That was one time when my technique absolutely deserted me, I must admit. There was a wax face that he had created himself to cover his own ugliness. I was in his clutches and I had to hit him in the face.

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.

I went to Washington to ask for a little residual payment for the people who had written films in the early, early days, people who never got any residuals on tapes or anything at all.

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!

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?

Lillian Gish thought that there should be a cabinet position for the arts and I think she was right. I think she was right.

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.