Under no circumstances would it be right for me to go with MGM. Irene shares my opinion.
I tap danced for ten years before I began to understand people don't make musicals anymore. All I wanted to do was be at MGM working for Arthur Freed or Gene Kelly or Vincent Minelli. Historical and geographical constraints made this impossible. Slowly but surely the pen became mightier than the double pick-up time step with shuffle.
I gave my eardrums to MGM. And it's true: I really did.
Among the great glories of the MGM lot were the vast outdoor sets that had been constructed over the years.
I'm from Chicago, my family started a chain of movie theaters in Chicago that were around for 70 years and then one of them became the head of Paramount and the other was the head of production at MGM and we all came out of Chicago.
Even though I had a lucrative contract with MGM, I had a husband who was drinking and gambling our money away faster than I could make it.
And actually, about three weeks ago, Micky, Peter and I were in Vegas at the MGM Grand. And we did about 12 shows in seven days. It was quite an experience.
I was signed to MGM. I was in Vegas for sixteen weeks at the Sands Hotel.
My last days at MGM were like the fall of the Roman Empire in fast motion.
When my mother signed at MGM, that was the only kind of contract you could sign. There was no such thing as an independent agent.
I was born at the age of twelve on an MGM lot.
I was born at the age of twelve on a Metro-Goldwyn-Mayer lot.
[On her work in "Keep Your Powder Dry"] I didn't want to do it, but they said if I did it they would give me Undercurrent with Robert Taylor. Then they gave Undercurrent to Katharine Hepburn, so I left MGM.
When I was in Middle of The Night, MGM came and offered me a contract and I said that when I got out of the play, I'd like to try it. I didn't know anything about making movies but I was certainly finding it interesting.
Our world was Northern, black and white, so it was a great thing for my sisters and me to sit down at Christmastime and watch these fabulous MGM musicals. All that color, all those beautiful costumes.
I don't think I could ever go to Auschwitz, because when we took that tour of MGM, I nearly collapsed outside the Thalberg building.
Growing up, I would watch a movie on video and would go to the back of the VHS and locate the address for Universal Pictures or MGM or whatever. I'd write to the studios asking them if I could be in a movie. They never wrote me back.
Well oddly enough, I liken the years at MGM, and I was there for about eight years, to doing stock, what we used to call repertory or stock, playing a whole bunch of different roles.
I kind of go for the MGM version of every musical style.
In the beginning I had a real work problem. Every time I had job I had to convince the immigration authorities I was the only man for that job and get a special work permit until I went under contract to MGM.
[From a window in the Writer's Building at MGM, which overlooked a cemetery:] Hello down there. It might interest you to know that up here we are just as dead as you are.
Crikey means gee whiz, wow! Crikey, mate. You're far safer dealing with crocodiles and western diamondback rattlesnakes than the executives and the producers and all those sharks in the big MGM building.
There was this little shaggy dog on it, and Frank Weatherwax was working the dog. One day we were all sitting around, and Frank said, listen, my brother Rudd just got the rights back from MGM for Lassie, and said have your agent check into it. I did, and I went for a screen test.
I remember vividly seeing 'Tarzan' and Fred Astaire, the Chaplin films, Fred Astaire musicals, MGM, because of my mother. She was just interested in everything and she took me to opera and ballet, and then ballet got me hooked.
We had the same doomsday people when we were building the MGM Grand, same people, same doomsday. You have to ask a lot of questions and listen to people, but eventually, you have to go by your own instincts.
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