Marilyn Monroe

"In Hollywood zahlt man dir tausend Dollar für einen Kuß und fünfzig Cents für deine Seele."

"Wir hatten es beide nicht geschafft, die Zauberformel zu finden, die das Leben des anderen hätte verändern können."

"Würde ich noch einmal mit Marilyn [einen Film] drehen? Ich habe das mit meinem Hausarzt, meinem Psychiater und meinem Buchhalter diskutiert, und sie haben mir gesagt, ich sei zu alt und zu reich, um das noch einmal durchzumachen."

"I had the radio on."

"Everyone's childhood plays itself out. No wonder no one knows the other or can completely understand. By this, I don't know if I'm just giving up with this conclusion or resigning myself — or maybe for the first time connecting with reality. How do we know the pain or another's earlier years, let alone all that he drags with him since along the way at best a lot of leeways is needed for the other — yet how much is unhealthy for one to bear? I think to love bravely is the best and accept — as much as one can bear."

"For life: It is rather a determination not to be overwhelmed. For work: The truth can only be recalled, never invented."

"It's a bad habit, I know, but I believe that you shouldn't do anything in life until you're ready. Half of life's heartaches come from decisions made in a hurry. One should make haste slowly."

"I know I will never be happy but I know I can be gay! Remember I told you Kazan said I was the gayest girl he ever knew; believe me, he has known many. But he loved me for one year and once rocked me to sleep one night when I was in great anguish. He also suggested that I go into analysis and later wanted me to work with Lee Strasberg. Was it Milton who wrote: "The happy ones were never born"? I know at least two psychiatrists who are looking for a more positive approach."

"I'm a failure as a woman. My men expect so much of me, because of the image they've made of me — and that I've made of myself — as a sex symbol. They expect bells to ring and whistles to whistle, but my anatomy is the same as any other woman's and I can't live up to it."

"Unfortunately, I am involved in a freedom ride protesting the loss of the minority rights belonging to the few remaining earthbound stars. All we demanded was our right to twinkle."

"I think that when you are famous every weakness is exaggerated. ... Goethe said, "Talent is developed in privacy," you know? And it's true. ... Creativity has got to start with humanity and when you're a human being, you feel, you suffer. You're gay, you're sick, you're nervous or whatever."

"Say goodbye to Pat, say goodbye to the president, and say goodbye to yourself because you're a nice guy. ... I'll see, I'll see."

"Please don't make me a joke. End the interview with what I believe. I don't mind making jokes, but I don't want to look like one... I want to be an artist, an actress with integrity... If fame goes by, so long, I've had you, fame. If it goes by, I've always known it was fickle. So at least it's something I experienced, but that's not where I live."

"Say good-bye to Pat, say good-bye to Jack and say good-bye to yourself, because you're a nice guy."

"An actress is not a machine, but they treat you like a machine. A money machine."

"Why? — It paid the rent."

"I restore myself when I'm alone. A career is born in public — talent in privacy."

"That's the trouble, a sex symbol becomes a thing. But if I'm going to be a symbol of something, I'd rather it be sex than some of the things we've got symbols of... I hate to be a thing."

"I'm not interested in money, I just want to be wonderful."

"The studio people want me to do "Goodbye Charlie" for the movies, but I'm not going to do it. I don't like the idea of playing a man in a woman's body — you know? It just doesn't seem feminine."

"First, I'm trying to prove to myself that I'm a person. Then maybe I'll convince myself that I'm an actress."

"The truth is I've never fooled anyone. I've let men sometimes fool themselves. Men sometimes didn't bother to find out who and what I was. Instead, they would invent a character for me. I wouldn't argue with them. They were obviously loving somebody I wasn't. When they found this out, they would blame me for disillusioning them — and fooling them."

"If you get massages, you'll never need another sleeping pill."

"Dogs never bite me. Just humans."

"I don't know who invented the high heel, but all women owe him a lot. Excuse the pun, but it was the high heel that gave a big lift to my career."

"The body is meant to be seen, not all covered up."

"Husbands are chiefly good as lovers when they are betraying their wives."

