"When I get to my deathbed, I don't want to take my last breath and say, Well, how glorious. I've left the world my acting credits. I won't even think that"
About this Quote
The line lands like a small revolt against the industry that made her famous. Lesley-Anne Down is basically saying: don’t confuse visibility with value. Acting credits are designed to look permanent - they’re literally archived, indexed, endlessly retrievable - but she treats them as weightless at the moment that matters most. That’s the sting: the thing the business trains you to chase (roles, résumés, legacy via IMDb) won’t comfort you when the applause is gone.
The phrasing does a lot of work. “Well, how glorious” is a performative little curtain call, a fake victory speech delivered to nobody. It’s sarcastic without being cruel, and it punctures the culture of self-mythologizing that surrounds celebrity. Then she undercuts even that with “I won’t even think that,” a blunt refusal of the fantasy that professional success automatically becomes existential meaning.
Subtextually, it’s a boundary-setting statement from someone who’s lived inside a machine that rewards constant output and public proof. Credits are measurable, printable, and socially legible; what she’s implying she’d rather have - relationships, private integrity, maybe impact that doesn’t fit on a list - is messier and harder to brand. Coming from an actress, it’s also a quiet rejection of being remembered only as a collection of performances, as if a human life can be summarized by titles and timestamps. The intent isn’t to diminish art; it’s to demote it from religion to craft, from identity to one part of a fuller ledger.
The phrasing does a lot of work. “Well, how glorious” is a performative little curtain call, a fake victory speech delivered to nobody. It’s sarcastic without being cruel, and it punctures the culture of self-mythologizing that surrounds celebrity. Then she undercuts even that with “I won’t even think that,” a blunt refusal of the fantasy that professional success automatically becomes existential meaning.
Subtextually, it’s a boundary-setting statement from someone who’s lived inside a machine that rewards constant output and public proof. Credits are measurable, printable, and socially legible; what she’s implying she’d rather have - relationships, private integrity, maybe impact that doesn’t fit on a list - is messier and harder to brand. Coming from an actress, it’s also a quiet rejection of being remembered only as a collection of performances, as if a human life can be summarized by titles and timestamps. The intent isn’t to diminish art; it’s to demote it from religion to craft, from identity to one part of a fuller ledger.
Quote Details
| Topic | Legacy & Remembrance |
|---|---|
| Source | Help us find the source |
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