I'd RKO my own grandmother if it meant keeping this title. Then I'd RKO your grandmother just to see the look on her face.
I enjoyed working at R.K.O. more than at M.G.M. At R.K.O., the parts were better!
Do you think Team Rated RKO can win tonight AND at Survivor Series?
The only thing I did at RKO of any note was lose my Texas accent.
I was born in 1942, so I was mainly aware of Howard Hughes' name on RKO Radio Pictures.
I would have always liked to have worked with Randy Orton because of the Diamond Cutter and the RKO.
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.
I quickly realized that I enjoyed editing more than writing. I felt more suited to it and it fit my nurturing personality. I had lots of ideas and a strong sense of structure, and I enjoyed working with talented writers, relishing the give-and-take in making their work better.
To have the opportunity to work with Tiger Woods was just so awesome. I enjoyed it. I enjoyed the challenge. I enjoyed the good parts where he was winning. And I enjoyed the challenge to help him get better. But six years was enough.
'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.
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.
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 saw 'Dracula,' 'Frankenstein,' 'The Wolf Man,' 'The Invisible Man.' I saw all those guys on the big screen at RKO in the Bronx. I just always loved that stuff. I loved other stuff, too. That's the thing. That wasn't all I wanted to be.
I did an imitation of him to make the crew laugh. To my shock, there was Cary Grant behind me. He got very angry. I was sent all the way from RKO to David Selznick's office and was told not to do it anymore. I thought to myself, 'I must have been pretty good to make him that angry.'
I enjoyed working with all my directors. I may have done more films with certain directors, but it doesn't mean I enjoyed working more with them and less with others.
The thing with 'The West Wing' is that the fantasy was legitimately better than the reality - these were smarter, better people than their real-life counterparts, working together at a better White House than the one we had.