I always have coffee without sugar, you know. Just cream.
But I think musicals are going to have to deal with important subjects.
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.
I seem to be drawn to things that actually happen.
In the Thirties, when I was in New York, I did the first surrealistic ballet in a show of mine.
I learn new things all the time.
I use colors to bring fine points of story and character.
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.
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.
But I went down to Venezuela and spend a few weeks going through jungles. It's fantastic looking.
Cedric Gibbons was the grand cardinal of the art department.
Color can do anything that black-and-white can.
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.
The Pirate is surrealism and so, in a curious way, is Father of the Bride.
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.
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