Name: Kathy Bates Breaks Down Her Career, from 'Titanic' to 'American Horror Story' | Vanity Fair
Uploaded: 2020-03-20T16:41:26.000Z
Duration: 23 min 48 s
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people say, Well, how do you do what you do?

Modal verbs - A2

You know, the most fun we had his kids was when we play dress up and pretended, and we could be anything we wanted, they call it a play.

It's always play and it's that little kid inside of you.

Only now you have the best costume designers in the best makeup and the best scripts, and and it's all like a huge, heightened reality.

Hi, this is Cathy Bates, and this is the timeline.

Oh, I was born into a World Full of Angels and Kings with first film role that I had was with Milos Forman, his first American film called Taking Off, and I taught myself how to play the guitar.

When I was 12 my mom bought me an old Silvertone for 20 bucks at Sears, and I ended up writing a song about loss of innocence when I was around 16 and then when I got to New York through friends, I met Milos.

My song was featured Carly Simon's song was featured.

I don't think SAG knew about any of that.

I loved acting in high school, and I was very serious about acting on stage.

I wasn't particularly focused on being in film.

The whole working with Milos was a riel accident for May.

Oh, Max, you didn't bring any beer, did you?

Warren Beatty saw vanities, which was a play we did off Broadway, and he told his buddy, Dustin Hoffman about me.

There was a scene where we were supposed to talk through a screen door.

I don't know where he got the screen tour, but he was holding the screen door in between us and we did the scene together and he really liked some of the things that I did.

And he cast me in the role right then and there, and I remember saying to him, Can I call my mother?

And, uh, he said, Yeah, and I'll always be so fond of Dust and because he's just an actor's actor, he literally took me by the hand and walked me across this empty sound stage and said, That's the camera.

He was so excited, I think, for me as an actor having this first speaking role, I learned so much from him.

He was so passionate and so excited still to be an actor.

I feel so fortunate that that was my first speaking role.

Working with someone is talented and has committed a CE Dustin.

But the other really cool thing was, is that they were trying to cast a kid to player, son and Gary abuses.

Kid Jake decided they, you know, they asked him if he would consider doing it.

He said he had to think about it, and so the next day Gary came in with Jake and he said, Jake, it's said to him I will.

I guess acting is like pretending, but making believe like you're not pretending, We all thought, That's it.

You know, all the actor classes can just learn this one thing.

Trust me, God still very much involved in theatre.

A and I did a production of Aunt Dan and Lemon.

But Rob Reiner was stating Elizabeth McGovern, who is in the play, and he would come almost every night and bring her roses.

And I think he had seen me in place in New York, too.

So when it came time to cast misery, I think they were interested in Bette Midler and certain names, you know, to play this character.

And then they decided maybe it was better to go with somebody who was really unknown.

So I went in and it was similar to being cast and straight time in that, you know, I came into Rob's office and sat down, read a scene or two with him, and then he cast me and I said, Can I call my mother?

You know, it's like he said, Yeah, you call your mother And it was really hard to find a guy who wanted to be in that vulnerable position.

He tried, you know, baby at one time was gonna do it.

Finally, Jimmy said, yeah, was the worst thing you could have asked Jimmy Caan to do because hates not moving.

Sometimes you have to look really, really close to the lens.

Sometimes Jimmy was like, Is this okay, Jimmy?

You know, one of you looking at Todd beautiful blue eyes, and I could play Anne and stuff with him.

The other great thing about doing misery was I got a really beautiful trailer was powder blue inside, and I got in and I sat there for about 20 minutes, and I thought, Well, this is really lonely.

Why am I What am I going to do in here by myself?

So I hung out on set with everybody, and by then, Rob had a fantastic crew of people, people he'd worked with for years who were creme de la creme.

And besides flirting with Todd, I remember working with Tony Serrano.

He was the man's customers working with Jimmy, and we were just passing each other on the soundstage, and he just threw over his shoulder.

He said, Get your Oscar dress ready and I was like, You know, because again, I wasn't thinking.

I've been waiting a long time to say that What often happens after someone wins an Academy Award is you never work again because I guess they feel like you're terrific Stamp of approval.

So it was hard from you for a while to find roles that weren't horror roles and just what was I going to do next?

I was publicizing misery and getting over jet lag and all that, and I got this script fried green tomatoes to read.

Fried green tomatoes way back then, because of the prejudice against lesbians, I think even in the film it's more suggested.

It's not really spelled out, so that drew me to it.

That kind of bravery and the relationship between those two lovely women.

How fierce Iggy was in fighting for her friend.

I'd like to go back and do some of those early scenes.

It was hard for me to get a hold of, um the kind of I don't know, the naivete.

And and the Southern woman who's grown up in the South that I grew up.

But the south that I ran away from, Thank God I was working with Jessica Tandy.

Working with her was amazing because you could see how her craft was a life force in her.

She was 84 at the time, and I felt like my own light was kind of going out inside, and I don't know why, but her knocking on her trailer one day and she opened it and she said, Oh, you've come to see the wise woman.

I spent the day with the people at the bank.

Turns out you weren't supposed to do that light.

I got all that money given right back to me in cash.

Deloris Claiborne wasn novella by Stephen King.

I loved working on that film because Taylor gave me every tool that I needed to create that character.

You see her when she's in her forties, and then later on, when she's at the end of this very hard life.

In her sixties, I had a fantastic movement coach because we wanted to figure out the difference in the spine.

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Kathy Bates Breaks Down Her Career, from 'Titanic' to 'American Horror Story' | Vanity Fair

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