"Being away from her is torturous and I'd much prefer to be with her. So I just try to get out of here as soon as I can. I make sure I do my job real well and fast"
About this Quote
There is something disarmingly unglamorous about this: a working actor reducing the supposedly enchanted machinery of fame to a clock-in, clock-out problem. Richard Dean Anderson is not performing mystery or mystique here; he is refusing it. The line “Being away from her is torturous” lands with soap-opera intensity, but what follows undercuts any romantic grandstanding. His solution is logistical: leave set faster. The emotional claim is big, the strategy is plain. That contrast is the point.
Subtextually, Anderson is smuggling a value system into an industry that often runs on the opposite one. Hollywood rewards availability, not absence; devotion to the job is treated as proof of seriousness. He flips that script: professionalism becomes a tool to protect a private life, not a substitute for it. “I make sure I do my job real well and fast” sounds like discipline, but it’s also boundary-setting. He’s asserting control over a schedule designed to consume you.
The context matters because Anderson’s era of TV stardom (especially in long-running, production-heavy series) came with punishing hours and a public appetite for the star’s personal narrative. By framing his motivation around “her,” he offers a tidy, culturally legible story - love as alibi - while quietly insisting on something more radical: that the job, however visible, is still just a job. In a business that monetizes longing, he’s choosing the kind that can’t be televised.
Subtextually, Anderson is smuggling a value system into an industry that often runs on the opposite one. Hollywood rewards availability, not absence; devotion to the job is treated as proof of seriousness. He flips that script: professionalism becomes a tool to protect a private life, not a substitute for it. “I make sure I do my job real well and fast” sounds like discipline, but it’s also boundary-setting. He’s asserting control over a schedule designed to consume you.
The context matters because Anderson’s era of TV stardom (especially in long-running, production-heavy series) came with punishing hours and a public appetite for the star’s personal narrative. By framing his motivation around “her,” he offers a tidy, culturally legible story - love as alibi - while quietly insisting on something more radical: that the job, however visible, is still just a job. In a business that monetizes longing, he’s choosing the kind that can’t be televised.
Quote Details
| Topic | Long-Distance Relationship |
|---|---|
| Source | Help us find the source |
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