Finding Aid Oral History Collection · 2019-08-20 · Finding Aid for the Oral History Collection Collection Processed by: Marissa Vassari, 8.8.12 Revised, Emily Wittenberg, 11.1.18

FindingAidfortheOralHistoryCollection

CollectionProcessedby:MarissaVassari,8.8.12

Revised,EmilyWittenberg,11.1.18

FindingAidWrittenby:MarissaVassari,9.18.12

Revised,EmilyWittenberg,11.1.18ContributionsbyCarolineJorgenson,SamuelHenley,JessicaGarcia,YvetteCasillas

OVERVIEWOFTHECOLLECTION:Origination/Creator: AmericanFilmInstitute,UCLATitleofCollection: OralHistoryCollectionDateofCollection: PhysicalDescription: 57boxesIdentification: SpecialCollection#6Repository: AmericanFilmInstituteLouisB.MayerLibrary, LosAngeles,CAAbstract: TheOralHistoryCollectioncontainsinterviewswith

prominentindividualswhoworkedinthefilmmakingindustrymainlyduringtheearlytomidtwentiethcentury.

RIGHTSANDRESTRICTIONS:AccessRestrictions: Collectionisopenforresearch.Copyright: Thecopyrightinterestsinthiscollectionremainwiththe

creator. Formoreinformation,contacttheLouisB.MayerLibrary.AcquisitionMethod: AjointprojectbetweentheAmericanFilmInstituteandthe

UniversityofLosAngeles,California.BIOGRAPHICAL/HISTORYNOTE:TheOralHistoryProgrambeganin1969andwasfundedinitiallybytheMayerFoundationwithtwothree-yeargrantsthatranthrough1975.Oralhistoryinterviewswithnotedindividualswhoworkedwithinthemotionpictureindustrywereconducted,recordedandmanytranscribed.SeveraloftheinterviewswereconductedjointlywiththeUniversityofCalifornia,LosAngelesandhavebeennotedassuchinthecontainerlistbelow.Ifcitingfromthoseoralhistories,permissionwillneedtobeobtainedfromboththeAmericanFilmInstituteandUCLA.AudiorecordingsoftheinterviewsarehousedintheProductions

Archive;whilewealwaysrecommendviewingthetranscripts,notallareavailableinprintform.Digitalrecordingsareavailableforlistening;pleaseasklibrarystaffforassistance.SCOPEANDCONTENTNOTE:Thecollectionincludesinterviewswithindividualsinthefilmmakingprofession.Thecollectionisarrangedintwoseries:Series1:ThematicTopicsSeries2:IndividualsSeries1isarrangedalphabeticallybytopicandSeries2alphabeticallybyindividual’slastname;withnotationsofavailableformats,duplicatetranscriptcopiesarekeptbehindoriginals.Ineachinterviewarangeoftopicsrelatedtothemotionpictureindustryarediscussed;asummaryofprominentandrecurringtopicsissummarizedbeloweachoralhistoryinanarrativedescription.Theindexesbelowlisttheintervieweesbyrole,alphabeticallybylastname.Intheeventthatanindividualplayedmorethanoneroleinthefilmindustry,theirnameappearsineachapplicablecategory.ACTORS MintaDurfeeArbuckleGertrudeAstorTexAveryWilliamBeaudineLeslieCaronKenClarkJohnCromwellMelvynDouglasJ.D.FergusonNinaFochTedFrenchHootGibsonJohnHortonJerryHoffmanGeneKellyAnnLittleHaroldLloydMaryMacLarenKarlMaldenTommyMorrisonMr.andMrs.JimRushVincentShermanFlorenceVidorErichVonStroheimLorenzoTucker

RaoulWalshJohnWayneMichaelWayneCharlesWestCraneWilburCornellWilde FayWray ARTDEPARTMENTHarryBurkeARTDIRECTORSPrestonAmesBenCarreErnstFegteMitchellLeisenHarryOliverCARTOONISTSRichardHuemerPaulTerryCINEMATOGRAPHERSFrankBlountCharlesG.ClarkeFloydD.CrosbyDavidS.GarberLeeGarmesDavidStanleyHorsleyJamesWongHowePaulIvanoWilliamMarguliesTedMcCordVirgilMillerHalMohrL.WilliamO’ConnellRayRennahan HaroldRossonJosephRuttenbergJohnF.SeitzKarlStrussCharlesVanEngerCOMPOSERSSaulChaplinHugoFriedhofer

