"I want good and different parts, different from what I've done"
About this Quote
Restlessness is an underrated survival skill in Hollywood, and Joan Severance frames it with disarming simplicity: “good and different parts, different from what I’ve done.” The line isn’t grandstanding; it’s a small act of boundary-setting in an industry that loves to turn a face, a body, or a breakout role into a repeatable product.
The intent is practical. Severance isn’t asking for “more work,” she’s asking for better leverage: roles that expand her range and, by extension, her shelf life. “Good” is the key qualifier - not novelty for novelty’s sake, but material with enough texture to justify the risk of breaking type. “Different” does double duty, signaling ambition while quietly rejecting the casting shorthand that often follows actresses, especially those who’ve been packaged through a particular era’s aesthetics.
The subtext is about control. Actors sell the illusion of transformation, yet their careers are frequently managed by other people’s ideas of what they “are.” Severance’s phrasing pushes back against that fixed identity. It also admits a fatigue with repetition: the weary awareness that doing “what you’ve done” may be the easiest path to bookings, but also the fastest way to become replaceable.
Contextually, it reads like a performer speaking from inside the late-20th-century star system where television visibility could be both a platform and a trap. The quote lands because it’s not a manifesto; it’s a negotiation in plain language, a reminder that artistic growth in commercial entertainment often begins as a refusal.
The intent is practical. Severance isn’t asking for “more work,” she’s asking for better leverage: roles that expand her range and, by extension, her shelf life. “Good” is the key qualifier - not novelty for novelty’s sake, but material with enough texture to justify the risk of breaking type. “Different” does double duty, signaling ambition while quietly rejecting the casting shorthand that often follows actresses, especially those who’ve been packaged through a particular era’s aesthetics.
The subtext is about control. Actors sell the illusion of transformation, yet their careers are frequently managed by other people’s ideas of what they “are.” Severance’s phrasing pushes back against that fixed identity. It also admits a fatigue with repetition: the weary awareness that doing “what you’ve done” may be the easiest path to bookings, but also the fastest way to become replaceable.
Contextually, it reads like a performer speaking from inside the late-20th-century star system where television visibility could be both a platform and a trap. The quote lands because it’s not a manifesto; it’s a negotiation in plain language, a reminder that artistic growth in commercial entertainment often begins as a refusal.
Quote Details
| Topic | Reinvention |
|---|---|
| Source | Help us find the source |
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