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

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

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

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

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.

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

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

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

But surrealism is present in most of my pictures.

Cedric Gibbons was the grand cardinal of the art department.

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

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

Designing Woman was written for the screen.

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

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

I learn new things all the time.

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

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