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That's absolutely one of my most favorite movies, for so many reasons. I fought for that part; I wanted it badly. I took a lower salary, I did everything. Grace Kelly said, 'I'll never forgive you for playing that part. It was written for me. She [Kelly] got the prince [Rainier], I got the part.'
--
On her role in Designing Women (1957)

 

Lauren Bacall

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As one of the handful of girls who worked with both of those dance geniuses, I think I can give an honest comparison. In my opinion, Kelly is the more inventive choreographer of the two. Astaire, with Hermes Pan's help, creates fabulous numbers - for himself and his partner. But Kelly can create an entire number for somebody else... I think, however, that Astaire's coordination is better than Kelly's... his sense of rhythm is uncanny. Kelly, on the other hand, is the stronger of the two. When he lifts you, he lifts you!... To sum it up, I'd say they were the two greatest dancing personalities who were ever on screen. But it's like comparing apples and oranges. They're both delicious.

 

Fred Astaire

 

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

 

Movies are much more fascist than books. They tell you what to feel, when to feel it. Popular movies manipulate you. Music tells you when it's a sad part and when it's a happy part. You're obliged to watch them at the speed the filmmaker has created for you. That, I think, is one of the reasons why they're so popular - because you don't have to think very hard. The filmmaker has done all the thinking for you.

 

Clive Barker

 

The other manner of Regard was shewed inward: and that was more highly and all one. For the life and the virtue that we have in the lower part is of the higher, and it cometh down to us of the Natural love of the Self, by grace. Atwix the one and the other there is right nought: for it is all one love. Which one blessed love hath now, in us, double working: for in the lower part are pains and passions, mercies and forgiveness, and such other that are profitable; but in the higher part are none of these, but all one high love and marvellous joy: in which joy all pains are highly restored. And in this our Lord showed not only our Excusing, but the worshipful nobility that He shall bring us to, turning all our blame into endless worship.

 

Julian of Norwich

 

Me? I play Gene Kelly...It's a guy who produces, directs, sings, and dances. who else could it be but Kelly?

 

Fred Astaire