Writing the story of your own life is a bit like drilling your own teeth.
When I die, my epitaph should read: She Paid the Bills. That’s the story of my private life.
My mother and I could always look out the same window without ever seeing the same thing.
The major gossip columnists were more concerned with protecting the industry than with gunning down sinners.
I consider anybody who weighs over 200 pounds fat, and time was when I could not refrain from telling such people so.
Much as I cared for Joseph Kennedy, he was a classic example of that person in the arts with lots of brains and drive but little taste or talent.
I entered the cosmetics industry because I wanted more women to use cosmetics made with safe, healthful ingredients.
The Sennett system of making pictures was actually fun. You never knew what the person next to you was going to do.
I always anticipated difficulties in order to avoid scenes.
I had starred in more than 30 successful films, six in a row directed by Cecil B. De Mille.
I feel sure that unborn babies pick their parents.
My sculpture is very personal; for years my subjects were family and close, close friends.
From the first moment on the set I was consumed with curiousity about the technical side of shooting a sound picture.
If you’re 40 years old and you’ve never had a failure, you’ve been deprived.
The day I initiated divorce proceedings against Michael Farmer, I was ready to retire to a desert cave and rethink my life.
I am a very pragmatic person.
Key West for me was a tropical island paradise.
There was no place at all for me in my father’s military world.
All they had to do was put my name on a marquee and watch the money roll in.
I didn’t want to spend the rest of my life playing Norma Desmond over and over again.