Designing Woman was written for the screen.
I use colors to bring fine points of story and character.
I learn new things all the time.
I had given up the theater and everything propelled me into entertainment. And I didn't resist it.
I always have coffee without sugar, you know. Just cream.
I've worked with an awful lot of people. Katy Hepburn, Spencer Tracy.
Fortunately, John Houseman is a marvelous writer and he sat in on so many story conferences. He worked with Welles, you know, and he's a marvelous man.
Dali was the great painter then and surrealism was a way of life.
Cedric Gibbons was the grand cardinal of the art department.
But surrealism is present in most of my pictures.
American films are terribly popular all over the world and American movie stars are terribly important. I don't know why.
I started out to be a painter and was born into the theater.
I allow an area for improvisation because the chemical things actors bring to stories make it not work.
The Pirate is surrealism and so, in a curious way, is Father of the Bride.
That's what I think musicals will come to. No backstage stories, nothing of that sort.