JohnnyGreenBronislawKaperHarryWarrenCOSTUMEDESIGNERSandWARDROBEDEPARTMENTEdithHeadSamKressCharlesLeMaireMitchellLeisenJeanLouisMaryAnnNybergWalterPlunkettIreneSharaff DIRECTORSTexAveryRaymondBellWilliamBeaudineHenryBlankeJohnBrahmRidgewayCallowMerianC.CooperJohnCromwellGeorgeCukorMannieDavisNormanO.DawnGordonDouglasPhillipDunneAllanDwanSidneyFranklinFrizFrelengDaveFleischerRichardFleischerGeorgeFolseyTayGarnettHaroldGrieveHenryHathawayStuartHeislerNunnallyJohnsonRayKelloggHenryKingStanleyKramerMitchellLeisenMervynLeRoyAdolphLinkofRanaldMacDougall

RoubenMamoulianDelbertMannGeorgeMarshallLeoMcCareyLewisMilestoneVincenteMinnelliOttoPremingerIrvingRapperWalterReischCaseyRobinsonTerrySandersDoreScharyGeorgeSeatonVincentShermanGeorgeStevensWalterStrohmNormanTaurogPaulTerryRichardThorpeMauriceTourneurStanVanderbeekKingVidorErichVonStroheimRaoulWalshRobertWebbWilliamWellmanCraneWilburCornellWildeIrvinWillatElmoWilliamsEdWoehler WilliamWylerFILMEDITORSMargaretBoothAdrienneFazanGeorgeFolseyTedKentDanielMandellBarbaraMcLeanGrantWhytockElmoWilliamsFILMEXECUTIVESEdwinBigleyJohnCalley

BenGoetzRalphHetzelCharlesMaddockMarvinSchenckBennyThauElmoWilliams JOURNALISTS/HISTORIANSClaytonFritcheyDavidHalberstamCurtisLeMayLITERARYAGENTSH.N.SwansonLYRICISTSArthurFreedAlanJayLernerHarryWarrenMAKE-UPARTISTSWilliamTuttleMILITARYPERSONSDonaldBaruchEdwardBeachJosiahBuntingJamesDoolittleLeonardFribourgFrancisStuartHarmonNormanHatchHerbertHetuCurtisLeMayFrankMcCarthyRobRoyMcGregorJamesPowersEdwardStaffordTheodoreTaylorMUSICANDSOUNDDEPARTMENTGeorgeAdamsEricM.BerndtJuneEdgertonWalterElliotJosephGershenson GeorgeGroves

JosephHenrieMiloLoryEvelynRutledgeJamesG.StewartRobertTracyPRODUCERS EdwardAnhaltSyBartlettDanielBergin PandroS.BermanJulianBlausteinDavidBrownJohnCalleyFrankCapraJr.J.J.CohnMerianC.CooperJohnCromwellBernardDonnenfeldPhillipDunneAllanDwanDaveFleischerGeorgeFolsey ArthurFreedFrizFrelengLindaGottliebEdmundGraingerHenryHathawayNunnallyJohnsonPaulKohnerAlanJayLernerHaroldLloydRobertLordRanaldMacDougallJohnLeeMahinAbbyMannSamMarxLeoMcCareyJoePasternakCaseyRobinsonDoreScharyGeorgeSeatonPaulTerryKingVidorHalWallisLawrenceWeingarten

WilliamM.WeissMichaelWayneElmoWilliamsDavidWolper PRODUCTIONDESIGNERSANDMANAGERSHenryBlankeHenryBumsteadJoeCohnRaymondKluneGeoffreyShurlockPUBLICITYDEPARTMENTTeetCarleHowardDietzHalEliasRickIngersollDavidLiptonPeteSmithEmilyTorchiaSCREENWRITERS EdwardAnhaltSyBartlettHenryBlankeW.R.BurnettMerianC.CooperPhillipDunneAllanDwanTayGarnettWilliamWisterHainesNunnallyJohnsonHowardKochAnitaLoosRobertLordWilliamLudwigRanaldMacDougallJohnLeeMahinDavidMandellAbbyMannLeoMcCareyJamesPoeAbrahamPolonsky WalterReischAllenRivkinAdelaRogersSt.Johns

DoreScharyGeorgeSeatonDonaldOgdenStewartDanielTaradashNormanTaurogPaulTerryMauriceTourneurDaltonTrumboKingVidorCraneWilburR.M.Young SCRIPTSUPERVISORS NoraJanneySECRETARIESSueTaurogSETDECORATORSGeorgeGibsonKeoghGleasonSOCIALITESIreneMayerSelznickSTORYEDITORSSamMarxLillyMessingerSTUDIOANDBUSINESSMANAGERSMyronFoxBillSpencerTECHNICALADVISORSAlanAntikTheodoreTaylorJohnWill THEMATICTOPICSANAMERICANINPARISDarrylF.ZanuckResearchProjectEarlySoundandMusicEditors TheFilmsofErichVonStroheimHollywoodandthePentagonLouisB.MayerandMGMResearchProjectParamountStudioAsSeenThroughtheEyesofThreeTechnicians

