I had to do a tango with Raft and I learned to dance in ballet shoes with my knees bent.

I'd been trying for all of the eight years we'd been married to have a child, and finally I did.

Raft told me how to walk with him in a scene: We'd start off in a long shot normal, and about the time we got together in a close-up, I'd be bending my knees so I'd be shorter.

My forehead is sometimes too high, but bangs could correct this.

I'd say my happiest moment as an actress came when I learned I'd won the Look Magazine Best Supporting Actress Award for 1956 in The Killing.

I'd also say having Jack's son Chris living with us from his 13th year on helped in raising Rick.

For many years my inherited arthritis had given me problems.

I knew I had a great figure, but I never regarded myself as beautiful.

It finally became clear to me that they had no hopes of my ever walking again.

For instance, it was very rare for anyone there with dogs to allow them into the house.

Most actors are insecure enough already without having a director who adds to that.

I can't remember anybody saying, Let's get this show on the road.

Some actresses seem to thrive on chaos, and I've often wondered if they felt they had to be that way in order to perform well?

About that time, stronger features became fashionable on the screen.

Elisha Cook was a darling, and full of the devil. A wired - up little fellow who was always busy, busy, busy.

I had to do a tango with Raft and I learned to dance in ballet shoes with my knees bent.

Of course, in later years, I'd studied acting more than ever before - mostly with the late Stella Adler, who was marvelous! - but in my earlier years, I couldn't afford to do this.

The way animals were and are abused appalls me to this very day.

I thought my nose was too prominent so I had this corrected via plastic surgery in 1959.

This has taught me that being pleasant is always so much more productive, for I know well the rewards for being good-natured.

I'm 5 9, and there were two stars in my life who didn't mind that I was taller than they - George Raft and John Garfield.

This I regard as a classic example of my not being properly prepared for a part I very much wanted.

I got to know Sterling Hayden fairly well. He was a quiet man, who got more complicated as the years went on.

I didn't know I was doing film noir, I thought they were detective stories with low lighting!

So, I certainly subscribe to what Bette said about acting being very hard work.

But painting can be too lonely... I like being with people too much to have ever made that my life's work.

In '48 when I left Metro, I tried to go back to radio, but somehow just didn't do well at it.

The scene where I took my eyelashes off we did in two takes.

Regrettably, I do sometimes have to fight a tendency to be bitchy.

Dance is very, very old. With Louis XIV at Versailles is where ballet started.

I wanted to be a ballet teacher.

Classical ballet will never die.

I've got no plans to be a ballet dancer at the moment.

When life takes me on a new journey, I simply remember the smile my first ballet recital put on my face and I move forward.

Ballet is sort of a mystery to me. And I don't want to unravel that mystery.

The moment the curtain rose on that first ballet, I knew something wonderful and new had come into my life. I can still see the first scene. The ballet was Divertimento No. 15.

My grandmother had a Miss Margaret's School of Dance to teach tap and ballet to kids, but I never studied it. I was raised a Mormon and they're dancing fools. It's the only vice they have - dancing.

The real beauty of it - key to my life was playing key chords on a banjo. For somebody else it may be a golf club that mom and dad put in their hands or a baseball or ballet lessons. Real gift to give to me and put it in writing.

My background is somewhat unusual, as I trained to be a ballet dancer. I worked in the theatre for eight or nine years as a contemporary dancer. But as an actor one does read Shakespeare and does try to learn the classics.

However, the moral center of New York City, I believe, is the New York City Ballet.

I have ballet class every other day for two hours. And for "Six Feet Under", last week there was a sequence where I had to do a whole choreographed dance number, so I had four hours of dance practice every day.

I do take class because I still dance, and yes, I do slip into class with the Royal Ballet from time to time.

And it is always Easter Sunday at the New York City Ballet. It is always coming back to life. Not even coming back to life - it lives in the constant present.

It's no good running a pig farm badly for 30 years while saying, 'Really, I was meant to be a ballet dancer.' By then, pigs will be your style.

For 24 hours a day, for 10 years, all I thought about was being in a band. That's all I did. I had no other social life. I don't want my life to be like that now. I've spent the past 10 years having a real life as well. But Spandau Ballet is such a difficult shadow to outrun.

When other little girls wanted to be ballet dancers I kind of wanted to be a vampire.

The New York City Ballet is always about the realm of possibilities, the realm of what the human body can do, what the human spirit can do. And it's about listening, it's about listening to remarkable music and how we respond to that.

I used to dance when I was younger - ballet and modern dance.

At the ballet, you really feel like you're in the presence of something outside the rest of your life. Higher than the rest of your life.