quote by Quentin Crisp

If Mr. Vincent Price were to be co-starred with Miss Bette Davis in a story by Mr. Edgar Allan Poe directed by Mr. Roger Corman, it could not fully express the pent-up violence and depravity of a single day in the life of the average family.

— Quentin Crisp

Colossal Bette quotations

I always knew I was going to be successful in some way with films.

I don't know why. I had no particular talent, but I always knew I was going to be sitting in a dining room with Lucille Ball and at a cocktail party with Bette Davis.

The casting couch? There's only one of us who ever made it to stardom without it, and that was Bette Davis.

If you do a musical, it's really thrilling and it's a lot of work, but it's very rewarding. I would say, for me, what I like best is what I do, which is, I call it vaudeville, I call it live, I call it in concert, I call it what Bette Midler does, and what Garland did for years, and Ethel Merman.

I think mystery is kind of great. I don't know anything about Bette Davis or Katharine Hepburn or Ava Gardner - not really - and I like that. I love watching their movies because they're my personal movie stars. I don't know what they eat and who their trainer is.

My favorite actress of all times is Bette Davis in Dark Victory.

I have seen it six or seven times, and I still cry.

Most people are awestruck when they see Lady Gaga and Bette Midler, but then the queen comes in.

I'm a great believer in conversational rhythm.

I think in terms of rhythmic dialogue. It's so easy, you can talk naturally. It's like peas rolling off a knife. Take the great screen actors and actresses, Bette Davis, Eddie Robinson, Jimmy Cagney, Spencer Tracy. They all talk in rhythm. And rhythm and movement are the life of the screen.

I loved working with Bette Davis. Bette Davis was great to work with and a wonderful teacher, and very kind to me. We became good friends.

In the movies, Bette Davis lights two cigarettes and hands the second one to James Cagney. It was just so glamorous and romantic.

Bette Davis had very strong opinions and was not afraid to express them.

She wasn't afraid of anything that I ever saw. And she was so funny. She's just funny and she was laughing all the time.

I just loved Bette Davis and the fact that I had a chance to work with her [on the 1979 TV movie Strangers: The Story of a Mother and Daughter] was momentous.

She's got Greta Garbo's standoff sighs, she's got Bette Davis eyes.

There was an inquiry just last week about the new Bette Midler show, and I just didn't want to do that.

I loved all those classic figures from the '30s and '40s.

.. Bette Davis, Joan Crawford, Humphrey Bogart, Rita Hayworth. They had such glamour and style. I loved the movies of those times too - so much attention paid to details, lights, clothing, the way the studios would develop talent.

I had never done a Director's Cut narration on Beaches so I did in time for the release of the DVD. It was a great visit and I do a whole-behind-the-scenes thing and I tell stories about Bette [Mudler] and Barbara Hershey and everybody and that was fun. It made me cry again.

We had a moment in the '40s and '50s, where female characters were very strong in film, where these incredible roles were written for women like Joan Crawford, like Bette Davis. But then there was a space of time where - I don't know why - it wasn't like that. It became difficult for women to find certain roles after a certain age.

I think one of my biggest influences is Bette Davis.

I've seen almost every one of her films, and she's been very inspiring to me.

I could never understand the attraction of Bette Davis. I always preferred Jane Russell.

I adore Bette Davis and Vivien Leigh, but more because they were good actresses.

That's what makes me interested in them, that they didn't present themselves as idols; they were just doing their jobs.

I think one of my biggest influences is Bette Davis.

I've seen almost every one of her films, and she's been very inspiring to me.

I've been close to Bette Davis for thirty-eight years - and I have the cigarette burns to prove it.

Remember the great film with Bette Davis, All About Eve? There's a scene after the scheming Eve steals Margo's role through trickery & then gets this magnificent review. Margo of course is effing & blinding all over the place. And crying. Her director rushes into her house, puts his arms around her & says, I ran all the way. That's what I want.

So, I certainly subscribe to what Bette said about acting being very hard work.

Luther Vandross was a musician who sang.

So after a while he was also the number one background singer in New York, so he would sing for Bette Midler, he sang on "Fame," he sang for David Bowie, he sang for - whoever needed backgrounds, he would arrange the parts and hook your record up. He also sang on commercials. McDonald's, Budweiser.

I had this great teacher, Milton Katselas, who was this loud Greek who had directed Bette Davis and Liv Ullmann, and brought Edward Albee to this country. He said, "Why do you keep trying to be a Rolex watch when you're the salt of the earth?" Except he said it much louder.

Bette Midler can say four-letter words and make you love it.

I always came away thinking "I'd like to see her more," you know? And then when [Parental Guidance] was ready to be cast, we thought - Bette [Midler]. So we called her.

[Beaches] is a pretty picture and I just liked having somebody like Bette [Mudler] who can be flying in the big comedy scenes and have her do more like a realistic part.

I loved Bette Davis when I was little and when I was big and when I got old.

Bette Davis in All About Eve was huge for me. Her acting was staggering.

There's like this great thing that Bette Davis said when someone asked her, "How do you get into Hollywood?" "Take Fountain!"

Bette Davis, she was so brilliant and one of my heroes, but she worked a ton, and then she didn't get All About Eve [1950] until the last minute. Claudette Colbert was supposed to be Margo Channing, but then she broke her back and couldn't do it. That allowed Davis to play her age.

For a long time, way back in the ’30s and ’40s, there were fabulous female roles. Bette Davis and all those people had incredible, great roles. After World War II, something happened where it was not only "get out of the factories," but "get out of the movies." That's when women's roles started to really [change].

You know, you have Scorsese who worked with De Niro and - or DiCaprio.

You have William Wyler who worked with Bette Davis. You have George Cukor who worked with Katharine Hepburn. I just - people get to be friends and then there's a - that's a - you can take risks together and each time out you take a different risk.

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