And that's what's beautiful to me, is he did not become a victim of it, and he didn't become a statistic, he just kind of kept on marching through, no matter what people threw at him.
I find that to be one of the great reasons to do a movie like this. To immortalize people who are brave enough to take a risk.
I guess you should approach the roles differently when they're actual people who have been, this is the difference. Getting the accent exact, or the hair exact is less important in a situation like this.
I know a lot of people, surgeons that are friends of mine, who of course had heard of Blalock, but hadn't heard of either of either Taussig or Vivian Thomas.
I think she looked at Vivien the same way. Of course you can. You know. And, and yet with great respect, because she knew how hard it must have been. And that it was even harder for him, of course, than for her.
I think there is a lot of different things it touches upon. Certainly it touches upon having passion in your art, whatever that may be.
I'd like to think Helen very much understood what it was to be disadvantaged in the medical field. And that that was something that she never let dictate her choices.
In this case they're doctors. But having passion for your work and to take risks in order to better human kind. That's a pretty big theme. It's pretty inspiring.
Just the actual physical ability to hold four instruments simultaneously and do some of the things that Vivien was able to do is mind blowing to any surgeon. He never went to medical school and he became one of the great teachers of medicine himself, people are just amazed.
On the other hand, there are only so many people who really knew how she was exactly, like what did her accent sound like, and the fact that she developed profound deafness when she was first running the Harriet Lane.
Regardless of the color of his skin, it's what he was able to do with his own initiative and drive and passion is really the story, I think.
She came up with a whole way of doing fluoroscopy, which is kind of like a live version of X-ray, so that she could see the heart as it worked, not frozen in a picture.
She just refused to believe that it was impossible for a woman to do any of these things, and so they happened.
The fact that he didn't get credit for a while is more the story of social injustice. But his own spirit wasn't driven by that, and wasn't dependent upon that. He just wished he had the cash to go to medical school.
What is more important is finding the soul of the character, and making sure it fits well into this story. And that it be dramatic and interesting and captivating, because these people weren't entertainers, you know.
When people make contributions, regardless of their title, they deserve credit for what they've done. And in the case of Vivien Thomas, he made an enormous contribution to medicine, and he finally gets his due, which is great.
You know, in playing a role like this, you really want to get it right, because this is a person who was revered by so many doctors, women doctors especially.
Mary appeared on stage in the 2003 Broadway hit musical revival of Nine. She earned critical acclaim for her performance by earning a nomination for a Tony Award for 'Best Actress'.
Mary is looking to branch out to more behind-the-camera work, as a director. She is already an accomplished screenwriter, actor, and producer.
Mary played the tomboy who falls in love with her best friend (Eric Stoltz) in the John Hughes love story Some Kind of Wonderful.
Mary would turn to television for good roles, when it seemed that the roles for women in film were lacking. She took on the role of an abused wife of a police detective who tries to flee from her spouse in the CBS thriller Black and Blue in 1999.
Mary's first significant on-screen line in The Stepford Wives was to her real life father, and it read 'Daddy, I just saw a man carrying a naked lady'.
Mary played Sean Penn's love interest in the fact-based thriller about the Irish mafia in 1986's At Close Range.
Mary stopped working in the acting profession to concentrate on her education, squeezing in only a few television appearances. Such as the 1980 ABC television movie City of Fear, and the 1986 Robert Zemeckis-directed segment of Amazing Stories.
Mary appeared on Broadway at 16 years old in Eva LeGallienne's version of Alice in Wonderland, taking on two parts. She played the Four of Hearts and the Small White Rabbit, as well as understudied the lead role of Alice, played by Kate Burton.
Mary made her film debut at nine years old in 1975's The Stepford Wives with her father.
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