Some critics saw fit to say that I was a great actress. I thought that was a foolish, wicket thing to say because it put such an onus and such a responsibility onto me, which I simply wasn't able to carry.
Tired of all her efforts at Tara, Scarlett wishes to escape too: "I do want to escape too! I'm so very tired of it all!. . . The South is dead, it's dead, the Yankees and the carpetbaggers have got it and there's nothing left for us."
English people don't have very good diction. In France you have to pronounce very particularly and clearly, and learning French at an early age helped me enormously.
One is just an interpreter of what the playwright thinks, and therefore the greater the playwright, the more satisfying it is to act in the plays.
I was sent successively to schools in France, Italy and Bavaria, and this erratic education was a great help afterwards.
I never found accents difficult, after learning languages.
When I was at school at Paris, I had special lessons from Mademoiselle Antoine, an actress at the Comedie Francaise, and I was taken to every sort of play. I felt very grand.
My parents were absolutely delighted that I knew what I wanted to do.
I never sleep for more than five hours, hardly ever.
Scarlett, from the ashes of the war-ravaged land at Tara, remembering what she was taught by her father in happier times: "As God is my witness, as God is my witness, they're not going to lick me! I'm going to live through this, and when it's all over, I'll never be hungry again - no, nor any of my folks! If I have to lie, steal, cheat, or kill! As God is my witness, I'll never be hungry again."
Streetcar is the most wonderful, wonderful play.
Streetcar is a most wonderful, wonderful play.
