What we think about Paris is a part of how we feel about it. Our idea of Paris is our idea and we don't know that that's not necessarily the way it really is. It feels so real.

What I got, unconsciously, from admiring Fred Astaire was that he didn't want what he was doing to look difficult. What was difficult, in my opinion, was making it look so genuine, so effortless. I equally have tried to remain unseen on the screen.

People always say to me, 'You have such a clearly defined sense of style,' and when I hear it, I get crazed, because what I hear - and I know they mean it as a compliment - is that I have such a narrow vision that I can't get out of it.

You know, sound was still a fairly new thing when I came into movies. And the reason musicals happened is because of sound. They could put music in the picture! That's how it all began.

The funniest thing is not who influenced me positively, but who influenced me negatively. I had such an aversion to what Busby Berkeley did; in my early formative years, I thought it was terrible. Now, I think it's wonderful. But then, I wanted to do anything but what Busby Berkeley did.

What we think about Paris is a part of how we feel about it. Our idea of Paris is our idea and we don't know that that's not necessarily the way it really is. It feels so real.

I started dancing when I saw Fred Astaire in 'Flying Down to Rio,' at approximately nine years old. Fred Astaire influenced me, more than anything, to be in 'show business.