I don't know why Sinclair Lewis fell in love with me. He didn't get even the slightest response from me. But his letters were lovely. And the poems he wrote me were lovely. I used some of them in my book.
Cary Grant was wonderful to work with on stage. He would move downstage, so that as he looked at me the audience had to look at me, too. He knew a lot about the theater and how to move around. He was very secure.
I think the studio gave me that series on purpose, because they knew perfectly well that Robert Riskin was ill and that I needed to go to work. They gave me that series to do.
There is a lot of strength and intelligence in Hollywood.
I thought I saw him for what he was-or what I thought he was. And he was talented, no doubt about that. But, he thought his talent was based on misery and that if he became happy it would just go. He believed that.
Only in your imagination can you revise.
When the picture was finished, they took me into the sound room and then I screamed more for about five minutes just steady screaming, and then they'd cut that in and add it.
When we were making KONG, I went into the sound room and made an aria of horror sounds. I was in charge of it; there was no one there to listen to me. I was totally in charge of what I wanted to do.
Crawford washed her hands a lot. She washed her arms all the way up past her elbows. She just couldn't get enough done in that direction. She was compulsive about being clean, clean, clean!
The producers who wanted me to do it liked me and trusted me, and more than one scene was only one take, because I'd plan ahead what I thought would be appropriate for that scene-so one take was enough.