It was a fantastic experience. I adored [director] Willie Wyler and Harry Stradling, my cameraman. Every day there were terrible stories in the press, that I was telling them how to light me. All of the great stars of the '40s--Bette Davis, Marlene Dietrich--they all knew how they should be lit. But something happened in the early '60s--was it all those beach-party movies?--and women weren't supposed to say anything. I was like this throwback to the women of the '40s. Harry Stradling had photographed Garbo in "Camille"--he was divine. I would read these stories about how I was telling him what to do. But he knew I could feel the light and if we disagreed, I would defer to him. Harry and I had such love and respect for each other. He photographed my next four pictures.
I was very involved with the film--I had played the role a thousand times on Broadway. But it's a funny thing--the perception was that I had more power than I really had. No one let me cut the movie, but I watched dailies and knew which takes I'd choose. Willie and I were so much in sync that when I saw the movie, he'd used 95 percent of what I would have used. One night on TV, I saw Anne Francis say I had some of her scenes cut. That was ridiculous. I didn't tell Willie Wyler what to cut.