I always have coffee without sugar, you know. Just cream.
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.
Designing Woman was written for the screen.
I use colors to bring fine points of story and character.
No, I only like whether I like the story or not, essentially see something in it that isn't completely there.
The Pirate is surrealism and so, in a curious way, is Father of the Bride.
But I think musicals are going to have to deal with important subjects.
Color can do anything that black-and-white can.
West Side Story was terribly important because of the style of the dancing and the gangs of New York.
I started out to be a painter and was born into the theater.
Cedric Gibbons was the grand cardinal of the art department.
It's always the story that interests me.
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.
If you want to learn how to sing, listen to Ella Fitzgerald.
I had given up the theater and everything propelled me into entertainment. And I didn't resist it.
American films are terribly popular all over the world and American movie stars are terribly important. I don't know why.
It's the story that counts.
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.
But surrealism is present in most of my pictures.
I see wonderful films by Bertolucci, Visconti, and Fellini.
But I went down to Venezuela and spend a few weeks going through jungles. It's fantastic looking.
I learn new things all the time.
I allow an area for improvisation because the chemical things actors bring to stories make it not work.
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