"Make them laugh, make them cry, and hack to laughter. What do people go to the theatre for? An emotional exercise. I am a servant of the people. I have never forgotten that"
About this Quote
A silent-era superstar describing herself as a "servant" sounds quaint until you remember what Mary Pickford was really doing: inventing the modern entertainment economy while insisting it still owed the audience something honest. The line is a miniature manifesto for performance as bodily experience. "Make them laugh, make them cry" is the classic two-step, but the odd phrase "hack to laughter" (that rough, almost involuntary cough of it) tips her intent. She is not chasing polite applause; she wants the audience physically hijacked, worked over, sent home feeling wrung out. "Emotional exercise" frames theatre less as high art than as a kind of communal gym: you show up to feel on purpose, to metabolize life through someone else's story.
The subtext is labor. Pickford refuses the romantic myth of the actor as pure inspiration and offers a bracingly service-oriented ethic: craft exists to produce a result in other people. That word "servant" also carries a sly power move. Stars were becoming untouchable brands, yet Pickford claims humility while asserting authority over the room: she understands the audience's needs better than they do, and she can deliver. Coming from a co-founder of United Artists, it's also a moral alibi for stardom and control. If you're "serving the people", negotiating profits and owning your image becomes less vanity than responsibility.
Context matters: early cinema and theatre were mass entertainment competing for attention, and Pickford's appeal depended on emotional legibility without dialogue. This is her thesis for why performance survives every medium shift: not spectacle, but the reliable engine of feeling.
The subtext is labor. Pickford refuses the romantic myth of the actor as pure inspiration and offers a bracingly service-oriented ethic: craft exists to produce a result in other people. That word "servant" also carries a sly power move. Stars were becoming untouchable brands, yet Pickford claims humility while asserting authority over the room: she understands the audience's needs better than they do, and she can deliver. Coming from a co-founder of United Artists, it's also a moral alibi for stardom and control. If you're "serving the people", negotiating profits and owning your image becomes less vanity than responsibility.
Context matters: early cinema and theatre were mass entertainment competing for attention, and Pickford's appeal depended on emotional legibility without dialogue. This is her thesis for why performance survives every medium shift: not spectacle, but the reliable engine of feeling.
Quote Details
| Topic | Art |
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