PaulTerryInterviews UniversalPicturesProject TheWesterninthe1920s VISUALEFFECTSFarciotEdouartCONTAINERLIST:Series1:ThematicTopicsBox1f.1 ANAMERICANINPARIS(NinaFoch(1971,April13),PrestonAmes(1971,January

11andMarch19)),OH13,v.1byDonaldE.Knox,1971

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NinaFochdiscusseshowherworkonBroadwayledtoherbeingtestedforANAMERICANINPARIS.FochdiscussesthemakingofANAMERICANINPARISanddescribeshowsheworksandtakesonroles,discussingtheimportanceofmobilityinthisindustry.ShealsodiscusseswhatitwaslikeworkingwithVincenteMinnelliatMGM.Inhispart,PrestonAmestalksabouthisstartatMGMasadraftsmanandhowhemoveduptoartdirector.AmesdiscusseshowhewasassignedtoANAMERICANINPARIS,whatitwaslikeworkingonthefilmandsomeofthedifficultiesfacedwhenfilminginParis.HealsodiscusseswhatitwaslikeworkingwithCedricGibbonsandArthurFreed.

f. ANAMERICANINPARIS(PrestonAmes(1971,January11andMarch19),MaryAnnNyberg(1971,April21)),OH13v.2,byDonaldE.Knox,1971

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ContinuingfromVol.1,PrestonAmesdiscussedthechallengedhefacedwhileworkingonANAMERICANINPARIS.HediscusseswhatitwaslikeworkingwithVincenteMinnelli,HenryGreutert,GeorgeGibson,JohnArnold,andDoreSchary.AmestalksaboutthecreationandideasbehindavarietyofthesetsusedinANAMERIANINPARISandconcludesbytalkingabouthisworkafterANAMERICANINPARIS.InherpartMaryAnnNybergdiscussesherexperiencesworkingasacostumedesignerforthestudiosColumbiaandMGM.NybergtalksaboutherworkonANAMERICANINPARISandherworkingrelationshipswithVincenteMinnelli,ArthurFreed,andDoreSchary.

f. ANAMERICANINPARIS(MaryAnnNyberg(1971,April21),EdWoehler(1971,May19),LeslieCaron(1971,March3),OH13v.3,byDonaldE.Knox,1971

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ContinuingfromV.2,MaryAnnNybergdiscusseshercostumedesignworkwithMGMforfilmssuchasBANDWAGON,LILI,andANAMERICANINPARIS.NybergdiscussesherexperiencesworkingwithLeslieCaron,GeneKelly,ArthurFreed,JohnGreen,andSaulChaplin.Shediscussesthestudiosystem,thefallofMGMandhercareerafterleavingMGM.InhispartEdWoehlerdiscussesthejobofaunitmanager.HetalksabouthisroleinpreparingfortheproductionofANAMERICANINPARISanddiscussesthechallengesofshootinginParis.Woehlertalksaboutthecrewsetupanddiscussescrewmemberssuchas,PeterBallbush,JohnAlton,PhilLathrop,EddieStones,NoraJanneyandJeffUnworth.HedetailshisdailyschedulewhileshootingANAMERICANINPARISandhisworkingrelationshipwithVincenteMinnelli.WoehleralsotalksaboutworkingforMGMandhisdecisiontoleavethestudioandhislifeafterMGM.InherpartLeslieCarondiscusseslivinginParisandwhatitwaslikemovingtoAmerica.Carontalksaboutbeinginfluencedtobecomeadancerbyhermotherandherexperiencesbecomingadancer.ShediscussedbeingcastedforANAMERICANINPARISbyGeneKellyanddetailssomeofherexperiencesasaminorworkinginHollywoodandhowitdifferedfromherlifeinFrance.ShetalksaboutherexperienceworkingonANAMERIANINPARISdetailingherlifeonsetandworkingwithGeneKelly,ArthurFreed,andVincenteMinnelli.

f. ANAMERICANINPARIS(LeslieCaron(1971,March3),LillyMessinger(1970,December21),AdrienneFazan(1971,March10),J.J.Cohn(1970,December18),AlanJayLerner(1971,November22)),OH13v.4,byDonaldE.Knox,1971

