I think the studio gave me that series on purpose, because they knew perfectly well that Robert Riskin was ill and that I needed to go to work. They gave me that series to do.

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My children didn't when they were little because I thought that they had to be of a certain age. I hoped they liked me well enough not to want to see me in that sort of a spot.

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I went to Washington to ask for a little residual payment for the people who had written films in the early, early days, people who never got any residuals on tapes or anything at all.

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Crawford washed her hands a lot. She washed her arms all the way up past her elbows. She just couldn't get enough done in that direction. She was compulsive about being clean, clean, clean!

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It was so satisfying for me - a great reward, just to see it done well. And it was beautifully directed by my daughter Susan Riskin. Imagine, a play about my mother directed by my daughter?!

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For the purposes of the play, it was perfect to be able to use that and the stresses and strains that there were. At the end of the play, the mother realizes the terrible things she had done.

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She wanted us to feel we were above everyone in the town. She really did tell us that we were related to Chief Justice John Marshall, and that may have been true. I never did bother to find out.

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I think to have done 'Titanic' would have been a tortuous experience altogether. I feel good about where my life is, now. I feel free and joyous and happy and more liberated than I have ever been.

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When we were making KONG, I went into the sound room and made an aria of horror sounds. I was in charge of it; there was no one there to listen to me. I was totally in charge of what I wanted to do.

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Paul Lucas had a particularly amusing accent, so I chuckled. That was terrible; I shouldn't have done that, but he took it too big. He got up and said he couldn't work with people who laughed at him!

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