Quotes of All Topics . Occasions . Authors
It's the story that counts.
I learn new things all the time.
It's always the story that interests me.
Designing Woman was written for the screen.
Color can do anything that black-and-white can.
But surrealism is present in most of my pictures.
I seem to be drawn to things that actually happen.
I made three films with Douglas, two with Charles Boyer.
I always have coffee without sugar, you know. Just cream.
I use colors to bring fine points of story and character.
We shot that in all the real places where Van Gogh worked.
I see wonderful films by Bertolucci, Visconti, and Fellini.
If you want to learn how to sing, listen to Ella Fitzgerald.
I started out to be a painter and was born into the theater.
Cedric Gibbons was the grand cardinal of the art department.
Once you find the right idea, then go ahead and embellish it.
Dali was the great painter then and surrealism was a way of life.
I've worked with an awful lot of people. Katy Hepburn, Spencer Tracy.
Nowadays the audience has changed. No one can anticipate the audience.
But I think musicals are going to have to deal with important subjects.
The Pirate is surrealism and so, in a curious way, is Father of the Bride.
I always liked the Van Gogh story because I was terribly involved in that.
That's what I think musicals will come to. No backstage stories, nothing of that sort.
If anybody reads a story in a magazine or book, different pictures compete in their minds.
In the Thirties, when I was in New York, I did the first surrealistic ballet in a show of mine.
But I went down to Venezuela and spend a few weeks going through jungles. It's fantastic looking.
I had given up the theater and everything propelled me into entertainment. And I didn't resist it.
West Side Story was terribly important because of the style of the dancing and the gangs of New York.
I allow an area for improvisation because the chemical things actors bring to stories make it not work.
No, I only like whether I like the story or not, essentially see something in it that isn't completely there.
American films are terribly popular all over the world and American movie stars are terribly important. I don't know why.
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.
I feel that a picture that stays with you is made up of a hundred or more hidden things. They’re things that the audience is not conscious of, but that accumulate.
The Long, Long Trailer (1954) actually happened and the man wrote a book about it. Father of the Bride, same thing; a banker wrote that who had never written anything else.