When we first came to America, I bought a tiny piece of land far out in the country. But there was no place to live on it, only a shed.
I knew Law, and I knew theater. I didn't, of course, know American law, and in America the theater did not exist, except for Broadway.
Only on Thunder did I have a producer who was interfering with my work. He was the only one at Universal. After that film I believe they fired him.
Ross Hunter was my assistant on Take Me to Town, He was a young man, an actor before that, and learned a lot on the picture. During shooting, Goldstein left, and Ross was most pleasant. He never interfered.
I think the great artists, especially in literature, have always thought with the heart.
But I always wanted my characters to be more than cyphers for the failings of their world. And I never had to look too hard to find a part of myself in them.
And it really began with Einstein. We attended his lectures. Now the theory of relativity remained - and still remains - only a theory. It has not been proven. But it suggested a completely different picture of the physical world.
A director in Hollywood in my time couldn't do what he wanted to do.
Now in theory, if there is no straight line in the universe, this has its effect on art. Art must consist of something bent, something curved.
I didn't think I could continue to do the melodrama as I had done in Germany. I couldn't know how it would go over with audiences here.