Quotes

[on the re-editing of "Two Weeks In Another Town"]: It's painful to talk about the ruin of that film even now.

But I went down to Venezuela and spend a few weeks going through jungles. It's fantastic looking.

West Side Story was terribly important because of the style of the dancing and the gangs of New York.

But surrealism is present in most of my pictures.

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.

I see wonderful films by Bertolucci, Visconti, and Fellini.

American films are terribly popular all over the world and American movie stars are terribly important. I don't know why.

Cedric Gibbons was the grand cardinal of the art department.

But I think musicals are going to have to deal with important subjects.

Designing Woman was written for the screen.

No, I only like whether I like the story or not, essentially see something in it that isn't completely there.

Nowadays the audience has changed. No one can anticipate the audience.

That's what I think musicals will come to. No backstage stories, nothing of that sort.

We shot that in all the real places where Van Gogh worked.

It's always the story that interests me.

I use colors to bring fine points of story and character.

It's the story that counts.

I always have coffee without sugar, you know. Just cream.

Color can do anything that black-and-white can.

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.

I allow an area for improvisation because the chemical things actors bring to stories make it not work.

I made three films with Douglas, two with Charles Boyer.

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.

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.

I seem to be drawn to things that actually happen.

I started out to be a painter and was born into the theater.

I've worked with an awful lot of people. Katy Hepburn, Spencer Tracy.

Father of the Bride(1950) was the shortest and sweetest experience I'd ever encountered.