Even though I had a lucrative contract with MGM, I had a husband who was drinking and gambling our money away faster than I could make it.
Growing up, I would watch a movie on video and would go to the back of the VHS and locate the address for Universal Pictures or MGM or whatever. I'd write to the studios asking them if I could be in a movie. They never wrote me back.
When you worked in a studio it was the studio system that you kind of missed because it was a big, big family. I mean MGM had 5,000 people working a day there. You miss it.
Fact is, awards shows were never really about recognizing achievement. They were a publicity ploy cooked up in the late 1920s by MGM topper Louie Mayer and his newly formed Academy of Motion Picture Arts and Sciences which was itself, back in the day, nothing but a front organization to discourage unionizing.
Among the great glories of the MGM lot were the vast outdoor sets that had been constructed over the years.
My last days at MGM were like the fall of the Roman Empire in fast motion.
I was born at the age of twelve on an MGM lot.
From the time I was thirteen, there was a constant struggle between MGM and me - whether or not to eat, how much to eat, what to eat. I remember this more vividly than anything else about my childhood.
So vast is the shadow cast by the MGM production of 'The Wizard of Oz,' so indelible are its characterizations, so perfect its music, and so assured is its cinematic immortality, that most people think of it as 'The Original.' In fact, it isn't.
I saw Bob Arum out in America, I saw him walking through the lobby in the MGM Grand. I basically went over and said: 'You're running out of opponents for Crawford and I'm the guy to beat him. I'm here.' I saw Terence Crawford, he said he was ready for it, so everybody is on the same page. Everyone wants to make the fight.
