I made my last motion picture in March 1965 for Magna Pictures. 'Harlow,' based on the life of actress Jean Harlow... I didn't know at the time that 'Harlow' would be my last motion picture.
I enjoy sports, and love being involved in any outdoor sport from volleyball to softball. I'm not being immodest when I say I'm a natural athlete.
Sure, jets are fast and economical, but, oh my, what fun we've lost and what leisure we've sacrificed in the race to efficiency. Somehow, stepping onto a plane and zooming across the United States in a matter of hours doesn't hold a candle to the dear, old-fashioned train ride.
Over the years, myths were built up about my relationship with Fred Astaire. The general public thought he was a Svengali, who snapped his fingers for his little Trilby to obey; in their eyes, my career was his creation.
Rhythm is born in all of us. To be a desirable dancing partner, you don't have to do all the intricate fancy steps that happen to be in vogue. All you have to do is be a good average dancer, and anybody who spends the time and effort can accomplish this.
You know, there's nothing damnable about being a strong woman. The world needs strong women. There are a lot of strong women you do not see who are guiding, helping, mothering strong men. They want to remain unseen. It's kind of nice to be able to play a strong woman who is seen.
My faith in humanity leads me to believe that people are looking for something more elevating than the sordid details of the intimate aspects of one's personal life.
I don't disagree with seeing a Rubens of a nude body, but I don't believe in a nude body in action. With Rubens, thank goodness, they aren't in action.
During my seven-year contract with RKO, there were seven different studio presidents, from David O. Selznick to Charles W. Koerner. You literally had to check the name on the door so as not to call the new boss by the former boss's name.
There's a verse in the Bible: 'Those who are barren have more children than those who give birth.' There are young people all over the world who come to me for advice and love. I have all the children I can handle.
I had been making films for almost ten years, and the head men at RKO thought of me only in terms of musicals. I found no fault with that, except I just couldn't stand being typed or pigeonholed as only a singing and dancing girl. I wanted to extend my range.
I won't go to movies with permissiveness, four-letter words, or violence. Show me 'E.T.' and 'Chariots of Fire' instead. That's entertainment, not exploitation of the human body.
I traveled with my mother, Lela, and there was never enough money. I always had to roll down my silk stockings and carry a doll when we bought train tickets so I could go half-fare. If we had $3, we always figured how to tip for the trunks and still eat.
While I was making my solo films, RKO was busily trying to get me and Fred Astaire back together. The studio wanted to capitalize on the success of 'Flying Down to Rio' and realized that the pairing of Rogers and Astaire had moneymaking potential.
Like most actors, I've always been grateful for Chinese restaurants; they were often the only places that stayed open late enough for performers to get hot food after the show.
'Flying Down to Rio' established RKO as a leader in musical film production throughout the 1930s. The film helped to rescue the studio from its financial straits and it gave a real boost to my movie career.