They moved him with animation, you know, stop-motion. And then they had a huge rubber arm with a steel cable in side large enough to hold me.
There was a friend of my husband, John Monk Saunders, who was in charge of the sound department, which was a kind of reassuring thing.
There is a lot of strength and intelligence in Hollywood.
The fingers were pressed around my waist and then by leverage, they lifted me up into the air, and all the close ups were done that way.
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.
Only in your imagination can you revise.
Juan Tripp was a friend. Good name for an airline man, huh Juan Tripp after another
I went to Washington to ask for a little residual payment for the people who had written films in the early, early days, people who never got any residuals on tapes or anything at all.
I think to have done TITANIC would have been a tortuous experience altogether. I feel good about where my life is, now. I feel free and joyous and happy and more liberated than I have ever been.
I think the studio gave me that series on purpose, because they knew perfectly well that Robert Riskin was ill and that I needed to go to work. They gave me that series to do.
He was just trying to tease me-I knew that later-but he said he'd have to leave because it wasn't fair to have anyone in the room who was going to make fun of what he had to say. He had a good sense of humor, really.
Crawford washed her hands a lot. She washed her arms all the way up past her elbows. She just couldn't get enough done in that direction. She was compulsive about being clean, clean, clean
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
I thought maybe he would like me to do WILSON, and he was hoping that I wouldn't. It was several days before we came to an open understanding.
Cary Grant and I were doing a play in New York. He had a crush on me. Whenever we went to a party, he would always sit on the floor beside me. I thought that was kind of beautiful, like that's where he wanted to be.
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.
That was' one time when my technique absolutely deserted me, I must admit. There was a wax face that he had created himself to cover his own ugliness. I was in his clutches and I had to hit him in the face.
It was such a sweet relief to me, because I had always worked, I had always worked, I had always worked-and it was time to do something else.
When I did try to express myself it came out pretty tinny, but even so they could understand what I was saying. That turned out to be a plus.
I always admired good writing and read everything that came out. When I was married to John Monk Saunders, he read everything, too.
For the purposes of the play, it was perfect to be able to use that and the stresses and strains that there were. At the end of the play, the mother realizes the terrible things she had done.
I just imagined I was four miles from help and, well, you'd scream too if you just imagined that situation with that monster up there
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 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.
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.
Picture Quotes to Inspire and Delight
Picture Quotes to Inspire and Delight