It's the story that counts.

That's what I think musicals will come to. No backstage stories, nothing of that sort.

It's the story that counts.

The Pirate is surrealism and so, in a curious way, is Father of the Bride.

I learn new things all the time.

Color can do anything that black-and-white can.

I had given up the theater and everything propelled me into entertainment. And I didn't resist it.

Cedric Gibbons was the grand cardinal of the art department.

I made three films with Douglas, two with Charles Boyer.

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.

It's always the story that interests me.

If anybody reads a story in a magazine or book, different pictures compete in their minds.

But I think musicals are going to have to deal with important subjects.

But surrealism is present in most of my pictures.

Nowadays the audience has changed. No one can anticipate the audience.

In the Thirties, when I was in New York, I did the first surrealistic ballet in a show of mine.

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.

I seem to be drawn to things that actually happen.

I use colors to bring fine points of story and character.

American films are terribly popular all over the world and American movie stars are terribly important. I don't know why.

We shot that in all the real places where Van Gogh worked.

I started out to be a painter and was born into the theater.

West Side Story was terribly important because of the style of the dancing and the gangs of New York.

I see wonderful films by Bertolucci, Visconti, and Fellini.

I've worked with an awful lot of people. Katy Hepburn, Spencer Tracy.

Dali was the great painter then and surrealism was a way of life.

I always have coffee without sugar, you know. Just cream.

I always liked the Van Gogh story because I was terribly involved in that.

I allow an area for improvisation because the chemical things actors bring to stories make it not work.

But I went down to Venezuela and spend a few weeks going through jungles. It's fantastic looking.

When I was writing 'Bad Behavior,' I was very, very quiet. I would just sit there and listen to people. And if I was out in public, I was usually quiet, and people tended to assume I was stupid because I was a young, pretty girl who's quiet.

My ultimate aim would be to captivate an audience, even just for a second.

If the sight of the blue skies fills you with joy, if a blade of grass springing up in the fields has power to move you, if the simple things of nature have a message that you understand, rejoice, for your soul is alive.

The interesting thing about Hain is that he's not a very interesting character. He's not fabulously clever. He's not a great policeman. He's not hugely charismatic. I'd describe him as a kind-of Chekhovian character. He's an ordinary bloke, to whom extraordinary things have happened. Which is quite hard to play, I have to say.

I like the consistency of a TV show, but I like it for three months out of my year, not nine.

I love my father as the stars - he's a bright shining example and a happy twinkling in my heart.

With acting I am being led by the script, other actors, the director, etc. But with songwriting I feel it is much more self reliant and allows me to be in the creative experience without being as dependent on others.

I learned to stop looking on the Internet pretty early on.

Even though shows like NYPD Blue are soaps in my opinion, but they're individualized to an extent that you can still follow what's going on if you miss a week.

I moved to L.A. after my landlord in Brooklyn tripled my rent. I spent months looking for other places to move to in New York, then one day I was in California eating a grapefruit, and I was like, 'This is what they taste like?' So I decided to move to L.A. and build a studio in my house.

We are what we repeatedly do. Excellence, therefore, is not an act but a habit.

Like, I get along with everybody. I respect everybody, but at the same time, I carry myself with an aura that demands respect, too.

It's hard separating work from personal life.

If you want a thing done well, do it yourself

When on an emotional roller-coaster, take the leap of faith...

Usually in France we prefer to say bad things about the Nouvelle Vague, but I'm always impressed with its freedom and the fact of not making a film to give your opinion but just as a piece of art, which to me means the Nouvelle Vague.

If you're not a parent, if you're an aunt or uncle or neighbor, books are an amazing gift.

I had a moment of clarity saw the feeling in the heart of things walked out to the garden crying.