Gene Kelly Quotes

(on his working experience with Debbie Reynolds while filming Singin` in the Rain (1952) (1952)) I wasn`t nice to Debbie. It`s a wonder she still speaks to me.

There was no model for what I tried to do with dance . . . and the thing Fred Astaire and I used to bitch about was that critics didn`t know how to categorize us. They called us tap dancers because that was considered the American style. But neither of us were basically tap dancers.

Kids talk to me and say they want to do musicals again because they`ve studied the tapes of the old films. We didn`t have that. We thought once we had made it, even on film, it was gone except for the archives.

I arrived in Hollywood twenty pounds overweight and as strong as an ox. But if I put on a white tails and tux like (Fred Astaire), I still looked like a truck driver.

If Fred Astaire is the Cary Grant of dance, I`m the Marlon Brando.

I never wanted to be a dancer. It`s true! I wanted to be a shortstop for the Pittsburgh Pirates.

Fred Astaire represented the aristocracy, I represented the proletariat.

(on Ginger Rogers) When Ginger Rogers danced with Fred Astaire, it was the only time in the movies when you looked at the man, not the woman.

(on his career) I took it as it came and it happened to be very nice.

(on Judy Garland) The finest all-around performer we ever had in America was Judy Garland. There was no limit to her talent. She was the quickest, brightest person I ever worked with.

If Fred Astaire is the Cary Grant of dance, I`m the Marlon Brando.

The contract system at Hollywood studios like MGM was a very efficient system in that because we were at the studio all the time we could rehearse a lot. But it also really repressed people. There were no union regulations yet, and we were all indentured servants - you can call us slaves if you want - like ballplayers before free agency. We had seven-year contracts, but every six months the studio could decide to fire you if your picture wasn`t a hit. And if you turned down a role, they cut off your salary and simply added the time to your contract.

There is a strange sort of reasoning in Hollywood that musicals are less worthy of Academy consideration than dramas. It`s a form of snobbism, the same sort that perpetuates the idea that drama is more deserving of Awards than comedy.

Fred Astaire represented the aristocracy, I represented the proletariat.

(on Judy Garland) The finest all-around performer we ever had in America was Judy Garland. There was no limit to her talent. She was the quickest, brightest person I ever worked with.

(on his career) I took it as it came and it happened to be very nice.

(on his working experience with Debbie Reynolds while filming Singin` in the Rain (1952) (1952)) I wasn`t nice to Debbie. It`s a wonder she still speaks to me.

Kids talk to me and say they want to do musicals again because they`ve studied the tapes of the old films. We didn`t have that. We thought once we had made it, even on film, it was gone except for the archives.

I never wanted to be a dancer. It`s true! I wanted to be a shortstop for the Pittsburgh Pirates.

I arrived in Hollywood twenty pounds overweight and as strong as an ox. But if I put on a white tails and tux like (Fred Astaire), I still looked like a truck driver.

(on Ginger Rogers) When Ginger Rogers danced with Fred Astaire, it was the only time in the movies when you looked at the man, not the woman.

There was no model for what I tried to do with dance . . . and the thing Fred Astaire and I used to bitch about was that critics didn`t know how to categorize us. They called us tap dancers because that was considered the American style. But neither of us were basically tap dancers.

(on Fred Astaire) I work bigger. Fred`s style is more intimate. I`m very jealous of that when I see him on the small screen. Fred looks so great on TV. I`d love to put on a white tie and tails and look as thin as him and glide as smoothly. But I`m built like a blocking tackle.

I got started dancing because I knew it was one way to meet girls.

I`d studied dance in Chicago every summer end taught it all winter, and I was well-rounded. I wasn`t worried about getting a job on Broadway. In fact, I got one the first week.

My mother had gotten a job as a receptionist at a dancing school and had the idea that we should open our own dancing school; we did, and it prospered.

(on Fred Astaire) I work bigger. Fred`s style is more intimate. I`m very jealous of that when I see him on the small screen. Fred looks so great on TV. I`d love to put on a white tie and tails and look as thin as him and glide as smoothly. But I`m built like a blocking tackle.

There is a strange sort of reasoning in Hollywood that musicals are less worthy of Academy consideration than dramas. It`s a form of snobbism, the same sort that perpetuates the idea that drama is more deserving of Awards than comedy.

The contract system at Hollywood studios like MGM was a very efficient system in that because we were at the studio all the time we could rehearse a lot. But it also really repressed people. There were no union regulations yet, and we were all indentured servants - you can call us slaves if you want - like ballplayers before free agency. We had seven-year contracts, but every six months the studio could decide to fire you if your picture wasn`t a hit. And if you turned down a role, they cut off your salary and simply added the time to your contract.