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Yes, I do miss my "family." That great big family I accumulated over the years. [...]. We shared the ephemeral quality, the sense of impermanence of … - Mary Astor
" "Yes, I do miss my "family." That great big family I accumulated over the years. [...]. We shared the ephemeral quality, the sense of impermanence of the medium we worked in. Often when a scene was being worked over in rehearsal, experimenting, nit-picking about words and moves, somebody would break up the over-seriousness with the question, "Who's waiting for this opera, anyway?" and we'd all laugh and realize it was all something that shouldn't be taken too seriously—and yet, if it wasn't taken seriously it wasn't any good. I miss these people who were part of my life—co-workers, co-actors. Friends. And I watch the new ones, the new breed, and when they do something great and fine, I'm proud. And when they do things that are blatantly bad, I am ashamed. But I can't disinherit them, for no matter how much they may feel that it is a whole new thing, it isn't really. It is a continuation. For what they have today was built upon the great and fine and the blatantly bad jobs that we did—we old movie-makers.
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About Mary Astor
Mary Astor (born Lucile Vasconcellos Langhanke; May 3, 1906 – September 25, 1987) was an American actress. Her career spanned several decades and include her performance as Brigid O'Shaughnessy in The Maltese Falcon (1941). TOC
Also Known As
Birth Name:
Lucile Vasconcellos Langhanke
Alternative Names:
Lucile Langhanke
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Astor
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Mary Del Campo
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Mary Hawks
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Mary Thorpe
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Mary Wheelock
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Additional quotes by Mary Astor
I think "laconic" is a good word for and for his technique of direction. No big deal about communication with John. Terse, pithy, to the point. Very Irish, a dark personality, a sensitivity which he did everything to conceal, but once he said to me while I was doing a scene with Ray Massey, "Make it scan, Mary." And I said to myself, "Aha! I know you now!".
Under contract, for some weird reason, you get typed, stuck into the same part, over and over again. In my case, it was mother roles. It isn't that I didn't like being a mother: I had two wonderful children of my own. But Metro's Mothers never did anything but mothering. They never had a thought in their heads except their children. They sacrificed everything: they were domineering or else the "Eat up all your spinach" type. Clucking like hens. Eventually every actor on the Metro lot called me Mom. I was in my late thirties and it played hell with my image of myself. And my image of the Diary days went right down the drain.
Tuesday night we had a dinner at ‘21’ and on the way to see he did kiss me—and I don’t think either of us remember much what the show was about. We played kneesies during the first two acts, my hand wasn’t in my own lap during the third. It’s been years since I’ve felt up a man in public, but I just got carried away. Afterwards we had a drink someplace and then went to a little flat in 73rd Street where we could be alone, and it was all very thrilling and beautiful. Once George lays down his glasses, he is quite a different man. His powers of recuperation are amazing, and we made love all night long. It all worked perfectly, and we shared our fourth climax at dawn. I didn’t see much of anybody else the rest of the time—we saw every show in town, had grand fun together and went frequently to 73rd Street where he fucked the living daylights out of me.”
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