JULIE HARRIS

I don't understand what modern clothes are about at all.

There are wonderful museums with lots of photographs of 1920's musicals.

On the speech day, the production designer, who has a lot of say in things, and sometimes I didn't agree with him but I had to do what I was told, wanted the speech day to be all in neutral colours for the women, which was a good thing.

I liked The Slipper and the Rose, as I have already mentioned, because it was such a lovely film to do.

You are lucky that I can't sing tonight because I might get carried away.

I wish we did have responsibility for the hair. I have been screwed up by the hair on many occasions.

That's another thing about today's stars that makes me glad that I'm not doing it any more. The stars come with ten people all around them. I don't know how you ever make any personal contact with them.

John Schlesinger had one of his friends designing it and he had never done a film before. Ten days before it started, they didn't have any costumes. I was rung up and joined up.

Richard Chamberlain on The Slipper and the Rose was lovely to work with. He wore the clothes so beautifully and sang his songs so well.

When you look at Darling and the Oscars, it has to be luck. It was a black and white film and it was the last time that there was a black and white Oscar.

I don't know much about football but everyone seems to say that it is all about possession.

Sometimes the producer has more say and the director takes what he is given. On other occasions, you don't see the producer very much and the director is the one who it is all about.

The actors nowadays, both young men and young ladies, don't always wear their period clothes as well as they might. They tend to stomp around a bit in them.

You had to make sure that the tone of your dress was not the same tone as the curtains, for instance.

I really have a generation gap about modern clothes.

I would loathe to work on modern films.

I find shoestrings very hard work. I like big budgets.

A lot of it, as it is in any job in life, is being in the right place at the right time.

I got the boot once from Stanley Donen. The film was called The Little Prince.

But with period clothes, people know less so they accept the pretty drawing that I give them.

I saw a very good Hollywood film the other day. It was about Cole Porter.

With the black and white films, one was concerned with tone.

I liked Live and Let Die, where money was no object.

It's nice when you work with someone who has an eye for clothes and will show what you've given them.

I did a film called Dracula and it was very nice because I had lots of trips to New York on Concorde.