Some of the most interesting parts of reading about show business for me are the parts we don't get to hear about much: the job details that are not related to "interpreting a character" or "finding a creative solution".
I sometimes wonder about how they get along with just plain finances/people/objects at work.
--Lynda Carter had to borrow money to pay her rent when she began shooting the first "Wonder Woman" movie, because her first paycheck was still some time away.
--Frank Langella was told by his agent NOT to wear underwear at certain auditions, because the casting director was gay.
--Phillip Lambro got $12,000 for CHINATOWN (he wanted $25,000), plus a $1,000 bonus (even though he'd been promised $5,000). And don't look for a re-recording of his work coming cheap: he doesn't have the score paper any more (he recycled the 30 pounds of paper it was on).
--Margaret Hamilton said she debated taking THE WIZARD OF OZ because it only offered her a few weeks work, less than she wanted.
--Cybill Shepard recalls making it a point to bed one producer so she could audition for a role (an audition she never ended up getting).
--Mel Torme had to work on the road a lot more than he wanted (and even had to put up a fight at several points to avoid lowering his price and his billing) just to maintain some standing in the industry.
--Jerry Fielding said that THE NIGHTCOMERS was a job that didn't pay very well.