Meryl Streep – Hollywood’s Mother of the Year

July 1994 By Philip Berk

The name Meryl Streep is synonymous with great acting — possibly the greatest actor the screen has ever known.

But what few realize is she’s also the most maternal and caring artist ever to wear the mantle of greatness.

Who else but Meryl would have been willing to sacrifice a promising career for an ailing lover, but that essentially is what she did.

Despite all the acclaim she was getting at the time for her work in The Deer Hunter, she put her career on hold for almost a year to nurse actor John Cazale until he died of cancer in l978. 

The first time I interviewed her was in l983 for Silkwood; she had skipped doing press for her earlier films because she felt her children were more important than studio junkets, and films like Out of Africa and Sophie’s Choice didn’t need any promoting.

Silkwood because of an early negative review (in Time magazine) needed all the help it could get.

At the time I wrote,  “Meryl Streep is to acting what the egg is to design: perfection. Only time will tell whether she is truly the greatest actress of the screen. Her performances in Sophie’s Choice and French Lieutenant’s Woman point her in that direction, but there was a time when even an estimable critic like John Simon had named Jane Fonda, “the best actress since sound.”

Four years later another controversial  film — A Cry in the Dark — needed her help and she was there. I marveled at how she listened, how she clarified, how she measured her responses to every question.

How does she manage to do it all — wife, mother, and actress, I asked her.

“Everyday you give up something. In the middle of the night, when I’m breastfeeding, I dream and think about things. During the day it’s a matter of fitting moments in, trying to parcel out a piece of time for everybody and everything. It’ll be more than a year before I go to work again — a lot of people tell me that’s dangerous, but frankly I don’t give a damn. I want a family so that’s what I do. You try to do as much as you can to make things good.”

True to her promise for the next five years she worked infrequently making some questionable choices (such as She-Devil and Death Becomes Her.)

But then in 1994 she made a comeback of sorts in The River Wild. 

“People are saying this is an action film and I would say, no, it has a lot about family and relationships, the strength of marital bonds, trust in love, and all sorts of other things. But then I went to a screening and I heard the response of the audience, and I thought, ‘Yeah, it is an action-adventure movie. I’m thrilled with it especially  because my children love it.”

At that junket she didn’t mind answering questions about her children. Not only do they not listen to her, she told us, they’re not very impressed with her body of work, and, worse yet, they’re not well behaved.

“I have very loud children; in airports people say, ‘Look at Meryl Streep’s children, you know, they’re misbehaving.’ But I feel they’re big, and I want them to be big, I want them to be brave and happy and unafraid of whatever comes their way.

“Going home every evening is a very humbling experience. My family don’t think of me as very much at all. My children can barely listen to anything I have to say. I love to come to a junket where everybody listens. It’s your dream.”

Aren’t they impressed with her acting? 

“Deer Hunter is the one film that my son has watched because he’s interested in it, but most of them they have no interest in watching. I always try to take them back to the scenes of my youthful glory. I take them to the the theatre in New York. I say, ‘And this was my dressing-room at Lincoln Center, and this…,’ but they’re so bored.  My next movie is The Bridges of Madison County, which is about children being of an age where it’s time to discover a new thing about their mother. That kind of curiosity has to be self-propelled; you can’t take them and say, ‘Be interested in me.’ They have to discover it for themselves.”

How old are the children? 

“Henry is fourteen, Mamie is eleven, Grace is eight, and Louisa is three.”

Obviously she gets more respect from her husband? (Donald Gummer, a sculptor)

“It’s difficult for me to talk about him because he hates me to talk about him in this setting. He’s very private and a wonderful man, and he doesn’t want publicity of that kind.”

When not working, what does she like to do?

“Sleep. On this film we were shooting six days a week and Sunday I spent with the baby. I didn’t really leave my house on the day off. It was a very exhausting experience, but I was grateful because that kind of physical exhaustion enabled me to sleep profoundly. But I think every mother would say the same.”

At the time she was Andrew Lloyd Weber’s first choice to play Norma Desmond in the musical version of Sunset Boulevard, a role that eventually went to Glenn Close. During the Los Angeles tryout when it was widely reported that she had seen Glenn’s performance three times, I asked her if she was considering doing the role on Broadway?

Her quick reply was, “Not at all. I was giving Glenn notes, telling her how to do it.” 

The two had been friends for years.

Would she consider taking over the role when it opens on Broadway?

“Never. I’ve had so many opportunities to do theatre, but I can’t do it now because my children are too small; they want me home at night and on the weekends. When you’re in the theatre, you’re gone from 6 p.m. to midnight, so it’s out.”

For the same reason she would never direct a film 

“There’s not enough money for the amount of work they do. They never leave the set. They can’t come home like I can and just forget it. I don’t know how I could do that and have a life with four children. I don’t bring the part home. When I come home, I want to forget it.”

Was it always her dream to become an actress?

“I never anticipated it. I was not from a theatrical family. My dad worked for a pharmaceutical company, and my mother was a housewife. I was in a play, and my friends told me I was good at it. But I didn’t think it was the way you go through life. It seemed frivolous, a silly way to make a living. Then I went to drama school, became more involved, and got very serious. I was soon hooked. Acting has never been agony for me. I don’t understand people for whom it is because I feel we are very privileged to be actors.”

Does she still consider it frivolous?

