Quotes About RKO

I had been making films for almost ten years, and the head men at RKO thought of me only in terms of musicals. I found no fault with that, except I just couldn't stand being typed or pigeonholed as only a singing and dancing girl. I wanted to extend my range.

The only thing I did at RKO of any note was lose my Texas accent.

I was born in 1942, so I was mainly aware of Howard Hughes' name on RKO Radio Pictures.

I did an imitation of him to make the crew laugh. To my shock, there was Cary Grant behind me. He got very angry. I was sent all the way from RKO to David Selznick's office and was told not to do it anymore. I thought to myself, 'I must have been pretty good to make him that angry.'

'Flying Down to Rio' established RKO as a leader in musical film production throughout the 1930s. The film helped to rescue the studio from its financial straits and it gave a real boost to my movie career.

George Cukor was still a young emerging talent at RKO, but they were to become lifelong friends after making Dinner at Eight and Camille together. Cukor called Frances a "Holy Wonder—so ravishingly beautiful and so talented.

While I was making my solo films, RKO was busily trying to get me and Fred Astaire back together. The studio wanted to capitalize on the success of 'Flying Down to Rio' and realized that the pairing of Rogers and Astaire had moneymaking potential.

During my seven-year contract with RKO, there were seven different studio presidents, from David O. Selznick to Charles W. Koerner. You literally had to check the name on the door so as not to call the new boss by the former boss's name.