Angela Lansbury Quotes

We've searched our database for all the quotes and captions related to Angela Lansbury. Here they are! All 10 of them:

What the hell was that, Angela Lansbury?’ I whisper-shouted.
Evie Woods (The Lost Bookshop)
So, you decided to act like Angela Lansbury and solve crimes for the police?” “Who’s Angela Lansbury?” Arya wondered.
Mark M. Bello (Betrayal of Justice (Zachary Blake Betrayal, #2))
I’ve seen every episode of Murder, She Wrote, and I adore Angela Lansbury to pieces. But you’d have to be insane to let Jessica Fletcher within ten yards of your house.
Miranda James (File M for Murder (Cat in the Stacks Mystery #3))
In December, Angela Lansbury had been signed to play Raymond’s mother, the arch-villainess Eleanor Shaw Iselin. Apparently, Sinatra originally wanted Lucille Ball for the role, a fascinating casting notion, as Tom Santopietro points out: “As Ball aged, she grew into an increasingly hardened performer, losing all traces of the vulnerability that so informed her brilliant multiyear run on television’s I Love Lucy. The resulting quality of toughness would have suited the role of [Eleanor] very well, although it is anyone’s guess whether or not Ball would have felt comfortable delving into the dark recesses of [her] warped character.
James Kaplan (Sinatra: The Chairman)
It was around this time that Deirdre Shaw was welcomed into the family. Deirdre was not forced to go through Manson’s abusive initiation process for the simple reason that she had money. Deirdre was the daughter of an actress, Angela Lansbury, and let the Manson Family use her mother’s credit card. Once Lansbury canceled the credit card, Manson also canceled Deirdre’s invitations to hang out with the Manson Family.
Hourly History (Charles Manson: A Life From Beginning to End (Biographies of Criminals))
Deirdre was the daughter of an actress, Angela Lansbury, and let the Manson Family use her mother’s credit card. Once Lansbury canceled the credit card, Manson also canceled Deirdre’s invitations to hang out with the Manson Family.
Hourly History (Charles Manson: A Life From Beginning to End (Biographies of Criminals))
I’ve seen every episode of Murder, She Wrote, and I adore Angela Lansbury to pieces. But you’d have to be insane to let Jessica Fletcher within ten yards of your house. Talk about harbingers of death.
Miranda James (File M for Murder (Cat in the Stacks Mystery #3))
He eyed me with practiced suspicion. Great, a small town amateur detective – look out, Angela Lansbury.
Jennifer McMahon (Promise Not To Tell)
Sidney provides the commentary on the DVD, and he tells us that he wanted “a train song.” Warren and Mercer gave him much more than that, for “On the Atchison, Topeka and the Santa Fe” is really an “entire town song.” It starts in the saloon—an important location, as it will be at war with the restaurant the Harvey girls wait table in—then moves to the train’s passengers, engineers, and conductor as it pulls in and the locals look everyone over, especially the newly mustered Harveys themselves. Warren’s music has imitated the train’s chugging locomotion, but now comes a trio section not by Warren and Mercer (at “Hey there, did you ever see such pearly femininity … ”), and the girls give us some individual backstories—one claims to have been the Lillian Russell of a small town in Kansas, and principals Ray Bolger and Virginia O’Brien each get a solo, too. The number is not only thus detailed as a composition but gets the ultimate MGM treatment on a gigantic set with intricate interaction among the many soloists, choristers, and extras. But now it’s Garland’s turn to enter the number, disembark, and mix in with the crowd. According to Sidney, Garland executed everything perfectly on the first try—and it was all done in virtually a single shot. Fred Astaire would have insisted on rehearsing it for a week, but Garland was a natural. Once she understood the spirit of a number, the physics of it simply fell into place for her. In any other film of the era, the saloon would be the place where the music was made. And Angela Lansbury, queen of the plot’s rowdy element, does have a floor number, dressed in malevolent black and shocking pink topped by a matching Hippodrome hat. But every other number is a story number—“The Train Must Be Fed” (as the Harveys learn the art of waitressing); “It’s a Great Big World” for anxious Harveys Garland, O’Brien, and a dubbed Cyd Charisse; O’Brien’s comic lament, “The Wild, Wild West,” a forging song at Ray Bolger’s blacksmith shop; “Swing Your Partner Round and Round” at a social. Marjorie Main cues it up, telling one and all that this new dance is “all the rage way
Ethan Mordden (When Broadway Went to Hollywood)
Angela Lansbury is famous. Everyone knows who that is. This Brittany person—I’ve never heard of her.
Suzy Krause (Sorry I Missed You)