"Cocteau’s Beauty and the Beast. Again, very fantastical, very transporting and mysterious, and Jean Marais’ performance as the beast is wonderful. I wanted to have that sound to my voice when I did Moonstruck, and then Norman Jewison got very upset with me and lost his patience with it and almost fired from the movie. He called me on Christmas Eve to tell me that the dailies weren’t working, because he said, “You gotta drop the Jean Marais. I don’t want you sounding like [inaudible] talk like that in the character,” but the irony is that John Patrick Shanley told me that when he originally wrote Moonstruck the title was The Wolf and the Bride, so I thought there was some connection there."

"It was the first song that I ever sang at a live talent show when I was seven years old. There were 400 people in the audience. It was in Mission, B.C., where I was born and raised, and my dad actually accompanied me on the acoustic guitar. We played the Bangles and 'Beauty and the Beast,' and I won that competition. It was like my first time out on stage, and my first thrill of winning a little trophy."

"This was the first real classic I remember reading. It occupied my heart from page one. It’s still with me. The whole panorama of life (yes our human experience too!) can be told through the experience of this magnificent noble beast. Riding was my first sport, horses were my first love. Black Beauty and Ginger were then my favorite fictional characters."

"Beauty and the Beast may be tenuous and delicate where Eyes Without a Face is overripe and pulpish, but these films are gorgeous, dark poems about fragility and horror. Both fables depend on sublime, almost ethereal, imagery to convey a sense of doom and loss: mad, fragile love clinging for dear life in a maelstrom of darkness. The clash of haunting and enchanting imagery has seldom been more powerful. Eyes Without a Face boasts an extraordinary soundtrack too!"