"An actor should be ready to play any role within reason. For example, I think the most ridiculous thing for me to do would be to try and play Shakespeare"
About this Quote
There is a sly humility in Ford calling Shakespeare the one bridge too far, and it lands because it cuts against the actor-as-chameleon myth without sounding like a retreat. He starts with the orthodox creed - be ready for anything "within reason" - then uses himself as the punchline. The joke is self-directed, but the subtext is a quiet defense of craft: range is real, yet it is not infinite, and pretending otherwise is how actors embarrass themselves and cheapen the work.
Context matters. Ford was a classic mid-century Hollywood leading man: economical, masculine, emotionally legible, rarely showy. His strengths were understatement and credibility, the camera-catching kind. Shakespeare, especially as it's often performed, can demand a different instrument: heightened language, rhetorical muscle, theatrical projection, and a relationship to verse that is closer to music than to natural speech. Ford isn't saying Shakespeare is sacred; he's saying the job changes when the text itself is the special effect.
The line also reads as a dig at prestige hunger. Hollywood has long treated Shakespeare as a cultural car wash: step in, emerge "serious". Ford refuses that transaction. "Within reason" becomes a moral boundary as much as an artistic one - know what you can serve, and don't use the canon as a costume. It's an actor's version of good taste: confidence without delusion, ambition tempered by the awareness that some roles expose you more than they elevate you.
Context matters. Ford was a classic mid-century Hollywood leading man: economical, masculine, emotionally legible, rarely showy. His strengths were understatement and credibility, the camera-catching kind. Shakespeare, especially as it's often performed, can demand a different instrument: heightened language, rhetorical muscle, theatrical projection, and a relationship to verse that is closer to music than to natural speech. Ford isn't saying Shakespeare is sacred; he's saying the job changes when the text itself is the special effect.
The line also reads as a dig at prestige hunger. Hollywood has long treated Shakespeare as a cultural car wash: step in, emerge "serious". Ford refuses that transaction. "Within reason" becomes a moral boundary as much as an artistic one - know what you can serve, and don't use the canon as a costume. It's an actor's version of good taste: confidence without delusion, ambition tempered by the awareness that some roles expose you more than they elevate you.
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