I also designed of course the... the L-street in Chicago. Unfortunately we didn't make too much use of it, but I used the… some of the… who was a famous painter of the period? Potter or… no…

[Q] American painter?

Mm?

[Q] American painter?

American painter.

[Q] Hopper?

Yeah. Hopper, yeah, and I designed the café at the corner, which is a very famous painting. I completely did it like the painting because as… you know, the problem I had, you design a street on the biggest stage in Hollywood, what are you going to put in that street? I mean, it was a L street, so I couldn't build the structure of the L. I didn't need to see the train. I mean, you could see a shadow effect or something, but you've got a street 300' long or something and then I curved it and so on.

So I used a lot of… well, not a lot; some of the artists of the depression like Hopper, and one who had painted models, mannequins modelling their clothes on the second floor, so almost each store or shop had some history to it, and it... it became a very successful street set, so successful that MGM kept it for I think two or three years to do other films on it. And even though I think I was a year and a half on the film it was… it was the only really major musical I had done. It was a fantastic experience for me.