"My work is the only ground I've ever had to stand on. I seem to have a whole superstructure with no foundation — but I'm working on the foundation."

"Hollywood's a place where they'll pay you a thousand dollars for a kiss, and fifty cents for your soul. I know, because I turned down the first offer often enough and held out for the fifty cents."

"When you're famous you kind of run into human nature in a raw kind of way. It stirs up envy, fame does. People, you run into feel that, well, who does she think she is, Marilyn Monroe? They feel fame gives them some kind of privilege to walk up to you and say anything to you, of any kind of nature — and it won't hurt your feelings — like it's happening to your clothes, not you."

"Success makes so many people hate you. I wish it wasn't that way. It would be wonderful to enjoy success without seeing envy in the eyes of those around you."

"I sleep in the nude but I pull the sheets up."

"I guess I never felt I affected people until I was in Korea."

"The sweaters were hand-me-downs. They were too small for me, and I guess that's what made everyone take notice. But it made me feel important. Men were looking at me for the first time. And I liked it. I felt good in them. And when I felt how tight they held me in, I quit wearing a bra."

"Elizabeth Taylor converted too. So we're both Jewish."

"People have curious attitudes about nudity just as they have about sex. Nudity and sex are the most commonplace things in the world. Yet people often act as if they were things that only existed on Mars."

"It's far better to be unhappy alone than unhappy with someone — so far."

"It stirs up envy, fame does. People, you run into feel that, well, who does she think she is, Marilyn Monroe? They feel fame gives them some kind of privilege to walk up to you and say anything to you, of any kind of nature — and it won't hurt your feelings — like it's happening to your clothes, not you."

"A career is wonderful, but you can't curl up with it on a cold night."

"Arthur Miller wouldn't have married me if I had been nothing but a dumb blonde."

"People had a habit of looking at me as if I were some kind of mirror instead of a person. They didn't see me, they saw their lewd thoughts, then they white-masked themselves by calling me the lewd one."

"A woman knows by intuition, or instinct, what is best for herself."

"I'm selfish, impatient and a little insecure. I make mistakes, I am out of control and at times hard to handle. But if you can't handle me at my worst, then you sure as hell don't deserve me at my best."

"To all the girls that think you're fat because you're not a size zero you're the beautiful one it's society who's ugly."

"A sex symbol is a heavy load to carry when one is tired, hurt and bewildered."

"Well-behaved women rarely make history."

"She came up to me and said, "You're going to play my uncle, right?" "That's right, Miss Monroe." Then she looked at me and said, "No incest.""

"I think Marilyn is bound to make an almost overwhelming impression on the people who meet her for the first time. It is not that she is pretty, although she is of course almost incredibly pretty, but she radiates, at the same time, unbounded vitality and a kind of unbelievable innocence. I have met the same in a lion-cub, which my native servants in Africa brought me. I would not keep her, since I felt that it would in some way be wrong...I shall never forget the almost overpowering feeling of unconquerable strength and sweetness which she conveyed. I had all the wild nature of Africa amicably gazing at me with mighty playfulness."

"Marilyn Monroe’s suicide made headlines when I was twenty-two years old and struggling to find my place in the world. We were both working class in background, but there any comparison ended. While I was a doctor’s assistant by day and a pariah dyke wearing boys’ clothes by night, Marilyn was the most heterosexual, “most beautiful” and most desired in the public world. She was a star, she kept company with America’s biggest male stars—Mickey Mantle of baseball, Arthur Miller of literature, John F. Kennedy of politics. And at what seemed the height of a gloriously successful career, she killed herself. Or that was the story. then. Since, it has changed, from a conspiracy that she was murdered, to the more plausible reason: the accidental overdose of an addict. I was upset by her death; if she could not succeed in life, how on earth could I? And yet, her image did not fade; she continues to hold a position as an icon of sexual power."

"Hawks says it's wonderful we knew and worked with Marilyn before she got difficult. Because she was so winning and adorable in Monkey Business [1952]. When I drink that youth serum and I'm acting like a teenager, Marilyn really got into it. I'm diving off the high board and she's giggling and waving me on. Years later she asked me to costar in something called The Billionaire. It was a comedy and she said her husband Arthur Miller was reworking it. Arthur Miller a comedy writer? I ran away and so did Greg Peck, and the completed film, ' [1960], showed she'd become all blurry and distant. It was sad."

