Speaker 1: hair all cut off. What are you doing? I don't know,

450
00:26:55,280 --> 00:26:57,640
Speaker 1: I don't care. So tomorrow I'm gonna go in and say,

451
00:26:57,920 --> 00:27:01,320
Speaker 1: do something creative for me. What do you do when

452
00:27:01,320 --> 00:27:04,360
Speaker 1: you want to like us A that chapter is over?

453
00:27:05,760 --> 00:27:08,480
Speaker 1: Do you get to get cut? Well? No, I'm that's

454
00:27:08,520 --> 00:27:10,840
Speaker 1: not like it's not the same as for women. You

455
00:27:10,880 --> 00:27:17,240
Speaker 1: are some dramatic alteration in your physical appearance. I um, uh, God,

456
00:27:17,280 --> 00:27:18,960
Speaker 1: I wonder that's a very good question. What do I

457
00:27:19,000 --> 00:27:21,040
Speaker 1: do when I want to signify a big change in

458
00:27:21,119 --> 00:27:26,960
Speaker 1: my life? I probably um I hate change. I hate change.

459
00:27:27,119 --> 00:27:30,679
Speaker 1: I think all change is good, well usly. I mean,

460
00:27:30,760 --> 00:27:35,159
Speaker 1: it's not easy, but it's always good. Maybe for Kathleen Turner,

461
00:27:35,880 --> 00:27:39,600
Speaker 1: I do hate change. Kathleen's comment reminded me of a

462
00:27:39,720 --> 00:27:43,480
Speaker 1: quote that is stuck with me. This was Rauschenberg's obituary

463
00:27:43,600 --> 00:27:46,439
Speaker 1: in the New York Times. I said this. Painter Robert

464
00:27:46,480 --> 00:27:50,199
Speaker 1: Rauschenberg died in two thousand eight. In his obituary, he

465
00:27:50,280 --> 00:27:54,399
Speaker 1: was quoted talking about his first solo show, everyone was

466
00:27:54,440 --> 00:27:58,720
Speaker 1: trying to give up European aesthetics. Rauschenberg recalled Meni, Picasso,

467
00:27:58,800 --> 00:28:01,359
Speaker 1: the Surrealist, and Matisse. That was the struggle, and it

468
00:28:01,520 --> 00:28:04,680
Speaker 1: was reflected in the fear of collectors and critics. John

469
00:28:04,800 --> 00:28:07,720
Speaker 1: Cage said that fear in life is the fear of change,

470
00:28:08,280 --> 00:28:10,560
Speaker 1: and if I may add to that, Rachenberg said, nothing

471
00:28:10,680 --> 00:28:13,120
Speaker 1: can avoid changing. It's the only thing you can count

472
00:28:13,160 --> 00:28:16,920
Speaker 1: on because life doesn't have any other possibility. Everyone can

473
00:28:17,000 --> 00:28:20,040
Speaker 1: be measured. I love this by his adaptation to change.

474
00:28:20,960 --> 00:28:23,359
Speaker 1: And that's the thing I'm really working on now, is

475
00:28:23,760 --> 00:28:27,879
Speaker 1: so I really I was shown this is Alec Baldwin

476
00:28:28,000 --> 00:28:29,560
Speaker 1: and you're listening to here's the thing