It was his idea that once he had written the script, he’d pick what he considered the perfect people for the parts. Then it was theirs. And they were to come in prepared from their point of view, not to worry about the script as a whole, which…not many people work that way, most people say, “Work for the good of the script.” He’d say, “Work for the good of your character, do your character. Don’t worry, the script will take care of itself.”
Gena Rowlands on John Cassavetes
Judy and Liza (1946).
Richard Burton and Deborah Kerr during the filming of The Night of the Iguana, photographed by Josh Weiner
“I’ll never forget the day Marilyn and I were walking around New York City, just having a stroll on a nice day. She loved New York because no one bothered her there like they did in Hollywood, she could put on her plain-jane clothes and no one would notice her. She loved that. So as we we’re walking down Broadway, she turns to me and says ‘Do you want to see me become her?’ I didn’t know what she meant but I just said ‘Yes’- and then I saw it. I don’t know how to explain what she did because it was so very subtle, but she turned something on within herself that was almost like magic. And suddenly cars were slowing and people were turning their heads and stopping to stare. They were recognizing that this was Marilyn Monroe as if she pulled off a mask or something, even though a second ago nobody noticed her. I had never seen anything like it before.” - Amy Greene, wife of Marilyn’s personal photographer Milton Greene
aqui pra você ó
well, in this case
so thank you so much! :)