Nina Foch Poster

Quotes (13)

  • Believe it or not, teaching is the most rewarding thing I do. It has been the most successful thing I've done in my life.
  • [on her father] He hated my mother sufficiently, my mother hated him.
  • [on her Oscar nomination for Executive Suite (1954)] I don't think my performance was that good, but I felt that it wasn't fair to put Eva Marie Saint in supporting. Not that I think I would have won.
  • [2007] I've been busy in my career and all my life. But I think the biggest thing I've done in life is teach. Breaking down every scene, every line, every beat, and putting the piece together. That's my contribution.
  • Now if I'd been a little more ambitious and not so sure I was nothing, the unattractive daughter of a beautiful woman and a distinguished man, I could have fought harder, and I would have gotten further.
  • [on her entry into the studio system] I had to do something. I didn't really have a home . . . I was a pitiful child, an unloved child.
  • You have a choice. You either get afraid, or you get so afraid that you're angry. It is that anger, that rage, that saved my life, I think.
  • You know what Einstein said? "Happiness is for cattle." You're not supposed to be happy, you're supposed to feel that you've achieved something.
  • I should have been directing all along, that I should have been doing. Nobody would let me, because I was a woman.
  • [on her The Dark Past (1948) co-stars] Bill Holden [William Holden] was a sweetheart. He was lovely to work with. I think Bill's father had made him believe that acting wasn't really a fit occupation for a man, which gave him great unhappiness. But we got along fine. Lee [Lee J. Cobb] was obnoxious. He'd come in every morning and complain about the film and how awful it was. It drove Bill crazy - he'd be dying inside. But that's how Lee cranked up his motor, by bad-mouthing everything. So I'd commiserate with Bill and get his spirits up again.
  • [on her early B-movies] It's extraordinary how fast we made them. You'd shoot an entire picture in 10 or 12 days. We worked six days a week. There was no turn-around time back then, so you'd work into the evening, go home for six hours and then come back to work again. The movies were called noir because no one had the time to light anything.
  • I've always been an outsider. In America, I've been a European. In Europe, I'm an American. On Broadway, I was from Hollywood; in Hollywood, I was from Broadway.
  • I wasn't very happy at Columbia. I didn't like Harry Cohn and his ilk. They wished I was prettier, had luscious lips and big tits, but I didn't. But when you were under contract to a studio, you were stuck.