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I went to Washington to ask for a little residual payment for the people who had written films in t
I went to Washington to ask for a little residual payment for the people who had written films in t
I went to Washington to ask for a little residual payment for the people who had written films in t
I went to Washington to ask for a little residual payment for the people who had written films in t
I went to Washington to ask for a little residual payment for the people who had written films in t
I went to Washington to ask for a little residual payment for the people who had written films in t
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Fay Wray:
When we were making KONG, I went into the sound room and made an aria of horror sounds. I was in chFay Wray:
The producers who wanted me to do it liked me and trusted me, and more than one scene was only oneFay Wray:
Actually, the camera was never overhead at any time. It was always a side view of me. Subsequently,Fay Wray:
There were shots of Kong pulling at my clothes, but only in horizontal and never from above. NeverFay Wray:
Juan Tripp was a friend. Good name for an airline man, huh? Juan Tripp after another?Fay Wray:
Paul Lucas had a particularly amusing accent, so I chuckled. That was terrible; I shouldn't have doFay Wray:
He was just trying to tease me - I knew that later - but he said he'd have to leave because it wasnFay Wray:
I thought I saw him for what he was-or what I thought he was. And he was talented, no doubt about tFay Wray:
Cary Grant and I were doing a play in New York. He had a crush on me. Whenever we went to a party,Fay Wray:
Cary Grant was wonderful to work with on stage. He would move downstage, so that as he looked at me