The Maltese Falcon was the thing that finally isolated the Bogart character. That to me is the quintessential Bogart. I think that all that matters in great filmmaking, certainly all that matters in Bogart, is what you're seeing going on in his mind from just looking at his face. The camera was made for him, and he was made for it.
As a result of Casablanca, Jack Warner made the brilliant discovery that Bogey had sex appeal ... As you might imagine, Bogey thought that was pretty funny. He said, "I'm the same man I have always been. Jack doesn't realize that if Bergman looks at any man with love in her eyes, he must have sex appeal."
It was 1944. I was 19, brand new in Hollywood and under personal contract to director Howard Hawks. Now, Howard had told me he wanted me to be in a movie with either Cary Grant or Humphrey Bogart. I thought, "Wow, Cary Grant!" I'd already tested for To Have And Have Not and was going to be in it with, of course, Bogey's approval. One day I was going into Hawks' office, and Bogey was on his way out. As we passed, he said, "Oh by the way, I saw your test ... We'll have a lot of fun together." He was right about that.
I never stopped shaking. I was very nervous. He was very patient. He did everything to make me comfortable. I was very lucky to start my career with him. You see, Bogey was, above all else, a professional. He'd had years on the stage and over fifty films. He believed in actors and he believed in actors working together. He believed in truth and he missed nothing.
For his performance as Charlie Allnut Bogey got his second Oscar nomination for Best Actor. The response to his winning amazed Bogey. He had never thought of himself as a popular choice as well as a deserving one. To him, acting was collaborative, never competitive. He took great pride in his profession. He liked being an actor.