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.
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.
West Side Story was terribly important because of the style of the dancing and the gangs of New York.
Once you find the right idea, then go ahead and embellish it.
If anybody reads a story in a magazine or book, different pictures compete in their minds.
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.
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 see wonderful films by Bertolucci, Visconti, and Fellini.
But surrealism is present in most of my pictures.
Dali was the great painter then and surrealism was a way of life.
Designing Woman was written for the screen.
I've worked with an awful lot of people. Katy Hepburn, Spencer Tracy.
It's the story that counts.
I had given up the theater and everything propelled me into entertainment. And I didn't resist it.
No, I only like whether I like the story or not, essentially see something in it that isn't completely there.
I use colors to bring fine points of story and character.
I learn new things all the time.
In the Thirties, when I was in New York, I did the first surrealistic ballet in a show of mine.
Cedric Gibbons was the grand cardinal of the art department.
Color can do anything that black-and-white can.
If you want to learn how to sing, listen to Ella Fitzgerald.
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.
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