Yeah, I've always been accused of having a sense of mischief and I'm very flattered that you say you can see it in the roles I play, because I think that's important, even if I do play intense characters, like especially Christine Cagney.
The way they were writing Christine as this older woman who got married, which she shouldn't have. Obviously got divorced right away. Reached the glass ceiling in the police precinct. So there is a part of her that died because she knows she couldn't go any farther.
Studios were just run differently. There really was a head of a studio. There were people who loved their studios. Who worked for their studios and were loaned out to other people and everybody sort of got a piece. Well now there's a handful now.
In my early days I was a contract player at Universal and I had a wonderful mentor named Monique James, who was head of talent there, and she used to drag me on sets to do parts.
But Angela had at least 30% more viewers on the same night at the same time. I mean, she wiped everybody out. But the sponsors don't care when she had the most people. They only care about if there was only a handful of young viewers on the other one.
And they were writing scripts where Christine had hit the glass ceiling. And I always thought Christine would never hit the glass ceiling. I thought her dreams would take her. Maybe her dreams wouldn't take her where she wanted, but she still had her dreams.
