A Quote by Julie Harris

I saw a very good Hollywood film the other day. It was about Cole Porter. — © Julie Harris
I saw a very good Hollywood film the other day. It was about Cole Porter.
I had known Cole Porter in Hollywood and New York, spent many a warm hour at his home, and met the talented and original people who were drawn to him.
Mercer was very clever. He knew the way Southerners spoke and put that into his lyrics. But in that whole era, you had the best. Harold Arlen was just fantastic. Cole Porter was better than anybody, and Gershwin was Gershwin, y'know. Johnny Mercer started Capitol Records, and he brought in Sinatra, Dean Martin, and Nat King Cole.
My mother says I was two-and-a-half when I started playing. My father was a minister, and when he went to church in the morning, she would put on Fats Waller, Billie Holiday, Nat King Cole and Cole Porter records. I'd crawl up on the piano stool, sit on a phone book and play.
My father's Alfred Newman - born in 1900, child prodigy at the piano, ended up in pit orchestras in the teens. I think he's one of the youngest conductors to conduct Broadway and worked with George Gershwin and Jerome Kern and Cole Porter - went out with Irvin Berlin in 1930 to Hollywood and never left.
For me, when you are talking about perfect songs, you're talking about Gershwin, 'Someone To Watch Over Me.' Or Larry Hart and Richard Rodgers. Or some of the great Cole Porter songs, whether it's 'Night and Day' or some of the comedy songs. Or Irving Berlin, of course.
[Cole Porter] sang like a hinge.
Dietz and Schwartz have sort of fallen by the wayside a little bit, and they are up there with Rodgers and Hart and Irving Berlin and Cole Porter. They are the finest of the revue composers - their stuff is so good and so strong.
Cole Porter had a worldwide reputation as a sophisticate and hedonist
Cole Porter had a worldwide reputation as a sophisticate and hedonist.
Cole Porter wrote Anything Goes and four more hits for me.
Cole Porter wrote Anything Goes and four more hits for me
I've always loved songwriting, and I vowed to be a songwriter like Cole Porter when I was only 9 years old.
Perhaps the central question about [Eliot] Porter's work is about the relationship between science, aesthetics, and environmental politics. His brother, the painter and critic Fairfield Porter, wrote in a 1960 review of [Porter's] colour photographs: 'There is no subject and background, every corner is alive,' and this suggests what an ecological aesthetic might look like.
To a bookish boy in a Boston suburb in the mid-1970s, the lyrics of Cole Porter came as something of a revelation.
I'm not always happy when Hollywood does remakes of films, but that's usually, when they have a very, very, very good film and they take away anything controversial from it and make flatter.
I'm not always happy when Hollywood does remakes of films, but that's usually when they have a very, very, very good film, and they take away anything controversial from it and make flatter.
This site uses cookies to ensure you get the best experience. More info...
Got it!