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Automatic TRANSCRIPT

But I committed and I do best you mentioned carnal knowledge, which was your your first significant film roles, and it must have been something extraordinary to be a teenager and walk into a room with your first movie director, and it's Mike Nichols. It was shocking and especially because when I was cast they were already shooting up in Vancouver. And I was in New York, and I. I went to very Dougherty is office and met Juliet Taylor who was Marion's partner at the time and assistant and she explained to me they're already shooting. They haven't been able to find this character yet. And I'm going to be sending Mike your photograph and resume and stuff like that in Vancouver. So she did that. And then we got word back that I was to fly up to Vancouver. And if Mike like to me, I would be staying to should though part. And if it didn't work out, I would be back on a plane the next day and a teenager. You know, my mother later explained to me behind my back. She get on the phone with the producer. And if you're gonna put my daughter through this you're gonna fly first class, which I think at the time was a rule anyway. But. You know, because she knew how depressed that would be. If I didn't get it. But instead, you know, I walk genders office up there in the studio out in the middle of the woods in Vancouver. And I met my and he was a miracle. He is a miracle in my life. You know, he's such a great artist. And he accepted me in like I was supposed to be there. And well going back to the whole thing about childhood. I think I in some ways felt that I was home for the first time, and then he took me into the screening room where they were showing the rushes and in that room with Jack Nicholson Jews Pfeiffer, and Arthur Garfunkel, you know, sitting around talking is this is, you know, Carol. I mean, I was just in shock, you know, and I did get to stay and I did get to work on that movie. With those with that brilliant script in brilliant actors DP, Mike was genius Marielle and Mark she was the still photographer. She took one of the best pictures of me just out noise with no makeup. The anyone has ever taken a work of art. She was an artist and nuts. I was privileged to start that way. And then you know, privilege to continue along those same lines with Hal Ashby in Sidney lumet Woody Allen. And I mean, I look back in. I just can't understand how such things could happen to me. Did you understand contextual at the time? How significant the things that you are getting to work on were or because it was your first work. Did you? You think I guess this is what it's like you're just there with Mike Nichols. Or you're just there with Hal Ashby. You're you're there with Sidney lumet. I think it's a my reaction would be a combination of both things I think because I was solely on. I did not understand the potential for failure. I think the older I got the more I would sort of back into the meeting room or decision room because I already knew that the big chances were on rejection. But in those days, I didn't understand that you know. So I think I was more myself when I went in because I I think I felt that that was my world Juno and looking back. I can't believe my fortune. But that time I also, of course, knew the quality of the artistry of those directors and. You never like I took that for granted. But I think I took more for granted the idea that I might fit in and that's significant in the way you present yourself in a room. I, you know, you're not you chattering with your deeds and going in backwards, which is my technique nowadays. More of my interview with Carol Kane after a quick break. She'll tell me about how even after almost five decades of acting. She's never gotten over.