"When I go to where I was getting excellent parts in movies I may have taken a few too soon, too anxious to go back to work and to anxious to make another film and to succeed more"
About this Quote
There is a particular kind of humility actors learn to perform off-screen: the postmortem that sounds like gratitude but lands as a warning label. Dabney Coleman’s line tumbles forward in a breathless stack of “too”s, as if the very syntax is reenacting the impatience he’s confessing. He’s not offering a polished moral; he’s letting you hear the rushed mental loop that leads a working actor to say yes again before the last yes has even cooled.
The intent is self-correction, but not self-flagellation. Coleman is admitting to a careerist reflex: when momentum finally arrives, the fear isn’t failure, it’s the momentum disappearing. That’s the subtext behind “excellent parts” and “taken a few too soon.” The irony is that “success” becomes a kind of shortage economy. Roles feel perishable. The industry trains you to believe the phone stops ringing the moment you hesitate, so “going back to work” reads less like eagerness than like survival.
Context matters: Coleman’s era prized constant output and typecasting. Character actors especially were rewarded for being reliably available, not for being selectively brilliant. So his anxiety isn’t just personal neurosis; it’s structural. The quote quietly maps a trap: once you’re “getting excellent parts,” you start chasing the next proof that you deserve them. “To succeed more” is the tell. It’s not about making good work; it’s about outrunning the suspicion that the good work was a fluke.
The intent is self-correction, but not self-flagellation. Coleman is admitting to a careerist reflex: when momentum finally arrives, the fear isn’t failure, it’s the momentum disappearing. That’s the subtext behind “excellent parts” and “taken a few too soon.” The irony is that “success” becomes a kind of shortage economy. Roles feel perishable. The industry trains you to believe the phone stops ringing the moment you hesitate, so “going back to work” reads less like eagerness than like survival.
Context matters: Coleman’s era prized constant output and typecasting. Character actors especially were rewarded for being reliably available, not for being selectively brilliant. So his anxiety isn’t just personal neurosis; it’s structural. The quote quietly maps a trap: once you’re “getting excellent parts,” you start chasing the next proof that you deserve them. “To succeed more” is the tell. It’s not about making good work; it’s about outrunning the suspicion that the good work was a fluke.
Quote Details
| Topic | Career |
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