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ContinuingfromV.3,LeslieCarondiscussesthechallengesandfearsshefacedwhileworkingonANAMERICANINPARISandworkingwithHeddaHopper,ArthurFreed,andGeneKelly.CaronexpressesherviewofthestudiosystemandworkingforMGM.ShealsodiscussesworkingonMANWITHTHECLOAKandGLORYALLEY.Inherpart,LillyMessingerdiscussesherexperiencesworkingasastoryeditorforthestudiosRKO,Universal,andMGMunderLouisB.Mayer.MessengertalksaboutlosingGONEWITHTHEWINDwhileatRKO.Sheconcludesbytalkingabouthercareerasanagent.Inherpart,AdrienneFazandiscusseshertimeworkingatMGMasafilmeditorandherworkonANAMERICANINPARIS.Sheexplainshercuttingandeditingprocessandhowthefilmbeingamusicalaffectedthatprocess.FazantalksaboutherexperienceworkingwithGeneKelly,ArthurFreed,andVincenteMinnelliSheconcludesbytalkingaboutwinningherAcademyAwardforherworkonGIGIandherfeudwithMaggieBooth,whichresultedinFazanleavingMGM.Inhispart,JoeCohndiscusseshistimeworkingatMGMasaproductionmanagerandanexecutive.Cohntalksaboutworkingwithproducers,executives,anddirectorssuchasCedricGibbons,PrestonAmes,ClarenceBrown,WoodyVanDyke,Irving

Thalberg,VicFleming,EddieMannix,WillieWyler,SydneyFranklin,JackCummings,ArthurFreed,NickSchenck,LouisB.Mayer,SamKatz,AlLichtman,CareyWilson,JackCummings,VincenteMinnelli,ArthurFreed,andDoreSchary.HealsotalksabouthisexperiencesworkingonfilmssuchasMRS.MINIVER,theHARDYpictures,andANAMERICANINPARIS.Inhispart,AlanJayLernerdiscusseswritingthescreenplayforANAMERICANINPARISandhowthemusicandcharactersinfluencedhiswriting.LernerexplainshowhebecameinvolvedwithMGManddiscusseshisexperienceswithLillyMessinger,GeorgeGershwin,IraGershwin,LouisB.MayerandVincenteMinnelli.HealsodiscussesunexpectedlywinninganAcademyAwardforANAMERICANINPARISandlaterforhisworkonGIGIandROYALWEDDING.

f. ANAMERICANINPARIS(AlanJayLerner(1971,November22),KeoghGleason(1971,February4),AlanAntik(1971,April23),GeneKelly(1971,February22),NoraJanney(1971,May18)),OH13v.5,byDonaldE.Knox,1971

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ContinuingfromV.4,AlanJayLernerdiscusseshiswritingprocessforhisworkonANAMERICANINPARISandtalksaboutLouisB.Mayer.InhispartKeoghGleasondiscussesworkingonthesetdesignforANAMERICANINPARISunderVincenteMinnelli.GleasontalksaboutworkingforthestudiosMGMandRKO,detailinghowmoviesweremadeatMGMandemphasizingtheimportanceofsetdesign.HealsodiscussesworkingonFATHEROFTHEBRIDEandhisexperienceswithactorssuchasGeneKelly,andLeslieCaron.InhispartAlanAntikdiscusseshisstartatMGMasdirectorofinternationalproductions.AntikdiscusseshisexperiencesdubbingmajorfilmsintoSpanishsuchasGASLIGHTandANCHORSAWAY.HetalksabouthowhebecametheTechnicalDirectorforANAMERICANINPARISanddiscusseshisworkingrelationshipwithArthurReed,AlanJayLerner,VincenteMinnelli,CedricGibbons,PrestonAmes,andJoeCohn.HealsodiscusseshowhisParisianidentityhelpedinfluencedecisionsmadeintheproductionofANAMERICANINPARIS.InhispartGeneKellydiscusseshowmusicalsweremadeatMGMandhisworkasachoreographer,dancerandactoronANAMERICANINPARIS.KellydetailshisexperiencesworkingwithVincenteMinnelli,SaulChaplin,IreneSharaff,CarolHaney,JohnAlton,JeannieCoyne,AdrienneFazananddescribestheinfluencehismentorJohnMurrayAndersonhadonhim.Heemphasizestheconnectionofdanceandmotionpictureanddescribeshisdancingstyle.KellydiscussesthecastingofLeslieCaronandNinaFoch.HedescribeshisroleinANAMERICANINPARISasanactorandtalksabouttheperceptionoftheactorintheUnitedStates.InherpartNoraJanneydiscusseshowshebecameascripttimeranddescribesherexperiencesasawomeninthisindustry.JanneytalksaboutworkingwithGeorgeSeltz,CareyWilson,LaurenAmell,JohnnyBanse,JoeFinn,andJohnFrankenheimer.Sheexplainstheprocessofscripttimingandhowfilmgenreaffectsthetimingprocess.JanneytalksaboutthetimingandproductionofANAMERICANINPARISandworkingwithVincenteMinnellionDESIGNINGWOMAN.ShetalksaboutthescripttimingforDON’TEATTHEDAISIESandTHEUNSINKABLEMOLLYBROWN.

