I conceived that scene in terms of the participants’ desire not to interrupt the romantic moment. It was essential not to break up the mood, the dramatic atmosphere. Had they broken apart, all the emotion would have been dissipated. And, of course, they had to be in action; they had to go over to the phone that was ringing and keep on embracing throughout the whole call, and I also felt that the public, represented by the camera, was the third party to this embrace. The public was being given the great privilege of embracing Cary Grant and Ingrid Bergman together. It was a kind of temporary ménage à trois. – Alfred Hitchcock
It’s like you’re expecting a letter that you’re just crazy to get, and you’re hanging around the front door for fear you might not hear him ring. You never realize that he always rings twice…
The Postman Always Rings Twice (1946)
Rita laughs gaily on the set of Cover Girl (1944), a Columbia musical with Gene Kelly, Phil Silvers, and Lee Bowman, which began shooting during Rita’s romance with Orson Welles. Orson occasionally visited the set, and it was obvious to all that the couple were madly in love. Rita’s happiness transferred onto the screen, and she was at her most spirited and lovely in this charming film.
