I always have coffee without sugar, you know. Just cream.
I use colors to bring fine points of story and character.
I seem to be drawn to things that actually happen.
Once you find the right idea, then go ahead and embellish it.
But I think musicals are going to have to deal with important subjects.
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.
It's always the story that interests me.
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.
If you want to learn how to sing, listen to Ella Fitzgerald.
I've worked with an awful lot of people. Katy Hepburn, Spencer Tracy.
If anybody reads a story in a magazine or book, different pictures compete in their minds.
Dali was the great painter then and surrealism was a way of life.
It's the story that counts.
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.
The Pirate is surrealism and so, in a curious way, is Father of the Bride.
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.
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.
But surrealism is present in most of my pictures.
I learn new things all the time.
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.
Color can do anything that black-and-white can.
Cedric Gibbons was the grand cardinal of the art department.
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