I did this interview on the BBC when we talked about this. But she fed it. All the great comedians they loved her because she was always the foil. You know, because they knew that they could always work. She'd always feed them the lines. Always knew because she was so smart and was incredible. She was incredibly intelligent. And so everything she did with all that sounds, there was something that was divisive. So anyway, she was very successful on the play. And I liked what I felt the difference. Everyone said, how could she and Marilyn both be a 20th century fox? Why would fox? Well, Marilyn was much deeper. Marilyn also was, she had frailties. You know, you wanted a mother, Marilyn, where Jane you wanted to jump into bed. You know, so there was always that difference. And they were very friendly with each other. You know, they never was a battle between them. You know, they were too professional for that. And they were both the fox. You know, they were both fox players. So, yeah, well, Zannick, Zannick was a fan of Monroe, not Mansfield. Zannick didn't bring Mansfield into Fox. It was while he was away that Mansfield was brought in. And everybody felt that Zannick didn't like Jane. And then one day, Jane was making a film. Taking place like a bus. It wasn't bus stop, but it wasn't like an answer to it. And they had a French director. And there was a scene where Jane was sitting at the table. Now, you have to understand everybody loved Jane. The crews, the workers on the lot. Everybody, Michael Cain, and all the other actors had great respect because she was so friendly with everybody. You know, so now she was sitting and there was a cup of coffee on the table. And this French director, who was a friend of Zannick's wife, okay, he comes in and he tells her he wants to sip the coffee and then put the coffee down and deliver the line. So, Jane, action, Jane, and I was standing in the back in front of the door to the studio. And she did exactly what he wanted. He said, no, no, no, no, no. And he went over, he slammed on the thing. He said, I told you, he said, and then he changed what he original. And everybody in the crew is noticing even Dan Daly, who was her co-star, was an actor at the time. Dan Daly is looking at me. What is this guy coming off with? So now he tells her, okay, they're doing a little different. Now she does it again. And this guy starts the screen. All of a sudden I look to my right and I see the door, a little open to the studio. And I see Zannick's face inside the door watching what's going on. 15 minutes later, messenger comes down, pink slip, director, off the lot, security, he escorted him and he's off the lot. I had done a play in New York called Walkup. In New York we have an expression for a building that has four or five floors and no elevator. It's not the best neighborhoods and I grew up in a building like that. And so you call them walk-ups. And the play was written by a wonderful young guy and it was three one-act plays. That was the evening of Walkup and there were three apartments in the building. The play opened in Greenwich Village, I don't know if you know what Greenwich Village is, the play opened in Greenwich Village at a very distinguished playhouse and it got unbelievably brave notices. So big with the notices that the next morning, the playwright, I called them up, I said, do you want to have lunch? He said, no, nothing is I'm going to Hollywood. He said, the agency is setting me, I'm going to contract the universal just from those reviews. I said, you just had the reviews last night. I said, what are you going to do in Hollywood? Oh, I'm going to do a TV series and he made some very successful TV series. In any event, when I got to Hollywood, I really wasn't interested in doing films but she introduced me to everybody on the Fox lot and I worked in editing, I worked in cinema, two weeks here, two weeks there, two weeks in sound, two weeks on camera. I really started getting, and they were all the technicians that had been in Hollywood in the 30s, 40s and in the golden years and they were all the guys, they all liked Jane and they liked me and they loved teaching me, showing me everything, you know. So that's really how I approached the first film. And so she played one of the three and it was a total diversion of what she had played before. She said, I want to do something I've never done. I want to try it. And she plays this prostitute with a sailor in a hotel room. And the cameraman is his first film for he was from Hungary and he became Bobberstreich's cameraman. His name jumps out of my head. Leslie Colax became an icon himself. This was his first film and we did shots that we just, you know, we had a triple mirror and she and we put a camera over here and we saw her in this panel and the camera started moving and her mood and a character changed so that what she got to the middle mirror and then what she got to the end mirror. I mean, we just did some really kind of wonderful stuff because we didn't care. We didn't think anything was going to happen with the film.