"I would like, certainly, to do different things"
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There is a quiet rebellion tucked into that polite, almost airy sentence. “I would like, certainly, to do different things” sounds like an actress keeping the peace, but it’s also a coded critique of an industry that rewards consistency and punishes deviation. The key is the careful scaffolding: “would like” softens the demand into a preference; “certainly” reassures whoever’s listening (agents, casting directors, a press interviewer) that she’s reasonable, not difficult; “different things” stays strategically vague, leaving room to pivot without naming the roles she’s being denied.
For JoBeth Williams, whose career has moved between warm, intelligent supporting turns and high-profile genre work, that vagueness is the point. Actresses are often asked to be “versatile” while being booked for the same narrow band of characters, especially as they age: wives, mothers, caretakers, the emotional infrastructure around male protagonists. Wanting “different things” becomes less a creative whim than a survival instinct - a refusal to be filed away as a type.
The subtext is negotiation. She’s asserting artistic agency without sounding ungrateful for success, which is a tightrope women in Hollywood have long had to walk. It’s also a preemptive defense against the inevitable framing: that changing lanes is risky, that ambition is impatience. In one tidy line, Williams makes the case that wanting more range isn’t a complaint - it’s a professional baseline.
For JoBeth Williams, whose career has moved between warm, intelligent supporting turns and high-profile genre work, that vagueness is the point. Actresses are often asked to be “versatile” while being booked for the same narrow band of characters, especially as they age: wives, mothers, caretakers, the emotional infrastructure around male protagonists. Wanting “different things” becomes less a creative whim than a survival instinct - a refusal to be filed away as a type.
The subtext is negotiation. She’s asserting artistic agency without sounding ungrateful for success, which is a tightrope women in Hollywood have long had to walk. It’s also a preemptive defense against the inevitable framing: that changing lanes is risky, that ambition is impatience. In one tidy line, Williams makes the case that wanting more range isn’t a complaint - it’s a professional baseline.
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