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On The Beach is a story about the end of the world, and Melbourne sure is the right place to film it.
--
In 1959 during the filming of On the Beach.
--
This has become a standing joke about Melbourne, but it's almost certainly either apocryphal or a misquotation.

 

Ava Gardner

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And always Melbourne, Melbourne, Melbourne, over and over the same photo in glaring greens and reds, of a tram, huffy, blunderous, manoeuvring itself with pole akimbo round the tight corner where Bourke Street enters Spring.

 

Helen Garner

 

How do I pick a role? Well, primarily I think I would like to be part of a film that's progressive as well as entertaining, you know? Because in India we have a huge amount of audience that is not educated, and they really look up to films... So I think it's important to do a film... that's entertaining but has a message. And after that I'd like to do films that are different for me -- if I'm doing a love story then I want to do a war film, if I'm doing a war film then I want to do a story about an un-wed mother. I think variety is the spice of life.

 

Preity Zinta

 

We [Emilio and I] fell in love with the Old World Florida ambience, beautiful beaches and warm people. We discovered Vero Beach when we were looking for a vacation home that was close to Miami but gave us a different feel than what we were used to. We hope to increase the awareness of Vero Beach by hightlighting the many wonderful things that made us fall in love with it. We want the rest of the world to realize what a gem this place is. We hope to welcome our friends from the entertainment world at the opening as well as members of the community. It will be a warm, special and intimate event. We will open our doors the same way that Vero Beach opened its doors to us.

 

Gloria Estefan

 

Why must a film explain everything? Why must every motivation be spelled out? Aren't many films fundamentally the same film, with only the specifics changed? Aren't many of them telling the same story? Seeking perfection, we see what our dreams and hopes might look like. We realize they come as a gift through no power of our own, and if we lose them, isn't that almost worse than never having had them in the first place?

 

Roger Ebert

 

The major difference between Astaire and Kelly is a difference, not of talent or technique, but of levels of sophistication. On the face of it, Kelly looks the more sophisticated. Where Kelly has ideas, Astaire has dance steps. Where Kelly has smartly tailored, dramatically apt Comden and Green scripts, Astaire in the Thirties made do with formulas derived from nineteenth-century French Farce. But the Kelly film is no longer a dance film. It's a story film with dances, as distinguished from a dance film with a story. When Fred and Ginger go into their dance, you see it as a distinct formal entity, even if it's been elaborately built up to in the script. In a Kelly film, the plot action and the musical set pieces preserve a smooth community of high spirits, so that the pressure in a dance number will often seem too low, the dance itself plebeian or folksy in order to "match up" with the rest of the picture.

 

Fred Astaire