Women Born In The 1910s

"The Audie Murphy people—his foundation, have been haunting me about him. But I didn’t know him at all. I’d work, go home, and not socialize with these people. The whole picture is very vague to me."

"That was with Richard Arlen, who had been a big star in silents, he’d slipped into the Bs by this time. We shot that on location up in Lone Pine."

"It’s been released on video, and I have a copy—however, there is an important scene missing. They cut out a big sequence. I cannot remember if it was cut before the film was released, or if it has since been edited out. It was where I had fallen in the river and Uncle Tom saved me—it set up a good relationship between Uncle Tom and Little Eva. The director, Harry Pollard, hated James B. Lowe, or ‘Tom’, who, interestingly, called me several years ago. He was down in Long Beach, from Europe where he normally lived. He tried to get together with me, but it didn’t work out. He was a real sweetheart.""

"I am a Mormon. Dad was and I was raised in that religion and during the '30s and '40s, I strayed and got into others things. I drank, I smoked, and did things totally opposite, not even thinking of what I had known during childhood. I remember in 1958, two elders came to my door and I began to think about my upbringing and what I learned and than I started to meditate on that and I found solace once again and realized what I had been neglecting, if not forgetting, all those years when I was out of circulation. I returned to my Mormon roots around Christmastime that year and became very active in the church again. I'm glad those young man dropped in and reminded me about what I'd been missing because if not I would've missed out on what the true "big picture" is. (Note the quote about being a Mormon is not sourced and is disputed: “Deleted quote about Virginia Grey being a member of the LDS church. I am her biographer and have spoken to members of her immediate family. They don't know why that quote was attributed to her. She was a lifelong devout Catholic.” See, main article history.)"

"We filmed in 1956. This was five years after I dated Bob [Robert Taylor] and she filed for divorce. I accidentally put my coat on her chair and she tore into me with a vengeance in front of everyone. She never mentioned Bob, but she resented me for going out with him. She had no other reason for hating me."

"Hollywood men are a lot of phony balonies."

"I consider myself a professional who acts, not to express my soul or elevate the cinema but to entertain and get paid for it."

"I don’t believe it. You know, after a picture’s been out for awhile, stories seem to circulate—stories that can no longer be verified, because everyone connected with the incident is dead. People will say anything to sell a book. As for our work with the dinosaurs, it was all done with a backscreen, so none of the actors saw the monsters, until we saw the picture. I liked doing it! It was a crazy picture, and I liked working with Richard Denning and Barton MacLane. They dyed my hair red, but left Denning’s blond locks alone. It’s been so long ago I don’t remember why they did it that way. ‘Unknown Island’ was one of the fun ones."

"Even though we stayed on location, I didn’t get to know him. We were too tired, and too dirty (Laughs) to socialize in the evening. Besides that, I don’t recall there being any place to even go at the time. It surely has grown some, but in those days, there was literally nothing there. So, the cast would take a shower, jump into bed (separate beds, of course) (Laughs), grab their script, and study their lines for the next day’s shoot."

"It was filmed up in Lone Pine, halfway between the Valley and Mammoth Lake, about a three hour drive, so we stayed up there. We shot it in the Spring, or maybe the Fall, because the weather wasn’t too bad. You have the danger of rains when you shoot then, but in the summer, it would be too hot. The desert scenes were shot just beside Lone Pine…that area resembled a desert (the dunes near Olancha—ed.) Fortunately, we didn’t have to go to Death Valley."

"I played a character called Lorabelle Larkin in ‘Slaughter Trail’ with Gig Young. We made that picture twice. It was around the time Howard Hughes bought RKO-Radio. Howard DaSilva was originally cast in the part Brian Donlevy eventually did. Donlevy was cast after Howard Hughes said DaSilva was a Commie and was kicked off the picture! We reshot virtually the whole film, because Howard Hughes ‘didn’t want no Commies in his movies.This made the picture a financial pleasure. It was way out in left field, a strange offbeat picture, but one of my personal favorite."

"The star was Gene Autry. I had heard tales he had a way with the ladies, but luckily for me, there was no problem. I think he must have known I was dating Clark Gable, and he’d better not try anything with me. That makes any man secondary, after you've dated the best."

"Idaho we shot on location in Kernville. Roy Rogers was the star, and he was a nice man to work with. This was before Dale Evans, though. Roy was married to another girl who shortly thereafter passed on."

