Oh, you weak, beautiful people who give up with such grace. What you need is someone to take hold of you–gently, with love, and hand your life back to you, like something gold you let go of–and I can! I’m determined to do it–and nothing’s more determined than a cat on a tin roof–is there?
“You were such a wonderful lover…You were so excitin’ to be in love with. Mostly, I guess, ‘cause you were…If I thought you’d never make love to me again…why, I’d find me the longest, sharpest knife I could and I’d stick it straight into my heart. I’d do that.”
This film was originally to be filmed in black and white, as was the standard practice with “artistic” films in the 1950s. However, once Paul Newman and Elizabeth Taylor were cast in the leads, director Richard Brooks insisted on shooting in color, in deference to the public’s well known enthusiasm for Taylor’s violet and Newman’s strikingly blue eyes.
“I wanted to get rid of Skipper. But not if it meant losing you. He blames me for Skipper’s death. Maybe I got rid of Skipper. Skipper won out anyway. I didn’t get rid of him at all. Isn’t it an awful joke, honey? I lost you anyway.”
Paul Newman was so supportive when Elizabeth Taylor’s husband, producer Mike Todd, died in a plane crash during production that it actually motivated her to return to work sooner. She would later say, “Paul Newmanis one of the sweetest men I know. He was so unbelievably supportive with his kind words and just being there for me. He helped me through an enormously difficult time in my life, and I will always be grateful.”