Billie Burke
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"Mary William Ethelbert Appleton "Billie" Burke" was an American actress. She is primarily known to modern audiences as Glinda the Good Witch of the North in the musical film The Wizard of Oz (1939 film)/The Wizard of Oz. She was nominated for an Academy Award for her performance as Emily Kilbourne in Merrily We Live. She was also the wife of Florenz Ziegfeld, Jr., of Ziegfeld Follies fame, from 1914 until his death. Her voice was unique in intonation.

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There is no reason why marriage should necessarily compel an actress to forego her career. An actress who has the gift of swaying the emotions of an audience, of compelling tribute of tears, or of moving the public to joyous merriment, cannot always be satisfied to set aside her whole career, in the work that she loves, simply because she is married.

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To survive there, you need the ambition of a Latin-American revolutionary, the ego of a grand opera tenor, and the physical stamina of a cow pony.

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No woman has less temptation to seek matrimony from sordid motives of selfishness or convenience. The actress is an absolutely independent wage-earner, and better compensated than the great majority of women who make their own livelihoods. She need not marry for money, or social position, for these are her natural possessions.

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This is an era of woman's work in many spheres of activity -- of independent thought and individual achievement in the arts and sciences and learned professions, as well as the humbler, but not more self-sacrificing fields of usefulness. But every woman pursues the eternal quest for love, for sympathy, for understanding, for happiness, and in her heart is the great, holy yearning for motherhood.

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A woman past forty should make up her mind to be young; not her face.

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I am constantly amazed when I talk to young people to learn how much they know about sex and how little about soap.

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Age doesn't matter, unless you're cheese.

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I think when an actress marries she should leave the stage. She cannot be happy if she is married and remains on the stage. She must care more for her art or for her husband. . . . If I ever loved a man better than I love my art, I should marry him and leave the stage. But I have never met such a man.

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