Laurence Olivier & Vivien Leigh (1948, via nytimes)

“You know the passage where Scarlett voices her happiness that her mother is dead, so that she can’t see what a bad girl Scarlett has become? Well, that’s me.”

-Vivien Leigh (via pictopia) (click to enlarge)

[When she was asked to take over Joan Crawford’s role in Hush…Hush, Sweet Charlotte] “No, thank you. I can just about stand looking at Joan Crawford’s face at six o’clock in the morning, but not Bette Davis.”

-Vivien Leigh 

Vivien Leigh and Laurence Olivier as Antony and Cleopatra (1951) (via guardian.co.uk/corbis)

Vivien Leigh in Gone With the Wind (1939, dir. Victor Fleming)

Vivien Leigh in A Streetcar Named Desire (1951, dir. Elia Kazan)

“The thing about the ‘tradition’ in the 19th century was that it worked then. It made a woman feel important, with her own secure positions and functions, her own special worth. It also made a woman at that time one with her society. But today it is an anachronism. So Blanche requires protection - a haven, a harbor. She is a refugee, punch drunk and on the ropes, making her last stand, trying to keep up a gallant front, because she is a proud person. But still - she’s also a misfit, a liar, her ‘airs’ alienate people…She doesn’t know how to make a living. She doesn’t know to work…She’s a last dying relic of the last century now adrift in our unfriendly day.”

-Elia Kazan on Blanche

“Sometimes I dread the truth of the lines I say. But the dread must never show.”

-Vivien Leigh (via drmacro)

Clark Gable not giving a damnin the final scene of Gone With the Wind (1939, dir. Victor Fleming)

Vivien Leigh in A Streetcar Named Desire (1951, dir. Elia Kazan)