I considered that the homes that people live in exactly describe their lives.
My idea at this time, which was slowly developing, was to create a comedie humaine with little people, average people - samples from every period in American life.
The war was the end of an era, in art as well. And we were trying to create a new philosophy.
At the time I belonged to the socialist party, and Hitler came to power.
At the same time, of course, Marxism arose - Rosa Luxembourg, Leninism, anarchism - and art became political.
In the 19th century, you had bourgeois art without politics - an almost frozen idea of what beauty is.
So slowly in my mind formed the idea of melodrama, a form I found to perfection in American pictures. They were naive, they were that something completely different. They were completely Art-less.
There arose a belief in style - and in banality. Banality encompassed politics, too, because it was a common belief that politics were not worthy of art.
A director in Hollywood in my time couldn't do what he wanted to do.
I was making films about American society, and it is true that I never felt at home there, except perhaps when my wife and I lived on a farm in the San Fernando Valley.
But I always wanted my characters to be more than cyphers for the failings of their world. And I never had to look too hard to find a part of myself in them.
Your characters have to remain innocent of what your picture is after.
Rock Hudson was not an educated man, but that very beautiful body of his was putty in my hands.
Ross Hunter was my assistant on Take Me to Town, He was a young man, an actor before that, and learned a lot on the picture. During shooting, Goldstein left, and Ross was most pleasant. He never interfered.
And in movies you must be a gambler. To produce films is to gamble.