Call Me Anna: The Autobiography Of Patty Duke - Plot & Excerpts
But once I became a hot little number on live TV, once the work changed from “Daddy, I want ice cream,” to more meaningful parts and I began to feel myself understanding the concepts and getting better, the acting mechanism in me really clicked. I’ve never liked to think of myself as very ambitious, but it’s been there, underneath, and this was when the drive really kicked in. I was no longer doing the work just because the Rosses wanted me to; now I wanted it as well. I liked the feeling of walking into a studio and not only knowing that I belonged but also having other people know it. That sense of belonging—the attention and affirmation—was really the key element for me. Most performers are very loving, very willing to show affection, and I made attachments quickly. I would love everybody, and there would always be a couple of favorites who loved me back. They were like the family I’d never really had, so it was wrenching when each show came to an end. I was grief-stricken to the point of feeling inconsolable; every one of the good-byes was a real loss to me.
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