"I'm not so proud to think that anything is unworthy, and I don't think I was that way 10 years ago"
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There is a quiet rebellion in refusing to rank work as "worthy" or "unworthy", especially coming from an actor whose career has zigzagged between prestige fare and broad comedy. Thomas Haden Church is pushing back against a common Hollywood disease: the insecurity that disguises itself as taste. When he says he is "not so proud", he frames humility as an active choice, not a passive virtue. Pride is the culprit here, not discernment. The line draws a boundary between having standards and using "standards" as a socially acceptable way to protect your ego.
The second clause is the tell: "I don't think I was that way 10 years ago". It's a self-correction that reads like a grown-up checking his own mythology. He isn't selling a neat redemption arc; he's admitting the change is subtle, maybe even uncomfortable. The subtext is career-earned: after enough auditions, weird jobs, and projects that don't land, you realize that "unworthy" is often code for "I don't want to risk looking foolish" or "I don't want to need this". Actors survive by staying porous, by treating the next role as possible rather than beneath them.
In the 2000s and 2010s, as the prestige ladder got louder and more curated, this attitude becomes a small act of resistance. It says: the real flex isn't exclusivity; it's range, durability, and the confidence to take the work seriously even when the culture doesn't.
The second clause is the tell: "I don't think I was that way 10 years ago". It's a self-correction that reads like a grown-up checking his own mythology. He isn't selling a neat redemption arc; he's admitting the change is subtle, maybe even uncomfortable. The subtext is career-earned: after enough auditions, weird jobs, and projects that don't land, you realize that "unworthy" is often code for "I don't want to risk looking foolish" or "I don't want to need this". Actors survive by staying porous, by treating the next role as possible rather than beneath them.
In the 2000s and 2010s, as the prestige ladder got louder and more curated, this attitude becomes a small act of resistance. It says: the real flex isn't exclusivity; it's range, durability, and the confidence to take the work seriously even when the culture doesn't.
Quote Details
| Topic | Humility |
|---|---|
| Source | Help us find the source |
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