f. ANAMERICANINPARIS(NoraJanney(1971,May18),DoreSchary(1971,June2),VincenteMinnelli(1971,March29),EmilyTorchiaandRickIngersoll(1971,May12)),OH13v.6,byDonaldE.Knox,1971

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ContinuingfromV.5,NoraJanneydiscussesherexperienceswhileworkingforMGMasascripttimerandstenographer.JanneydiscussesworkingwithChuckWalters,RanaldMacDougall,AdrienneFazan,RichardBrooks,PandroBerman,GeorgeSeitz,IdaKoverman,andLaurenAmell.Shediscusseswhatgoesintotimingascriptandthevariousdepartmentsinvolvedintheprocess.JanneydetailshertimeatWarnerBrosworkingonSUNRISEATCAMPOBELLOunderDoreSchary.Sheconcludesbydiscussingthestudiosystemandthestateoffilm.InhispartDoreScharydiscussesthebureaucracyatMGMunderLouisB.Mayerandthestudiosystem.ScharydiscussestheproductioncostofANAMERICANINPARISandthechallengeshefacedfromtheNYstudioexecutives.HediscussesCySeidler,GeneKelly,ArthurFreed,JoeCohn,andVincenteMinnelli.ScharytalksabouttheinternationaldistributionforANAMERICANINPARISandproductionchallenges.HediscussesfilmssuchasBATTLEGROUND,INTRUDER,CLEARDAY,THEBADANDTHEBEAUTIFUL,EXECUTIVESUITE,BADDAYATBLACKROCK,PRODIGALandREDBADGE.Inhispart,VincenteMinnellidiscussesleavingBroadwaytoworkinHollywoodfirstwithParamountandlaterwithMGM–commentsonhisworkingrelationshipwithproducerArthurFreedanddirectingCABININTHESKYandMEETMEINST.LOUIS.MinnellireflectsonhistimeworkingintheaterdesignasanartdirectoratRadioCityMusicHallandhowthisinfluencedhimasadirector.MinnellitalksaboutbecomingthedirectorforANAMERICANINPARISandhisexperiencesworkingwithGeorgeGershwin,IraGershwin,GeneKelly,AlfredGilks,andPrestonAmesonsetdesign,music,andchoreography.HetalksaboutdirectingFATHEROFTHEBRIDEwhilemakingANAMERICANINPARISandcommentsonthecastingofLeslieCaronandthechallengestheyfacedwithANAMERICANINPARISbeingherdebutfilm.HealsodiscussesworkingwithactorsFredAstaire,NinaFoch,andGeorgeGuetary.MinnellitalksabouthisrelationshipwiththeTechnicolorteamandthemanycolortabooshecommittedwhilefilmingANAMERICANINPARIS.MinnellidiscusseshowheviewsdramaticandmusicalfilmsasequalsanddiscusseshowromanticcomedieschangedafterfilmssuchasMYFAIRLADY,GIGIandTHEKINGANDI.HediscussesthechallengesofmakingBroadwayshowssuchasHELLODOLLYandONACLEARDAYintofilms.Intheirpart,EmilyTorchiaandRickIngersolltalkabouttheirexperiencesworkinginthepublicitydepartmentatMGM.TorchiadiscussesthemanagementofLeslieCaronandthehighdemandthatCaronfacedasanewforeignactressatMGM.IngersollrecallsbeinghiredatMGMasanofficeboyforthepublicitydepartmentandtakingtoursandguidedtoursontothesetofANAMERICANINPARISanddetailsencounterswithVincenteMinnelliandGeneKelly.HealsotalksabouthowpublicityworkedatthestudioandthethreestartsdevelopedbyMGM,LeslieCaron,DebbieReynold,andPierAngeli.TorchiadiscussestheprocessofmanaginganewactressatMGM–describesthecreationofabiographyandfactsheetforanactor.IngersollcommentsonLeslieCaron’scareerandherworkinMANINACLOAK,LILI,GIGI,andTHE

L-SHAPEDROOM.HealsodiscussesthemultiplepublicityanglesthatwereusedtopromoteANAMERICANINPARIS.TorchiaandIngersollcommentonthepublicityofwomeninHollywood.