“I spent a long time thinking it was. It wasn’t worth anything to the world at large, but  I was once invited to a dinner in Washington D.C. on the Arts, and Nixon’s chief of staff Alexander Haig, an unlikely choice of speaker, got up and said, ‘Nobody remembers the armies that anybody had raised or the bridges or railways they built. Times are remembered for their artists.’ And I believe that, too.”

Was fame ever a spur?

“When you start in the theatre, it doesn’t really seem like you’ll ever get famous. I mean, I was so familiar with that unemployment line on Lower Manhattan, and then to be plucked from the theatre and cast in Julia (she played a small role in the Jane Fonda-Vanessa Redgrave movie) it was really like Never-Never Land. It was a quantum leap, from making Broadway minimum, $235 a week, to $2000. I just couldn’t believe it.”

Since The River Wild, she’s promoted every one of her films including The Bridges of Madison County (with Clint Eastwood), Marvin’s Room (with Leonardo Di Caprio), One True Thing (with Renee Zellweger), and even a potboiler like Music of the Heart. 

And in the process, we’ve watched her children grow.

They continued to ignore her films, but then when her son turned seventeen, he discovered Sophie’s Choice.

“He saw it,” she told me, “not on a degraded videotape, but on a big screen in Prague. I was so happy to give him that because my kids don’t have a real sense of what I do. They know that a big car comes and picks me up, and people recognize me in public places, but that’s really it. They don’t understand exactly what it is I do. So I was thrilled to show him something I was proud of, and he loved it. He was very moved, although his response was, ‘Man, that’s a sad movie. Whoa!”

Is she prepared for the empty nest syndrome?

“I’m never going to be finished with parenting because I had my children whenever I could fit them in between films, so they’re spread over a long distance. I have a five year kid and a seventeen year old, and two in between, so it’s going to be a long time before I can think about that.”

How important is family?

“I depend on my family a great deal for a centredness and a feeling of where I am in my life — my husband, my children, my mother and my father. Thank the Lord they’re alive and still opinionated about what I should and shouldn’t do. I’m the oldest child in my family, I have two younger brothers. I don’t have a sister. I’m the responsible one. I’m the good one who takes care of my parents and remembers their birthdays. My brothers do not, their wives are expected to do that, but they’re very good sons.”

How does she deal with adversity?

“I try to fix it. I’m the mom, although there’s a part of me that sometimes wants to just run the other way.” 

And when does she find  time to take care of herself?

“On this junket when I have this bed all to myself. That’s why I love going to hotels.”

That  junket (for  Marvin’s Room) was held in Houston, Texas.

Otherwise?

“I’m never alone, never never, even in the bathroom. I always have a companion. Someone’s in there bothering me. It’s hard to find moments for being alone. And when I’m working there’s always someone with me, and at night when I’m on location and I can’t fly home, it  takes a long time on the telephone getting all of them off to bed.”

Would she want it any other way?

“We have to realize there are things we cannot have. It’s probably good for me because almost every dream I’ve had has come true. If I can’t do a thing that I love (like acting in the theatre) because of something I love more (my children) I accept it. Sometimes it’s a hard thing. Maybe someday I’ll totter out on stage, but it would mean changing our lives and moving into the city — which none of us wants to do right now.” 

How domesticated is she? Does she do her own cooking?

“I have a cook two days a week. The rest of the time I cook dinner. I try to get everybody home, but my son is at school till late so he doesn’t make it. The three girls and my husband usually have supper together. I’m very bad, but I honestly try to be a good cook, although when I’m working, I have someone cooking for me.”

Did she enjoy returning to the theatre (during the summer vacation)?

“I did, but I did it only as a favor to Wendy Wasserstein. We did her play as a workshop in Seattle, and I warned her in advance: I would under no circumstances carry it through to a theatrical run. I hadn’t been on stage in seventeen years. I was really scared,  but it was intoxicating, and it was great.”

Could she change her mind?

“I just can’t do it. I’d be at the theatre every night when my children are home, and when I’m home they’d be at school. I wouldn’t see them for six months. I have to be there to crack the whip.”

Does she ever watch her old movies and which is her favorite?

“I don’t have one. I have some that I like less than others, but I don’t have a favorite. When I watch them, I sit on the edge of my seat  because I forget what happens. I don’t remember the plots. I have a very bad memory. I have a good short term memory; long term not so good. I’m not just saying that. This really happens. I think it’s part of just being so subjectively involved in the shooting and the story that the whole of it doesn’t imprint on me. I have memories of individual spaces within the shoot, emotional moments, but I don’t remember the plot line and the direction that it takes.”

Didn’t she, at one time, have a photographic memory?

“Well I used to. That was the old days.”

How does she feel about getting older?

“I feel lucky to be alive. I’ve lost so many friends. I just  think anybody who isn’t grateful for this gift we’re given, is nuts.”

At our next encounter, she was approaching fifty, and I was reminded what Mike Nichols had once said, ‘My wish is that Meryl will one day be 90 years old acting in a great role written for a 19 year old woman.”

Does she ever think about retiring, say at age sixty?

“Oh, no, that’s when all the kids will be out of the house, and it won’t be tiring at all to work. I’d like to keep working forever. Why not? I mean it’s a question of stamina. My great role model is John Gielgud. I worked with him in Plenty, and I was just ravished by his freshness in his 

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