I had been making films for almost ten years, and the head men at RKO thought of me only in terms of musicals. I found no fault with that, except I just couldn't stand being typed or pigeonholed as only a singing and dancing girl. I wanted to extend my range.
Only I know my life.
'Flying Down to Rio' established RKO as a leader in musical film production throughout the 1930s. The film helped to rescue the studio from its financial straits and it gave a real boost to my movie career.
You bring out a lot of your own thoughts and attitudes when acting. I think a great deal of it has to do with the inner you.
One thing I turn my back on totally is the unsavory atmosphere at most discos.
At the age of ten, I thought if a boy kissed you on the lips, you would have a baby, and I surely wasn't the only youngster who believed that!
My mother was a journalist, so writing is not unnatural to me.
During my seven-year contract with RKO, there were seven different studio presidents, from David O. Selznick to Charles W. Koerner. You literally had to check the name on the door so as not to call the new boss by the former boss's name.
My mother told me I was dancing before I was born. She could feel my toes tapping wildly inside her for months.
The most important thing in anyone's life is to be giving something. The quality I can give is fun and joy and happiness. This is my gift.
I don't disagree with seeing a Rubens of a nude body, but I don't believe in a nude body in action. With Rubens, thank goodness, they aren't in action.
While I was making my solo films, RKO was busily trying to get me and Fred Astaire back together. The studio wanted to capitalize on the success of 'Flying Down to Rio' and realized that the pairing of Rogers and Astaire had moneymaking potential.
I made my last motion picture in March 1965 for Magna Pictures. 'Harlow,' based on the life of actress Jean Harlow... I didn't know at the time that 'Harlow' would be my last motion picture.
Rhythm is born in all of us. To be a desirable dancing partner, you don't have to do all the intricate fancy steps that happen to be in vogue. All you have to do is be a good average dancer, and anybody who spends the time and effort can accomplish this.
Like most actors, I've always been grateful for Chinese restaurants; they were often the only places that stayed open late enough for performers to get hot food after the show.
The kids today, they think they can dance with their faces.
People are still people no matter how you cut it.
