WHEN I finished work on his play, I was full of admiration for Tennessee, especially because he’d found his story in his own life’s struggles; the man had used his personal contradictions and the memory of his pain to make it. When I considered him, I saw that the true artist must have the courage to reveal what the rest of mankind conceals. I’d not forgotten and would never forget his word “fidelity,” and that he thought it an artist’s duty to deny nothing and avoid self-favoring. He should not apologize for anything, never beg for pity, be pitiless with himself. After this experience, I saw every play and every film that I worked on as a confession, veiled or partly exposed, but always its author’s self-revelation.