f. ANAMERICANINPARIS(EmilyTorchiaandRickIngersoll(1971,May12),WalterStrohm(1971,May7),ArthurFreed(1970,November18),IreneSharaff(1971,March23)),OH13v.7,byDonaldE.Knox,1971

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ContinuingfromV.6,EmilyTorchiaandRickIngersolldiscusstheuseofholidayarttopublicizethestudioactressessuchasEstherWilliams,LeslieCaron,LanaTurner,andCydCharisse.TheyalsotalkabouthowtheypromotedLeslieCaronaheadofthepremiereofANAMERICANINPARIS.IngersollandTorchiadiscussbeingmembersoftheAcademy.IngersolldiscussesANAMERICANINPARISwinningtheAcademyAwardoveranotherMGMproducedfilmQUOVADIS.TheyalsotalkaboutworkingfortheMGMpublicitydepartmentunderHowardStricklingandthepowerthatcolumnistsLouellaParsonsandHeddaHopperhadinthepublicityofstudiostars.TorchiadiscusseswhatsettheMGMpublicityofficeapartfromother’sanddiscussesleavingMGMtoworkforWarnerBros.afterHowardStricklingretired.Inhispart,WalterStrohmdiscusseshisstartatMetroworkingintheproductionofficelaterbecomingaproductionmanageratMGMafterthemergerbetweenMetroandGoldwyn.StrohmtalksaboutthestructureoftheproductiondepartmentatMGM.HediscussestheproductionofANAMERICANINPARIS–detailingshootingonlocationinParisandhowcommunicationhappenedonset(withtheuseofmimeographs).StrohmtalksaboutVincenteMinnelliasadirectorandhisuseoftheboom/cradletoshootANAMERICANINPARISandBEN-HURA.HealsotalksaboutproducerArthurFreedandthepowerthathehadatMGM.StrohmdiscussesCedricGibbonsandhisworkonWHENLADIESMEET.HetalksaboutthecriticismthatMGMhasreceivedasastudiosystemregardingthemakingofTHEREDBADGE.StrohmdiscusseshowMGMworkedasastudiosystemandwhythestudiosystemdoesnotexistanymore.HetalksaboutthemergerbetweenMetroandGoldwyntocreateMetro-Goldwyn-Mayer.Inhispart,ArthurFreeddiscusseshisroleasaproduceratMGM.FreedtalksabouthowtheideaofANAMERICANINPARISwasbornandhisrelationshipwithIraGershwinandGeorgeGershwinandtheinfluencetheirmusichadonthefilmanditscharacters.HebrieflydiscussesLeslieCaronandhowshewascastedforANAMERICANINPARIS.FreeddiscusseshisworkingrelationshipwithdirectorVincenteMinnelliandtheirfirstfilmstogetherCABININTHESKYandONTHECLOCK.HetalksabouttheproductionteaminvolvedwithANAMERICANINPARISsuchasJohnnyGreen,AlfredGilks,JohnAlton,GeneKelly,IreneSharaff,andAlanLerner.FreeddiscusseshissimultaneousworkonSHOWBOATandANAMERICANINPARIS–discussingthecostandtimeittooktoshootANAMERICANINPARIS.HetalksaboutthesignificantcontributionsthatLouisB.MayermadetoMGManddiscussedhissalaryasaproduceratMGMandtherightsheownstofilmssuchasGIGI,ANAMERICANINPARIS,andSHOWBOAT.HeconcludesbybrieflytalkingabouthisreactiontoANAMERICANINPARISwinningtheAcademyAwardagainstAPLACEINTHESUN.Inherpart,IreneSharaffdiscussesworkingonANAMERICANINPARISasa

costumedesignerandconceptartistfortheballetandLeslieCaron’sintroductionsequence.SharaffdiscussesherrelationshipwithdirectorVincenteMinnelliandherworkonMEETMEINST.LOUIS.Shetalksaboutthepaintingstylesusedonthesetsandhowtheyinfluencedthecostumedesign.

f. ANAMERICANINPARIS(IreneSharaff(1971,March23),GeorgeGibson(1971,January20),JohnnyGreenandSaulChaplin(1971,February6)),OH13v.8,byDonaldE.Knox,1971

