There is a lot of strength and intelligence in Hollywood.

Actually, the camera was never overhead at any time. It was always a side view of me. Subsequently, after the picture was released, I saw some scenes from above and my clothes being pulled-and I think that was added later.

Only in your imagination can you revise.

Paul Lucas had a particularly amusing accent, so I chuckled. That was terrible; I shouldn't have done that, but he took it too big. He got up and said he couldn't work with people who laughed at him!

She wanted us to feel we were above everyone in the town. She really did tell us that we were related to Chief Justice John Marshall, and that may have been true. I never did bother to find out.

So I was asked to do horror film after horror film, a series of about five, after that, and some of those were a little too gruesome. I wasn't too comfortable all the time in those. I didn't really care for them.

My children didn't when they were little because I thought that they had to be of a certain age. I hoped they liked me well enough not to want to see me in that sort of a spot.

The producers who wanted me to do it liked me and trusted me, and more than one scene was only one take, because I'd plan ahead what I thought would be appropriate for that scene-so one take was enough.

Lillian Gish thought that there should be a cabinet position for the arts and I think she was right. I think she was right.

There were shots of Kong pulling at my clothes, but only in horizontal and never from above. Never from above.

They were very considerate, I must say. Every time I felt I was about to slip out of these fingers and would yell for help, they'd let me down and re-organize things.

Well, the Empire State was about 40' high in the studio. King Kong was a little model about 2' high, and the scenery that he worked in was in proportion to his size.

When it was over my daughter said, 'Oh, I felt so sorry for him - he didn't want to hurt you, he liked you.' That was Victoria. When you visualize him up there on top of the Empire State Building, you do feel sorry for him.

When the picture was finished, they took me into the sound room and then I screamed more for about five minutes just steady screaming, and then they'd cut that in and add it.

When we were making KONG, I went into the sound room and made an aria of horror sounds. I was in charge of it; there was no one there to listen to me. I was totally in charge of what I wanted to do.