"Prior to Saving Private Ryan I never worked with men. I was always working with some babe, and it was always about falling in love, and it just got turned around. I'm not looking for any particular kind of story. I wait until it comes across my desk"
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Hanks is quietly calling out the gendered machinery of his own stardom: before Saving Private Ryan, his “default setting” was the rom-com ecosystem where a male lead is defined by pursuit, charm, and the inevitable coupling with “some babe.” The word choice is telling. “Babe” isn’t just casual; it compresses a whole studio-era habit of treating women as plot devices, a reward structure, a lighting setup. He’s not bragging about graduating to Serious Work so much as admitting how narrow the lane was for a bankable male actor in the ’80s and ’90s: even when the movies were good, they often funneled him into love as the central engine.
Saving Private Ryan flips the axis. “I never worked with men” lands like a small shock because it exposes how rare male-male intimacy (not sexual, but emotional and relational) was in his filmography. Spielberg’s war film offered a different kind of closeness: comradeship, hierarchy, fear, grief. The romance is replaced by duty and collective survival, and Hanks frames it as a revelation that “turned around” his sense of what a movie can ask of him.
Then he undercuts the idea of a grand career manifesto: “I’m not looking for any particular kind of story.” That’s classic Hanks pragmatism, but it’s also brand management. He presents himself as responsive rather than calculating, letting quality and timing “come across my desk.” The subtext: an A-list career is less a straight-line plan than a series of openings shaped by an industry’s shifting appetites and an actor’s readiness to step out of the romantic lead factory.
Saving Private Ryan flips the axis. “I never worked with men” lands like a small shock because it exposes how rare male-male intimacy (not sexual, but emotional and relational) was in his filmography. Spielberg’s war film offered a different kind of closeness: comradeship, hierarchy, fear, grief. The romance is replaced by duty and collective survival, and Hanks frames it as a revelation that “turned around” his sense of what a movie can ask of him.
Then he undercuts the idea of a grand career manifesto: “I’m not looking for any particular kind of story.” That’s classic Hanks pragmatism, but it’s also brand management. He presents himself as responsive rather than calculating, letting quality and timing “come across my desk.” The subtext: an A-list career is less a straight-line plan than a series of openings shaped by an industry’s shifting appetites and an actor’s readiness to step out of the romantic lead factory.
Quote Details
| Topic | Career |
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