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| Acknowledgments | |
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| Introduction | |
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| Jack Lemmon and George Cukor | |
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| Final scene of Some Like It Hot | |
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| "Cary Grant slipped through my net every time" | |
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| On Spielberg and Kubrick | |
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| "Mr. Goldwyn knew what was working" | |
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| Charles Boyer and the cockroach | |
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| Dancing in Berlin | |
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| "Laughton was everything that you can dream of, times ten" | |
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| The "Lubitsch touch" | |
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| Marilyn Monroe | |
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| Collaborating with Charles Brackett and I. A. L. Diamond | |
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| William Holden for Sunset Boulevard | |
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| Double Indemnity | |
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| "You dig?" | |
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| Audrey Hepburn | |
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| "It was a picture that looked like a newsreel" | |
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| "Fritz Lang told me, 'Look for the good shooters'" | |
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| The broken compact mirror | |
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| Thonet furniture and art direction in The Apartment | |
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| Shooting in black-and-white | |
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| Dietrich lit herself | |
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| On not losing the straight line | |
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| Jean Arthur | |
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| A Foreign Affair | |
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| "Dietrich would do anything that I wanted her to do" | |
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| The look | |
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| Ace in the Hole | |
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| "You can never predict an audience's reaction" | |
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| The Seven Year Itch | |
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| Lindbergh and The Spirit of St. Louis | |
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| Gary Cooper | |
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| "I don't shoot elegant pictures" | |
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| Dirty men and Stalag 17 | |
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| "When I write, I'd like to direct. When I direct, I'd like to write" | |
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| The ghost of Sunset Boulevard hung over Fedora | |
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| "I'm a company man" | |
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| Voice-overs | |
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| "There are no rules" | |
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| Romantic comedies | |
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| "Jack Lemmon was my Everyman" | |
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| First love | |
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| The Fortune Cookie | |
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| Mother at Auschwitz | |
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| "I never introduce anybody to an agent" | |
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| Children | |
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| Jean Renoir and Fellini | |
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| "Print number one" | |
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| Picasso and Freud | |
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| "Make it true, make it seem true" | |
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| Leading men and leading ladies | |
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| "You are attracted to something which is on the screen only" | |
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| Love in the Afternoon | |
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| "I never raise my voice on the second or third take" | |
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| Close-ups | |
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| Witness for the Prosecution | |
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| Charles Laughton | |
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| Dean Martin | |
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| Some Like It Hot | |
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| "I never knew what Marilyn was going to do" | |
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| One Two Three | |
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| Cagney | |
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| "Overall, audiences are much smarter than what they are getting" | |
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| Fleeing Berlin for Paris after the Reichstag fire | |
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| "Mom was a good cook" | |
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| Reflection in the monocle | |
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| "Capra hit the times right on the head" | |
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| Preston Sturges in the Cafe Alexandre | |
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| Howard Hawks and Ball of Fire | |
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| Barbara Stanwyck dancing "Drum Boogie" | |
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| A script on scratch paper | |
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| Writing for other directors | |
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| Final shot of Ace in the Hole | |
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| "I never put much camera direction into the screenplays" | |
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| Marx Brothers | |
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| Mars and time capsules | |
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| Scoring a film | |
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| Shooting at the Hotel del Coronado | |
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| Givenchy for Audrey Hepburn | |
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| Drag in Some Like It Hot | |
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| "We have sold out to the guys making special effects" | |
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| Newspapermen in Vienna and Berlin | |
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| Ghostwriting for movies | |
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| Ginger Rogers | |
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| Avanti! | |
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| "I always need a plot" | |
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| Jazz in Berlin | |
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| "I write with the camera, but not too much" | |
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| The Front Page | |
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| Pauline Kael | |
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| "Famous 'lost sequences'" | |
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| Woody Allen | |
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| Hiding the plot point | |
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| Roommate Peter Lorre at the Chateau Marmont | |
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| Five Graves to Cairo | |
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| "Pictures were made to play for a week" | |
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| The Lost Weekend | |
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| John Barrymore | |
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| Wilder's women | |
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| "I'm at my best writing against my mood" | |
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| Working with I. A. L. Diamond | |
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| Good sentimentality | |
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| The small movie | |
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| Exercising with Billy | |
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| Salinger and Catcher in the Rye | |
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| Lubitsch and Ninotchka | |
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| "We made fifty pictures a year then. But we wrote a hundred and fifty" | |
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| "I don't make cinema, I make movies" | |
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| Monday Night Football at the Wilders' | |
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| Erotikon | |
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| "I am mostly a writer" | |
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| Timing and casting | |
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| "Lubitsch did it better" | |
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| The Movies | |
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| Miscellany | |
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| Index of Film Titles | |
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| General Index | |