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ContinuingfromV.7,IreneSharaffcontinuestodiscussthepaintingstylesusedonthesetandwhytheywerechosen.SharaffdiscussesworkingwithGeneKelly,CedricGibbons,ArthurFreed,andVincenteMinnelli.ShetalksabouthowtheconsiderationofcolorswentintoherdesignsinceANAMERICAINPARISwasshotonTechnicolorfilm.Shetalksabouthowsomeofhercolorcombinationsbroketaboosandwhatmaterialssheusedwhenplanninghercostumes.SharaffdetailshowmusicalshavechangedandbrieflytalksaboutwinningherfirstAcademyAward.Inhispart,GeorgeGibsondiscussesworkingattheScenicArtDepartmentatMGMastheheadofthedepartment–emphasizinghowthescenicartdepartmentaugmentedmotionpictures.GibsontalksabouthismemoriesofworkingonANAMERICANINPARIS,theprocessofcreatingthepaintedbackingandthechallengestheyfaced.HetalksabouthisprofessionalrelationshipwithVincenteMinnelliandrecallsworkingwithhimonBRIGADOONandANAMERICANINPARIS.Gibsondiscussedhowartdirectors’PrestonAmesandJackMartindiffer.HealsotalksaboutcomingtotheUnitedStatesfromScotlandandhisexperiencesworkinginthetheaterasascenicartpainterandhowtheGreatDepressionmadescenicartistmovetothebusinessofmotionpictures.HedetailshisexperiencesworkingatthestudiosFOXandMGManddiscussesfilmssuchasTHEWIZARDOFOZ,THIRTYSECONDSOVERTOKYO,DRAGONSEED,NATIONALVELVET,MEETMEINST.LOUIS,OURVINESHAVETENDERGRAPES,THESEAOFGRASSandANAMERICANINPARIS.Intheirpart,JohnnyGreenandJohnChaplindiscusstheircollaborationasmusicdirectorsonANAMERICANINPARIS.TheyrecalltheirfirstmeetingwithArthurFreed,AlanLerner,VincenteMinnelli,andRogerEdens.GreenandChaplintalkaboutworkingwithIraandGeorgeGershwinmusicselectionandtheinfluencethestorylinehadontheselection;theyalsodiscussfilmsfeaturingGershwinmusicsuchasTHESHOWISONandOFTHEEISING.TheydiscussFredAstaire’sandGeneKelly’ssingingstylesandtalkaboutworkingwithVincenteMinnelli,ArthurFreed,GeneKelly,OscarLevant,andIraSharaffonANAMERICANINPARIS.Greendiscusseslearninghowtoplay“AnAmericaninParis”byGeorgeGershwinanddiscusseshisrelationshipwithGeorgeGershwinandhismusic.TheytalkaboutcollaboratingwithConnieSalingeronthemusicfortheballet.GreenandChaplindiscusstheprocessofobtainingtherightstothemusic,orchestratingpieces,andhiringmusiciansfortheMGMStudiosorchestra.TheyconcludebytalkingabouthowthebandwasrecordedatMGManddiscussthe“MGMsound.”

f. DarrylF.ZanuckResearchProject(CharlesG.Clarke),OH36v.1,byThomasR.Stemple,1971,May5

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Discusseshiscareerasacameramanandcinematographerfrom1915untiltheearly1970s,mostlywith20thCentury-Fox-commentsonmostofhisfilmsandworkwithDarrylF.Zanuck.Coversdevelopingtechniquestomeetfilmingchallengesandinnovationssuchascolorprocesses,WWIIpropagandafilmsandexteriorshootingvs.setsandhisexpertiseonlocationshoots.Reflectsontheimportanceofthecinematographerincraftingafilm.Containsashortbiography,filmography,andanindexofpeople,places,films,andtechnology.

f. DarrylF.ZanuckResearchProject(PhilipDunne),OH36v.2,byThomasR.Stemple,1970,August18,September9,October7

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Discusseshiscareerasasuccessfulwriterat20thCentury-Foxandotherstudios.Discussionincludeshisvariousfilmprojects,workingwithDarrylF.Zanuck,theblacklist,thewriters’guild,andhisventuresintoproducinganddirecting.Containsashortbiography,filmography,andanindexofpeople,places,films,andtechnology.

f. DarrylF.ZanuckResearchProject(HenryKing),OH36v.3,byThomasR.Stemple,1970,October27;1971,January19,July9and15

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Discusseshislongandvariedcareerasadirectorwithemphasisonhisthirtyyearswith20thCentury-Fox.DiscussesmostofhisfilmsandcommentsonhisassociationwithDarrylF.Zanuck.Containsashortbiography,filmography,andanindexofpeople,places,films,andtechnology.

f. DarrylF.ZanuckResearchProject(BarbaraMcLean),OH36v.4,byThomasR.Stemple,1970,August4and18

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Discussesher35-yearcareerasanactiveeditorandoccasionalproducerat20thCentury-Fox.Commentsonhermanypictureswiththedirectorssheencountered

andherworkingrelationshipwithDarrylF.Zanuck.Containsashortbiography,filmography,andanindexofpeople,places,films,andtechnology.

