"I often play women who are not essentially good or likable, and I often go through a stage where I hate them. Then I end up loving and defending them"
About this Quote
Turner’s confession gets at the dirty little secret of great screen acting: you don’t “like” a character into existence, you argue them into humanity. The line starts with an almost taboo admission for an actress who built a career on sharp edges and unapologetic appetite. Playing women “not essentially good or likable” isn’t just a role choice; it’s a cultural dare. Male antiheroes get crowned complicated. Women who take up space, want things, or behave badly get audited for charm.
The emotional pivot - hate, then love - is the real craft lesson. Turner describes a process that sounds less like inspiration and more like moral negotiation. At first, she reacts like the audience is trained to react: recoil, judge, punish. Then the actor’s job kicks in: locate the internal logic that makes the “unlikable” coherent. Defending the character becomes a way of resisting the script’s or the culture’s desire to reduce her to a warning label.
Context matters here: Turner’s star persona in the 1980s and 1990s was a lightning rod for anxieties about female power and sexuality. Her characters often read as threats - to men, to domestic order, to neat moral accounting. By admitting she has to cross a bridge from disgust to empathy, she’s also exposing how deep the conditioning runs, even for the person tasked with embodying the role. The subtext is a quiet manifesto: women on screen don’t owe us virtue; they owe us truth, and truth often arrives with teeth.
The emotional pivot - hate, then love - is the real craft lesson. Turner describes a process that sounds less like inspiration and more like moral negotiation. At first, she reacts like the audience is trained to react: recoil, judge, punish. Then the actor’s job kicks in: locate the internal logic that makes the “unlikable” coherent. Defending the character becomes a way of resisting the script’s or the culture’s desire to reduce her to a warning label.
Context matters here: Turner’s star persona in the 1980s and 1990s was a lightning rod for anxieties about female power and sexuality. Her characters often read as threats - to men, to domestic order, to neat moral accounting. By admitting she has to cross a bridge from disgust to empathy, she’s also exposing how deep the conditioning runs, even for the person tasked with embodying the role. The subtext is a quiet manifesto: women on screen don’t owe us virtue; they owe us truth, and truth often arrives with teeth.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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