Lee Grant Quotes
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I've made a five-minute video on 'The Battering of Hillary Clinton.'
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When I was on stage in the '50s, it was a glory time, a golden time with Tennessee Williams and Arthur Miller. There was real talent. And now, the theater is a little Disney-fied.
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My instinct was that it was Sidney's childhood in the Bahamas that gave him the fearlessness to fight racism. So this documentary was a kind of rounding out of what had begun in that scene in In the Heat of the Night.
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Film and television were out. I was 24, and it went on until I was 36. For an actor, those are your years. I got a great urgency and education during the blacklist, and it made me grow up in a way I never could have before, and in very good ways, too.
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A lot of very, very big stars were going down and not being seen or heard from again. Kirk took a huge chance in putting a blacklisted writer's name on the screen and somehow or other, he survived it, like he survives everything.
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After the Oscar for 'Shampoo,' I had a sense, even as I was walking up to get it, that this was the height of where I was going to go as an actress. And I felt that now was the time, if I wanted a longer life in the arts, that I had to jump from acting to directing.
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I've been married to one Marxist and one Fascist, and neither one would take the garbage out.
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You don't need a love scene to show love.
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When I became a director, I wanted to convince a very reluctant Sidney into allowing me to go on the journey of his life. Sidney had gone ahead of every other African American actor.
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Usually, the worst films become cult films.
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The best actors just stay in the moment,and whatever happens in the scene is a genuine surprise. You really do not know what's going to happen next. But living that out in life is very dangerous because it throws you into a place where you don't know if you're going to survive.
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I was such a Jewish princess. My whole life was leading up to marrying a rich man and living on 48th Street.
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It's a very good feeling to be around a man who thinks women are juicy.
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I was such a New Yorker, I hardly knew what the Oscars were.
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I was 22, and 40 was old. To be 40 again!
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Since I'd developed this fear of not remembering my lines, I took 'Mulholland Drive' as a test for myself. It was a long monologue: no one else speaks.
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I did my very first film with Kirk in Detective Story when he was the greatest, greatest star in the world. I fell in love with him, had a crush on him then.
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I don't think I fit the Marilyn Maxwell mode.
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Every actor in the room honored Sidney for being there so many years before. And everybody was so moved to be at a place where history was being made again. It was tangible.
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I pretty much always stuck to the most interesting part I could play.
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I know what you go through when you learn someone close to you has died.
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I am proud of Kirk. I think he drums to his own drummer in every way.
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People break down after a couple of hours. All the defenses go down, and there's a kind of communication that if I spent 20 years in a living room with one of these people, I would never, never know as much about them as I do in that one day.
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Kirk is a man, and he loves it. He loves women.