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.

There were shots of Kong pulling at my clothes, but only in horizontal and never from above. Never from above.

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 I'm in New York I look at the Empire State Building and feel as though it belongs to me ... or is it vice versa?

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.

Paul Lucas had a particularly amusing accent, so I chuckled. That was terrible; I shouldn't have done that, but he took it too big. He got up and said he couldn't work with people who laughed at him!

Cary Grant and I were doing a play in New York. He had a crush on me. Whenever we went to a party, he would always sit on the floor beside me. I thought that was kind of beautiful, like that's where he wanted to be.