"We think of Marilyn who was every man's love affair with America. Marilyn Monroe who was blonde and beautiful and had a sweet little rinky-dink of a voice and all the cleanliness of all the clean American backyards."

"There are people so vivid in life that they seem not to disappear when they die, and for many weeks I found myself having to come about and force myself to encounter the fact that Marilyn had ended. I realized that I still, even then, expected to meet her once more, somewhere, sometime, and maybe talk sensibly about all the foolishness we had been through — in which case I would probably have fallen in love with her again. And the iron logic of her death did not help much: I could still see her coming across the lawn, or touching something, or laughing, at the same time that I confronted the end of her as one might stand watching the sinking sun. When a reporter called asking if I would be attending her funeral in California, the very idea of a burial was outlandish, and stunned as I was, I answered without thinking, "She won't be there." I could hear his astonishment, but I could only hang up, it was beyond explaining."

"To have survived, she would have had to be either more cynical or even further from reality than she was. Instead, she was a poet on a street corner trying to recite to a crowd pulling at her clothes."

"The women she played were totally unreal. Her vulnerability in her flesh was as compelling and audible as a baby crying, but she played either a gold digger-the woman who can only be bought or the child/whore who asks nothing whatsoever, who is available like a tray of hors d'oeuvres at a cocktail party. In The Seven Year Itch she is the total male fantasy of available snatch, a gorgeous woman without any entanglements, no friends, no family, no demands, who wants only a married man since he won't fall in love with her. What living woman could ever identify with that character?...Her career began with the famous nude calendar, although the most lasting images are at once dressed and undressed-the pose on the subway grating, for instance. She wears a flimsy looking halter dress that flies up, deserting her. She is the embodiment of titillation. Any man can dream of possessing her, because she seems so accessible and defenseless. For a man, that image on which can be projected any fantasy, any wish fulfillment, is the source of her immense and lasting appeal. She is a living doll-the perfect body that offers everything and asks nothing. She embodies the woman who never was because she isn't anything in herself. That image was something she put on to go out into the frightening and hostile world. She had learned early that she would be rewarded if she appeared compliant and childlike, not in the sense of the virgin to be deflowered, but in the sense of the woman who doesn't understand, doesn't know what to do, never learns a lesson; the warm and sensual Galatea who never gets up and leaves Pygmalion, but waits passively for the next owner. But behind that façade was a woman needy, scared, ambitious, leaking self-hatred and desperately wanting something real and solid and important. She wanted to be...respected. She never was."

"When Marilyn Monroe got out of the game, I wrote something like, "Southern California's special horror notwithstanding, if the world offered nothing, nowhere to support or make bearable whatever her private grief was, then it is that world, and not she, that is at fault." I wrote that in the first few shook-up minutes after hearing the bulletin sandwiched in between Don and Phil Everly and surrounded by all manner of whoops and whistles coming out of an audio signal generator, like you are apt to hear on the provincial radio these days. But I don't think I'd take those words back."

"If Marilyn is in love with my husband it proves she has good taste, for I am in love with him too."

"I remember her on the screen, huge as a colossus doll, mincing and whispering and simply hoping her way into total vulnerability."

"You want me to talk about Marilyn? My God, I think there have been more books on Marilyn Monroe than on World War II, and there's a great similarity. It was a very complex thing working with her because she had tremendous problems with herself. She was on the edge of deep depression – whatever you want to call it – at all times. There was always a question, which you sweated out: "Is she going to show up? Is she going to show up on time? Is she going to live through the scene? Is she going to finish the picture?" And that is a very nerve-wracking thing if you've got eight million dollars in the enterprise. But when it's all done, it's well worth it. It's that old thing that I said, I don't know, four hundred years ago: "Look, if we wanted somebody to be on time and to know the lines just perfectly, I've got an old aunt in Vienna. She's going to be there at five in the morning and never miss a word. But who wants to look at her?""