"And it is ‘Flame of Barbary Coast,’ and not ‘Flame of the Barbary Coast’. Almost everybody gets that title wrong. Ann Dvorak was in it…a big picture, a long shooting schedule…I was not under contract to Republic, but after I left MGM in ‘42 and started to freelance, Republic and Universal used me quite often after that. Yates seemed to like me."

"I made so many pictures, that many are a blur in my mind.” One that isn’t a blur is “The Last Command” made for Republic. “We made ours before Duke made his ‘Alamo’. There was a beef with Herbert Yates over the title. We shot it on location in Brackettville, TX, and the John Wayne version used our left-over sets. Although we were in Texas, I never got to San Antonio, so I never saw the ‘real’ Alamo—just the one constructed in Brackettville."

"I think to be an artist it means a certain sensitivity, because I believe in evolution. I believe the more sensitive you are the more you draw from this One Mind; which is part of the whole, part of everything. I think we all have that ability to be tuned in, but I think great artists are just more tuned in. One who's expressing God to the fullest, that's an artist."

"Though I’m sure Stanley Kubrick was full of energy, he didn’t seem like it because he was so quiet and he moved very calculatingly–rather slow physically."

"I didn’t know I was doing film noir, I thought they were detective stories with low lighting! Even Kubrick, in 1955 during filming of The Killing, never used the term film noir to my knowledge."

"I used to be offended when they called me that. Then I began to enjoy it. It's better to be the queen of something than nothing. One of the things that's kept me mentally healthy during many heartbreaking periods in my career is that I have a very strong direction about facing reality. If something's wrong, I try not to blame somebody else or the situation. Since I seem to be a rather content individual, I guess it's working."

"I was always a little girl in my heart. As I grew older, I really felt like inside. But outside it didn't come out like that. [...] I think it was physical. All the women were small in those days. The men were smaller, too, so taller women didn't get much of a chance. It was my looks and my voice, and I played menace very well. That's the way they saw me, and it was easy to do. [...] It seemed very natural to me to be slinky and sexy. The s of the world can't be slinky and sexy. I've sort of given up and just accept it."

"I also studied with Stella Adler every summer until just the last few years. She taught pure technique. They didn't call it The Method back then, but she was working from the theories. [...] I worked on physical movement, body language, and how to use your imagination. Not drawing on your memories, which I consider unhealthy. Just using your imagination is limitless, where using just your experience isn't."

"My personal happiness is much more important than my career, my primary aim is to have a happy home life. Those great ladies the silver screen have wanted what I've been able to get, but they've not been able to give up enough to get it."

"Sure I'm sad I've never made it to being a big superstar, but I feel absolutely no bitterness. I came out of a town with 250 people and what I've done is extraordinary."

"That was the only picture I ever made that literally came back to haunt me. Because it was the one, when television became so popular, that they showed. And they're still showing it all over the world, you know that? I get recent letters from Holland, Germany, from all over where they must have just been running it because I always recognize that they come from the same city at the same time."

"I loved King Kong with Fay Wray. That was one of my favorite pictures. I admired Fay. I thought Fay Wray was so beautiful. I remember later I went to a party and she was there and I sat at her feet and said, 'You were my favorite actress', and I told her how much I worshiped her."

"When asked why she thought there was deterioration in standards and expectations of art, she suggested it was the result of the fuss generated around young dancers, the pressures to perform at an early debut, and the indiscriminate acclaim given to young dancers before they had found their feet."

"Dignified restraint is the hallmark of abhinaya....The divine is divine only because of its suggestive, subtle quality."

"Although she was blind by that time, she was the best critique of my dance. If there is any one I would like to known, I would like to be remembered as Danam’s granddaughter."

"It was my mother, Jayammal, who had me trained as a dancer despite strong family opposition."

"Bharatanatyam is grounded in bhakthi. In fact bhakthi is at the center of all arts of India. Our music and dance are two offerings to God...This experience may only occur once in a while but when it does for that little duration, its grandeur enters the soul not transiently but with a sense of eternity. As one gets involved in the art, with greater and greater dedication, one can continuously experience throughout the few hours of the dance, the unending joy, this complete well-being, especially when music and dance mingle indistinguishably."

"The initial inspiration for me to take up dancing came from seeing performances of Gauri Ammal when I was very young. If this lady had not brought the dance to such a stage of development, the combination of music and dance that I have attempted to realize would not have been possible."

"It may be true that I had dancing in my blood... I was a toddler when I danced deliriously with that street beggar. All called him a madman when he brought the house down with his frenetic dancing. Was he really mad? His unerring jatis (danced to rhythmic patterns) reverberate in my mind. Who knows which siddhapurusha (literally: “with all accomplishments”) he was? I can still see the gleam in his eye. If I am dance-mad now how could it be otherwise?... My first guru was a madman."

