No, I only like whether I like the story or not, essentially see something in it that isn't completely there.

I always liked the Van Gogh story because I was terribly involved in that.

Fortunately, John Houseman is a marvelous writer and he sat in on so many story conferences. He worked with Welles, you know, and he's a marvelous man.

Once you find the right idea, then go ahead and embellish it.

Cedric Gibbons was the grand cardinal of the art department.

The Pirate is surrealism and so, in a curious way, is Father of the Bride.

I feel that a picture that stays with you is made up of a hundred or more hidden things. They’re things that the audience is not conscious of, but that accumulate.