Lee J. Cobb and Mildred Dunnock in Death of a Salesman (1949). Elia Kazan: He was unafraid to be big, and his bigness came not from ego or a desire to be noticed, but because he understood the importance of plays and parts and the arts: He was not consumed solely by a career. Lee understood what could be accomplished in the theatre, and he wanted to be at the heart of any changes and effects that came about. A lot of people worked in the Group Theater solely to work with good people--any political or artistic beliefs or commitments were grafted upon them due to contact or expedience. What I'm saying is that a lot of people were in the Group to get work or to get laid or to get ahead, but Lee understood and supported the idea that the theatre could educate and alter people while it was also hoping to be a form of art. He was a fully committed man.
Notes On An Actor: Lee J. Cobb/A Mighty Talent
Notes On An Actor: Lee J. Cobb/A Mighty…
Notes On An Actor: Lee J. Cobb/A Mighty Talent
Lee J. Cobb and Mildred Dunnock in Death of a Salesman (1949). Elia Kazan: He was unafraid to be big, and his bigness came not from ego or a desire to be noticed, but because he understood the importance of plays and parts and the arts: He was not consumed solely by a career. Lee understood what could be accomplished in the theatre, and he wanted to be at the heart of any changes and effects that came about. A lot of people worked in the Group Theater solely to work with good people--any political or artistic beliefs or commitments were grafted upon them due to contact or expedience. What I'm saying is that a lot of people were in the Group to get work or to get laid or to get ahead, but Lee understood and supported the idea that the theatre could educate and alter people while it was also hoping to be a form of art. He was a fully committed man.