[on how her career began] Originally, I was placed under contract to 20th Century Fox, although I made no pictures for them at the time. They loaned me to Goldwyn for the Danny Kaye movie The Kid from Brooklyn (1946). Show less «

The biggest star that *did* impress me was Burt Lancaster. I was in Elmer Gantry (1960). When they shoot things, they do the master shot, the two shot, then the close-up. Well, we did the master, the two shot, and Burt did his close-up. When it came time for my close-up, Burt stood there and gave me my lines! Big stars don't do that - usually it's the script girl who gives you bad readings that aren't helpful. But Burt did it; what a guy! The director, Richard Brooks, was a nut. He'd only give you your scene - not the whole script! I never had that happen before - or since! Show less «

I changed agents frequently - I was impatient. With each new agent we'd make the rounds of the casting people. In those days there were 5,000 actors and only a few casting people - the studios all had their own - now it's 100,000 actors and so many hassles. You even have to read and get callbacks on tiny parts these days, which is ridiculous. Show less «

[when asked why her role in The Kid from Brooklyn (1946) is so small] I wanted to go to the University of Chicago, so I wanted out of the picture. Samuel Goldwyn was furious with me, so I was cut out of the opening number and other parts, although you can still spot me at the train station, greeting Danny [Danny Kaye]. I told Goldwyn he'd already fired two other girls, and was getting along fine without them, so he could get along without me...but he was not happy. I only stayed at the university six weeks - then I returned to California! Show less «

[on working as a receptionist for Bugsy Siegel] I didn't know it, until he was murdered and I recognized his picture in the paper! The Flamingo Hotel in Las Vegas had an office on Sunset Boulevard in Hollywood. They had four phones - which never rang - and I was to take reservations. All the filing cabinets had nothing in them. But, it was a big plush office. I got so bored doing nothing, I started going on interviews. I'd take two, three hours or more for lunch. One day, the man who hired me had to wait on me for two hours, then he fired me! Earlier, he'd introduced me to Mr. Siegel (no first name or nickname was given). He was just like George Raft - he had bodyguards, just like in the movies! Show less «

[on Jeffrey Hunter] He asked me out, but unfortunately I was going with somebody, so I didn't go. I liked him a lot - a very attractive man! Show less «

[on Audie Murphy] I twisted my ankle once [on the set of Battle at Bloody Beach (1961)] - Audie was near and caught me before I hit the ground. He always asked how the ankle was. It was a very nice relationship. I don't understand the stories you hear about Audie Murphy. Show less «

[on being directed by Fritz Lang in The Blue Gardenia (1953)] Fritz Lang was a top, top director, but very temperamental - yelling at grips, Anne Baxter, everybody. But, he knew how to handle me - he said, "Dear Margie, take it easy now; relax". He yelled at everybody but me! He came to see me in a play and said, "You're a very fine actress". If he hadn't been so old, he'd have used me in other pictures. Show less «

Most directors would tell me, "OK, bring it up or bring it down", but normally, I didn't need direction. Show less «

[on Nick Adams] [He] was a dear man. Nick said to me, "Margie, you should be a big star. You should send your picture to every producer; send them your resume. If you'd do that, you'd go places. You are so good. You really should do that". But I couldn't push myself that way. Nick and I worked well together. Show less «