She went right down into her own personal experience for everything, reached down and pulled something out of herself that was unique and extraordinary. She had no techniques. It was all the truth, it was only Marilyn. But it was Marilyn, plus. She found things, found things about womankind in herself.

Marilyn was one step from oblivion when I directed her in The Asphalt Jungle. I remember she impressed me more off the screen than on…there was something touching and appealing about her.

I relieve myself from the rigours of directing by casting the movie correctly.

For sheer strength of character, I wouldn't have dared to cross swords with Callas. I would rather have gone six rounds with Jack Dempsey.

What you try to become is a bringer of magic, for magic and the truth are closely allied and movies are sheer magic ... when they work, it's, well, it's glorious.

Critics have never been able to discover a unifying theme in my films. For thatmatter, neither have I.

Even Michelangelo on his deathbed thought he'd done nothing to ennoble art. He wanted to destroy his work-the Pieta! And this from the greatest artist who ever lived. Of course I am not comparing my work to Michelangelo's. But this eternal dissatisfaction of the artist is what I was talking about.