Before I got the part in Norma Rae, I wasn&rsquo;t politically minded. I knew a little about unions, but only in the context of my own, the Screen Actors Guild, which I&rsquo;d been a member of since I was 17. And even then, I was only barely aware of how important the guild was, and is, to a working actor. I had zero idea of what was going on outside my own world. Then I met director Marty Ritt. He was always considered an important voice in the industry, and his best films were centered around the struggles of ordinary working-class people. Having been blacklisted from Hollywood in the &rsquo;50s, he felt strongly about the right of the individual worker to have a voice, to have collective bargaining.At that point in my career I&rsquo;d never starred in a film, and though I&rsquo;d struggled to escape typecasting, I couldn&rsquo;t see any end to the climb and to finally being taken seriously as an actor. The day I met Marty about the role, he asked me only one question: &ldquo;Are you serious about your work?&rdquo; I looked him straight in his big, smudged eyeglasses and flatly replied yes, trying hard not to reveal how profoundly I meant it. He later told me that as soon as I walked in the door, he saw something in me, something that was like Norma Rae, something I wouldn&rsquo;t have expected because I didn&rsquo;t know I had it in me.<img src="https://magarticles.magzter.com/articles/12410/329892/5c73afb5280a2/1551085413875.jpg"" owidth=355 oheight=764" style="height:1076px; width:500px" />The first time I read the script&mdash;which was loosely based on Crystal Lee Sutton, who fought for the rights of textile workers all over the country&mdash;the character felt completely foreign to me, as if she&rsquo;d come from Mars. Slowly we got to know each other, Norma and I. For a few hours a day during our two weeks of rehearsals, I worked in a functioning textile mill in Opelika, Ala., where the film was shot. I learned to run the heavy, antiquated weaving machines, which vibrated the wooden floor, literally making it sway as if you were on a ship. A couple of the actors actually got seasick (not me, I&rsquo;m happy to report). It was a thunderous, throbbing room with so much fiber in the air, my eyes would puff up, staying swollen for hours even when I was outside. The fact that so many people, whether in mills or mines, work in an environment like this is still hard to fathom. Puffy eyes are the least of their problems. They&rsquo;re often in one-business towns, where they start working very young and stay there for the rest of their lives with very little pay and few prospects of anything else. It&rsquo;s a really tough life, and I have great respect for them.We shot the film almost completely in sequence, and by the time we got to the scene when Norma Rae stands up on the table with her handwritten union sign over her head, I could feel the power of that day, that scene, in that loud, pounding room. All the extras were actual mill workers, so it truly was their story. And though I still couldn&rsquo;t see how Norma&rsquo;s character and I intertwined, everyone could feel it.It took me a long time to understand that Norma&rsquo;s rage had been my own, that her struggle to stand up for herself and fight for respect was the same as mine, for my work and, ultimately, for me. Little by little, as she found her voice, I began to hear mine. It&rsquo;s been 40 years since Norma Rae came out. I still have one of the wooden spindles&mdash; a bobbin, actually&mdash;that the mill folks gave me with the letters N-O-R-M-A carved on it. I keep it on a bookshelf next to Norma&rsquo;s Oscar. They both mean a lot to me. They remind me of Marty, and that makes me smile.

Taking A Stand

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