A Quote by Elizabeth Taylor

Many in Hollywood viewed the public persona of the young Debbie Reynolds as demure and vulnerable to be a complete facade. Pianist Oscar Levant once quipped, "She's as wistful as an iron factory."
Debbie Reynolds is as wistful as an iron foundry.
I overheard people saying, 'She thinks she's so great because she's Debbie Reynolds' daughter!' And I didn't like it; it made me different from other people, and I wanted to be the same.
There were many good actresses in my time like Jane Powell and Debbie Reynolds, but I was the only dancer.
I saw I wasn't an ingenue like Debbie Reynolds.
Everyone's more vulnerable than they seem, and I think men are more vulnerable. Once you get close to a man, the whole thing's a facade anyway. I think manhood is fragile.
Somebody with Debbie Reynolds' features doesn't get cast as the Wicked Witch.
She had always maintained a cynical facade, using it as a defence against embarrassment, fear, loneliness… but at the moment she felt unusually vulnerable.
There's absolutely nothing wrong with Oscar Levant that a miracle can't fix.
[On going into politics:] My husband went to bed with Debbie Reynolds and he woke up with Eleanor Roosevelt.
She was obviously useful at the UN because she had a public persona before she ever got there. She was well known. She was a spokeswoman for many important things. When she got there, what she said was paid attention to, undoubtedly much more than would have been if just Joe Blow had been made our representative to the United Nations. In that sense, I think it was useful to have her there.
I like sunny stories. You know, my favorite girls in the '50s were Debbie Reynolds, Doris Day, and Esther Williams.
The only non-believer I encountered was Oscar Levant who wouldn't visit Disneyland because he said he had his own hallucinations.
As a young pianist in Hollywood, I began orchestrating for others, and I just felt really comfortable doing that.
She was a lioness. She was described as an iron fist in a velvet glove. She needed that culture and background to survive in the world of Hollywood where you have to fight for everything.
Grief is at once a public and a private experience. One's inner, inexpressible disruption cannot be fully realized in one's public persona.
I didn't watch any films. This film, The Proposal, had it all in the script. Once all the pieces, once I met Anne Fletcher and I knew what she wanted and that we wanted the same things, and once they said Ryan Reynolds was on board and once the casting came together, you saw what it wanted to be.
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