"Perhaps the greatest Indian dancer of the past thousand years."

"She was the only one where the music and dance were equally important... her dance moves were deeply affected by this... she was able to convey not only the meaning of the dance, but also the emotion of the music. That’s what I liked best."

"Observation of a relative in"

"There used to be beggar, a sort of maniac, who would jump up and dance like a monkey while singing tat tarigappa tei ta, tat tarigappa tei ta. Bala would imitate him, both dancing like monkeys... All of us tried to snub him but the beggar could not be turned out. It meant a few coins for him; he made a regular visit to our house and the two used to dance. That was the real starting point for Bala’s dancing mania."

"Dr Who: "Contains some of the sickest, most horrible material""

"Jackanory: "Completely irresponsible""

"Till Death Us Do Part: "I doubt if many people would use 121 bloodies in half-an-hour." "Bad language coarsens the whole quality of our life. It normalises harsh, often indecent language, which despoils our communication.""

"[Television] may teach self-interest rather than philanthropy, violence rather than gentleness, a disregard for human dignity rather than a respect for it. It may not always teach the truth but teach it does, and it is more than time that responsible people both within and outside the broadcasting professions said boldly what is so obvious in commonsense terms — we cannot understand what is happening in international, cultural, economic, political and social affairs without coming to grips with the way in which television influences virtually all our behavioural and thought processes."

"The BBC seems determined to do everything in its power to present promiscuity as normal. What I found most hypocritical was that ostensibly the abortion scenes were meant to show its horror: but there was no attempt to point out that normal clean living would obviate such a fearful thing."

"It is a deliberate affront to the people to whom it gave so much offence by its near pornography and calculated bias. It would seem the BBC are out to test whether they have managed to condition people into accepting now what they rebelled against last year."

"Hey you, Whitehouse / Ha ha, charade you are ... You're trying to keep our feelings off the street ... Mary, you're nearly a treat / But you're really a cry"

"[The] flak from Mary Whitehouse...was quite unwarranted. I think the kind of person who would have been upset by Doctor Who would have been upset by anything."

"I was far from happy too about the way in which the programme handled Mrs Mary Whitehouse on the occasion of the publication of her book Cleaning Up TV. This was done by [[w:Bernard Braden|[Bernard] Braden]] telling his audience what he thought Mrs Whitehouse's creed was — "I thought she was against violence ... I thought she was for censorship" — and then by cutting to Mrs Whitehouse herself and getting a short edited quote which contradicted his assumption. Thus when Mrs Whitehouse declared she was against censorship we were not told that according to her own book she is for it if it were “the only way of preventing the gradual erosion of our Christian values and the character of the nation". ... And Judging by the evidence of her book she feels that we are getting perilously close to that state. In other words, by her own standards, we are not very far away from the need for the very censorship Mrs Whitehouse claims she is against."

"She'll be sadly missed, I imagine, but not by me."

"Let us take inspiration from that admirable woman, Mary Whitehouse. I do not accept all her ideas, she will not accept all mine. Yet we can see in her a shining example of what one person can do single-handedly when inspired by faith and compassion. An unknown middle-aged woman, a schoolteacher in the Midlands, set out to protect adolescents against the permissiveness of our time. Look at the scale of the opposing forces. On the one side, the whole of the new establishment, with their sharp words and sneers poised. Against them stood this one middle-aged woman. Today, her name is a household word, made famous by the very assaults on her by her enemies. She has mobilised and given fresh hearts to many who see where this current fashion is leading. Her book, Who Does She Think She Is? took its title from the outraged cry of an acolyte of the new hierarchy, who asked how an unknown woman dare speak up against the BBC, the educators and false shepherds. We too can take courage from her, and dedicate ourselves to fighting back on issues which will decide the nation's future far more than economics, however important it remains."

"She was in some obvious senses narrow-minded. She believed with passion that she was promoting virtue and righteousness; but her overriding puritanism determined that her main focus was on sex, followed by bad language and violence. Odd: if she had reversed the order, she might have been more effective."

"I always felt that Mary Whitehouse thought of Doctor Who as a children's programme, for little children, and it wasn't... so she was really coming at the show from the wrong starting-point."

"[I]t is because one is aware that many psychiatrists do believe homosexuality to be an illness that one is so against the proselytising of the young which is so large a part of the work of the organised homosexuals."