Julie Harris Quotes

The Americans thought that swinging London and that Darling look were great. But it didn`t cut any ice here. There was not even a nomination.

You do sketches first when you do period films. People think that the sketches are quite pretty and they like that and that`s how it`s got to be.

And I would never have believed that 20 years on I would have met Gower Champion and that I would have danced with Gower Champion.

God comes to us in theater in the way we communicate with each other, whether it be a symphony orchestra, or a wonderful ballet, or a beautiful painting, or a play. It`s a way of expressing our humanity.

I didn`t know whether I wanted to be an actress or a singer then.

I saw a very good Hollywood film the other day. It was about Cole Porter.

A lot of it, as it is in any job in life, is being in the right place at the right time.

I really have a generation gap about modern clothes.

With the black and white films, one was concerned with tone.

I wish we did have responsibility for the hair. I have been screwed up by the hair on many occasions.

I find shoestrings very hard work. I like big budgets.

I fell in love with Dorset and ended up living there for a while.

I don`t understand what modern clothes are about at all.

The actors nowadays, both young men and young ladies, don`t always wear their period clothes as well as they might. They tend to stomp around a bit in them.

When you look at Darling and the Oscars, it has to be luck. It was a black and white film and it was the last time that there was a black and white Oscar.

It varies. Darling, obviously, is a favourite because it had the happy ending with the Oscar, which I never might have believed beforehand.

I liked The Slipper and the Rose, as I have already mentioned, because it was such a lovely film to do.

I got the boot once from Stanley Donen. The film was called The Little Prince.

I don`t know much about football but everyone seems to say that it is all about possession.

Richard Chamberlain on The Slipper and the Rose was lovely to work with. He wore the clothes so beautifully and sang his songs so well.

I did a film called Dracula and it was very nice because I had lots of trips to New York on Concorde.

There are wonderful museums with lots of photographs of 1920`s musicals.

That`s another thing about today`s stars that makes me glad that I`m not doing it any more. The stars come with ten people all around them. I don`t know how you ever make any personal contact with them.

You are lucky that I can`t sing tonight because I might get carried away.

Sometimes the producer has more say and the director takes what he is given. On other occasions, you don`t see the producer very much and the director is the one who it is all about.

But I think that I was lucky in that I didn`t get anybody who was too difficult. I didn`t get any of the Faye Dunaways of the world.

I liked Live and Let Die, where money was no object.

I would loathe to work on modern films.

It`s nice when you work with someone who has an eye for clothes and will show what you`ve given them.

But it`s much more difficult on a shoestring. You spend a lot of your time going from shop to shop trying to find the same thing, but a bit cheaper.

On the speech day, the production designer, who has a lot of say in things, and sometimes I didn`t agree with him but I had to do what I was told, wanted the speech day to be all in neutral colours for the women, which was a good thing.

John Schlesinger had one of his friends designing it and he had never done a film before. Ten days before it started, they didn`t have any costumes. I was rung up and joined up.

I have to go back to my younger days, when I just adored Hollywood musicals.

You had to make sure that the tone of your dress was not the same tone as the curtains, for instance.

But with period clothes, people know less so they accept the pretty drawing that I give them.






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