"We all wanted to copy Vivien Leigh"

Natalie Wood’s statement, “We all wanted to copy Vivien Leigh,” evokes the powerful influence Vivien Leigh held over her contemporaries and those who followed. Leigh, renowned for her mesmerizing performances in classics like "Gone with the Wind" and "A Streetcar Named Desire", embodied an unmatched grace and intensity on screen. By admitting a desire to emulate Leigh, Wood acknowledges the magnetic charm and artistic standard that Leigh set during the golden era of Hollywood cinema.

The phrase reflects not just individual admiration but a widespread phenomenon among actresses of that time. Leigh’s distinct style, her expressive eyes, the delicate yet unwavering strength in her voice, and her effortless blend of vulnerability and resilience, became a template for aspiring and established performers alike. She transcended the boundaries of acting, turning every role into a memorable experience for audiences and an ideal for fellow actors. There is an implicit recognition of mentorship, albeit indirect, as Leigh’s work inspired others to elevate their own craft, target greater depths of emotion, and embrace complex, multi-dimensional characters.

It also speaks to the culture of Hollywood in the mid-20th century, when icons like Vivien Leigh were more than just stars; they represented aspirations and ideals for those working within the system. The desire to “copy” someone as esteemed as Leigh was perhaps less about imitation and more about wanting to internalize the qualities that made her so compelling, her commitment to authenticity, transformative performances, and commanding presence. It shows the porous boundaries between admiration, influence, and personal ambition in creative professions.

Moreover, Wood’s use of “we all” suggests solidarity, a collective acknowledgment among her peers of Leigh’s immense sway over artistic choices and ambitions. In admiring Vivien Leigh, Wood and others found both a standard to reach for and a source of creative inspiration that would echo throughout their careers and, indeed, the history of cinema itself.