Vincente Minnelli Quotes

I use colors to bring fine points of story and character.

Once you find the right idea, then go ahead and embellish it.

I made three films with Douglas, two with Charles Boyer.

In the Thirties, when I was in New York, I did the first surrealistic ballet in a show of mine.

Nowadays the audience has changed. No one can anticipate the audience.

The Pirate is surrealism and so, in a curious way, is Father of the Bride.

I seem to be drawn to things that actually happen.

We shot that in all the real places where Van Gogh worked.

But surrealism is present in most of my pictures.

That’s what I think musicals will come to. No backstage stories, nothing of that sort.

I allow an area for improvisation because the chemical things actors bring to stories make it not work.

I had given up the theater and everything propelled me into entertainment. And I didn’t resist it.

Designing Woman was written for the screen.

I learn new things all the time.

The Long, Long Trailer (1954) actually happened and the man wrote a book about it. Father of the Bride, same thing; a banker wrote that who had never written anything else.

I see wonderful films by Bertolucci, Visconti, and Fellini.

American films are terribly popular all over the world and American movie stars are terribly important. I don’t know why.

But I think musicals are going to have to deal with important subjects.

It’s always the story that interests me.

I always have coffee without sugar, you know. Just cream.

It’s the story that counts.

Cedric Gibbons was the grand cardinal of the art department.