"I could have stayed in L.A. and done sitcoms for awhile and will probably go back and do one I hope"
About this Quote
Andrea Martin’s line lands with the casual candor of someone who’s watched the industry turn “talent” into a scheduling problem. The phrasing is almost aggressively unglamorous: stayed in L.A., done sitcoms for awhile. Not “built a brand,” not “led a hit.” Just worked. That plainness is the point. It undercuts the myth that every career choice is a grand artistic referendum, replacing it with something truer: actors make strategic calls, sometimes to protect their sanity, sometimes to protect their craft, often to pay the bills.
The subtext is a small rebellion against L.A.’s gravitational pull. “Could have stayed” implies she didn’t, and the omission is loud. Martin’s career has always been slightly sideways to the standard pipeline - respected, eclectic, frequently scene-stealing rather than spotlight-hogging. Sitcoms, in this sentence, aren’t framed as a sellout but as a parallel track she knowingly declined, at least for a stretch. That’s a subtle flex: she’s saying she had access to the most legible form of mainstream success and chose a different rhythm.
Then comes the pivot: “and will probably go back and do one I hope.” That hopeful hedge is disarming. It suggests affection for the form - the craft of timing, the communal machinery of a weekly show - while also acknowledging how little control performers actually have. In eight words, Martin captures the actor’s permanent condition: agency, regret, pragmatism, and longing, all delivered like an aside.
The subtext is a small rebellion against L.A.’s gravitational pull. “Could have stayed” implies she didn’t, and the omission is loud. Martin’s career has always been slightly sideways to the standard pipeline - respected, eclectic, frequently scene-stealing rather than spotlight-hogging. Sitcoms, in this sentence, aren’t framed as a sellout but as a parallel track she knowingly declined, at least for a stretch. That’s a subtle flex: she’s saying she had access to the most legible form of mainstream success and chose a different rhythm.
Then comes the pivot: “and will probably go back and do one I hope.” That hopeful hedge is disarming. It suggests affection for the form - the craft of timing, the communal machinery of a weekly show - while also acknowledging how little control performers actually have. In eight words, Martin captures the actor’s permanent condition: agency, regret, pragmatism, and longing, all delivered like an aside.
Quote Details
| Topic | Career |
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