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Barbara Stanwyck and Billy Wilder on the set of Double Indemnity. “The very best screenplay I was ever sent was `Double Indemnity.’ It’s brilliant, but what’s amazing is that not one word was changed while we were shooting. Billy had it all there, and I mean all – everything you see on the screen was in the script. The moves, the business, the atmosphere, all written. When I mention `atmosphere’ in `Double Indemnity’ – that gloomy, horrible house the Dietrichsons lived in, the slit of sunlight slicing through those heavy drapes – you could smell that death was in the air, you understood why she wanted to get out of there, away, no matter how. And for an actress, let me say that the way those sets were lit, the house, Walter’s apartment, those dark shadows, those slices of harsh light at strange angles -all that helped my performance.” — Barbara Stanwyck
Lucille Ball in a dress by Edith Head, 1949, photo by Laszlo Willinger “Edie knew the truth about all of us. She knew who had flat fannies and who didn’t – but she never told.” —Lucille Ball
“We had been asked to stay in Los Angeles by Mr. and Mrs. Jack Warner… the Warners threw us a star-scattered party. It was a bit of an orgy, none the worse for that and we enjoyed ourselves hugely. I started in a fine pink brocade Molyneux dress, but Mr. David Selznick told me that my breasts were too flattened and that people were complaining about them, and could I change? So I went back to the old Central European’s peasant dress and took a new lease of deep-bosomed life.” —From Lady Diana Cooper’s Autobiography Photo by Emil Otto (‘E.O.’) Hoppe, 1916
Myrna Loy & William Powell in The Thin Man, 1934. She grinned at me. “You got types?” “Only you, darling—lanky brunettes with wicked jaws.” —Dashiell Hammett, The Thin Man (1929)