"I met him one day coming out of Louis B. Mayer's office, and he told me Mr. Mayer had been telling him how much he liked the picture we had done. Mr. Brown said, "I told him, 'Give me writers like Lenore Coffee, and I'll give you stuff like that all the time." I put my hand on his shoulder, and I said, "Goodbye, Clarence." He said, "What do you mean?" I said, "I'll never work for you again. This is a producer's studio. They don't like teams of writers-directors." And I never worked for him again."

“When a man of forty marries a girl of twenty, it isn't her youth he's seeking but his own.”

“In most pictures today, the 'sex appeal' is primarily manifested through the feminine characters. But women, as I said before, constitute by far the greatest portion of all audiences. It should be aimed at them. It is an almost indefinable thing. I should call it a hint of great capacity for emotion, a capacity which can only be tapped by a touch on a hidden spring, seldom found. Take, for instance, and William Boyd, who played what might almost be called a double lead in the last picture I did for Cecil DeMille. In both of them 'sex appeal' will be strikingly manifested. Between these two men I have appealed to every potential feminine spectator of the picture. And that is the way 'sex appeal' should be directed, not to the men, but to the women, I believe.”

“They pick your brains, break your heart, ruin your digestion -- and what do you get for it? Nothing but a lousy fortune.”

“I look back on my forty years in Hollywood with nothing but pleasure. If you can work forty years in Hollywood without getting your throat cut, you can count yourself lucky.”