Actually, the camera was never overhead at any time. It was always a side view of me. Subsequently, after the picture was released, I saw some scenes from above and my clothes being pulled-and I think that was added later.

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?

It was good for us, I suppose. Those kinds of times produce qualities in us that make us better for having had them. My parents were not getting along. My mother was quite intolerant of friendships that were being developed.

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.

As far as advice, that will be in my next book, my next collection. I certainly never like to instruct anyone, but just say as I feel. That's the same as advice, isn't it?

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.

Sometimes I worked with just a background of a rock or a tree or black velvet, and just had to imagine the whole thing.