A job is a job to me and when I get a story I become involved in it immediately.
American films are terribly popular all over the world and American movie stars are terribly important. I don't know why.
And Star Wars - everyone is trying to get a Star Wars.
But I don't compare myself to anybody.
But I think musicals are going to have to deal with important subjects.
But I went down to Venezuela and spend a few weeks going through jungles. It's fantastic looking.
But surrealism is present in most of my pictures.
But the idea of a man being killed during an episode of love and coming back as a woman started to impress me more and more and more.
Cedric Gibbons was the grand cardinal of the art department.
Colette (1873-1954) had written about actual people in Gigi. She considered it one of her minor things, not to be compared to Vagabond or Cheri. It's had a life of its own.
Color can do anything that black-and-white can.
Dali was the great painter then and surrealism was a way of life.
Designing Woman was written for the screen.
For instance, Meet Me in St. Louis (1944), Sally Benson was writing about her own family in St. Louis at the time.
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.
Having started as a designer I have a lot to do with settings and costumes, because I think they relate to the story and character, explain it.
I allow an area for improvisation because the chemical things actors bring to stories make it not work.
I always have coffee without sugar, you know. Just cream.
I always liked the Van Gogh story because I was terribly involved in that.
I had given up the theater and everything propelled me into entertainment. And I didn't resist it.
I learn new things all the time.
I lived in New York, so I saw the European movies much more than the domestic ones. I was influenced by them a great deal.
I made three films with Douglas, two with Charles Boyer.
I see wonderful films by Bertolucci, Visconti, and Fellini.
I seem to be drawn to things that actually happen.
I started out to be a painter and was born into the theater.
I use colors to bring fine points of story and character.
I was very influenced by the movies of Max Ophuls, who moved the camera all the time.
I work with the writer on the story.
I've worked on so many things that haven't come off. The life of Bessie Smith, the life of Modigliani; they've fallen through.
I've worked with an awful lot of people. Katy Hepburn, Spencer Tracy.
If anybody reads a story in a magazine or book, different pictures compete in their minds.
In the Thirties, when I was in New York, I did the first surrealistic ballet in a show of mine.
It's always the story that interests me.
It's the story that counts.
No, I only like whether I like the story or not, essentially see something in it that isn't completely there.
Nowadays the audience has changed. No one can anticipate the audience.
Somebody said, if you give a script to five different famous directors, you'd get five different pictures. And I believe that.
That's what I think musicals will come to. No backstage stories, nothing of that sort.
The Long, Long Trailer (1954) actually happened and the man wrote a book about it. Father of the Bride, same thing; a banker wrote that who had never written anything else.
The Pirate is surrealism and so, in a curious way, is Father of the Bride.
We shot that in all the real places where Van Gogh worked.
Well, I consider, that those things - even farce - should be played for blood.
West Side Story was terribly important because of the style of the dancing and the gangs of New York.
You have to be a producer nowadays. You have to find the subject, find the writer, find the cameraman, cast it, and then you go to a producer.
Vincente is credited with inventing the crab dolly, a camera that can move in any direction.
Vincente was the youngest of his surviving siblings.
Vincnente used a shade of yellow on his film sets that had to be specially mixed. As such, it was named Minelli Yellow.
He was married to screen icon Judy Garland.
Vincente is the father of Liza Minnelli.
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