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I haven't played Hedda Gabler yet, but maybe if I did I might find the funny bits.

There are so many huge roles in the theatre: if you've got the option to play Hedda Gabler on stage, why wouldn't you choose that over a three-line part in a Hollywood film as somebody's maid or somebody's wife or somebody's best friend?

I remember thinking, when I was playing Hedda Gabler, that several sequences of the play were utterly absurd.

Clark Gable seemed fascinating all his life because there wasn't so much information about him. Today, you're on television all the time.

I regret not doing a film that I was offered with Clark Gable because the script was not good enough.

In our film profession you may have Gable's looks, Tracy's art, Marlene's legs or Liz's violet eyes, but they don't mean a thing without that swinging thing called courage.

People like Spencer Tracy held up because they had the background originally, but to this day they never have changed Mr. Gable's role, or most of them.

'Beauty Queen' is the weirdest, strangest, and most perfect play to do before 'Hedda Gabler', because there are so many similar issues for Maureen and Hedda. I had played leading ladies before but couldn't really hook into them. After 'An American Daughter' and 'Beauty Queen', I had all the ballast.

When I saw 'Legally Blonde' on Broadway, I rang my agent and said 'I want to be seen for this,' but the rest weren't big choices, really. 'Hedda Gabler' was a phone call offering it to me, and as I've said before quite embarrassingly, I didn't know the play, so I didn't sit there thinking 'I would now like to tackle Ibsen.'

Why sit on your butt watching 'Jersey Shore' when you can learn to paint a beautiful picture?