"So ultimately I am looking for a story that has some value and is important and is entertaining"
About this Quote
Chad Lowe’s line reads like a modest mission statement, but it quietly maps the bargain every working actor makes with the audience and the industry. “Ultimately” tips his hand: he’s talking less about taste than about triage. In a marketplace stuffed with scripts, roles, and platforms, you need a simple filter that sounds principled and sellable. Value, importance, entertaining. The ordering matters. He leads with meaning, then stakes a claim for significance, and only then nods to the non-negotiable: you still have to keep people watching.
What works here is the careful refusal to pit art against entertainment. Lowe’s triad is a defensive posture against two common accusations lobbed at mainstream film and TV: that it’s empty calories, or that “important” work is homework. By insisting the story can be both “important” and “entertaining,” he’s aligning with the modern prestige-era fantasy that culture can do moral work without losing momentum. It’s also a subtle self-protection for an actor whose public identity is often shaped by projects he didn’t write. He’s not promising activism; he’s promising discernment.
The subtext is pragmatic: entertainment is the delivery system for value. If you can’t hook an audience, your “important” message never leaves the room. Lowe’s phrasing is plain because the point is broad coalition-building, not auteur posturing: a story that matters, a story that lands, a story people will actually show up for.
What works here is the careful refusal to pit art against entertainment. Lowe’s triad is a defensive posture against two common accusations lobbed at mainstream film and TV: that it’s empty calories, or that “important” work is homework. By insisting the story can be both “important” and “entertaining,” he’s aligning with the modern prestige-era fantasy that culture can do moral work without losing momentum. It’s also a subtle self-protection for an actor whose public identity is often shaped by projects he didn’t write. He’s not promising activism; he’s promising discernment.
The subtext is pragmatic: entertainment is the delivery system for value. If you can’t hook an audience, your “important” message never leaves the room. Lowe’s phrasing is plain because the point is broad coalition-building, not auteur posturing: a story that matters, a story that lands, a story people will actually show up for.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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