f. DarrylF.ZanuckResearchProject(RobertWebb),OH36v.5,byThomasR.Stemple,1970,October27;1971,January19and26

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Discusseshisearlyexperiencesinvariouspositionsat20thCentury-Foxandcommentsonhismanyprojectsasamotionpicturedirector,withemphasisonworkingwithDarrylF.Zanuck.Containsashortbiography,filmography,andanindexofpeople,places,films,andtechnology.

f. EarlySoundandMusicEditors(MiloLory(1974,September10and12),WalterElliot(1975,January6,10,22),JosephHenrie(1974,September20),EvelynRutledge(1975,January27)),OH27v.1,byIreneKahnAtkins,1975

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Sevensoundandmusiceditorsdiscussthedevelopmentofthecraftfromthetransitiontosoundthroughthe1970sincludingtechniques,colleaguesandfilmsmadeatMGM(Lory),RKO(Elliott),Columbia(Henrie,Rutledge),20thCentury-Fox(Tracy,Adams),Paramount(Edgerton),andDisney(Adams,Elliott).

f. EarlySoundandMusicEditors(RobertTracy(1975,February11,18,24)),GeorgeAdams(1975,February22),JuneEdgerton(1975,April17)),OH27v.2,byIreneKahnAtkins,1975

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Sevensoundandmusiceditorsdiscussthedevelopmentofthecraftfromthetransitiontosoundthroughthe1970sincludingtechniques,colleaguesandfilmsmadeatMGM(Lory),RKO(Elliott),Columbia(Henrie,Rutledge),20thCentury-Fox(Tracy,Adams),Paramount(Edgerton),andDisney(Adams,Elliott).

f. TheFilmsofErichVonStroheim(HalMohr(1971,July10;1972,January22),GrantWhytock(1971,July16),JamesWongHowe(1971,July17)),OH102v.1,byRichardKoszarski,1971

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f. TheFilmsofErichVonStroheim(FayWray(1971,July20),TedKent(1972,January20),J.J.Cohn(1972,January21),WilliamMargulies(1972,January21),AnitaLoos(1972,February2),RayRennahan(1972,January24),LewisMilestone(1972,January26),PaulIvano(1973,May26)),OH102v.2,byRichardKoszarski,1971-1973

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f. HollywoodandthePentagon(MichaelWayne(1975,August5),GordonDouglas(1974,April2),JosiahBunting(1975,December23),WilliamWisterHaines(1974,March15),CurtisLeMay(1975,August17),DavidHalberstam(1975,March29),JamesPowers(1974,April10),FrankCapraJr.(1975,August4),DanielTaradash(1974,March27),RobRoyMcGregor(1975,August15),JohnHorton(1975,April8),BillCall(1976,January13),EdmundGrainger(1975,July30),BernardDonnenfeld(1974,March13),DanielBergin(1974,May31),DelbertMann(1974,March13),J.D.Ferguson(1975,April5),KingVidor(1976,July28),RalphHetzel(1975,February19),JohnCalley(1975,August21),KarlMalden(1975,August9),JamesDoolittle(1975,June30),DaltonTrumbo(1974,April10),HerbertHetu(1975,April3),RayKellogg(1975,July3),EdwardStafford(1976,April7),TheodoreTaylor(1974,March15),RaymondBell(1975,April8),NormanHatch(ca.1976),DonaldBaruch(ca.1976),StuartHeisler(ca.1976)),OH99v.1,byLawrenceSuid,1974-1976

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f. HollywoodandthePentagon(TerrySanders(1976,August17),R.M.Young(1975,August18),LindaGottlieb(1973,June15),MervynLeRoy(1975,July23),DoreSchary(1975,March25),FrancisStuartHarmon(1973,June13;August17;December21),MelvynDouglas(1975,October27),OttoPreminger(1974,August16),JohnWayne(1974,February7),DavidWolper(1975,July21),FrankMcCarthy(1974,March4),JoePasternak(1975,July18),RichardFleischer(1975,June26),EdwinBigley(1975,May31),DavidBrown(1974,April11),KenClark(1973,December17),ClaytonFritchey(1974,December18),JohnHorton(1973,December18),HowardKoch(1975,July23),SyBartlett(1974,February9),LewisMilestone(1974,February7),ElmoWilliams(1974,March18),EdwardBeach(1974,May30),JohnWill(1974,May21),HenryBumstead(1974,April3),CornellWilde(1975,August15),LeonardFribourg(1975,August1),JulianBlaustein(1974,March28),StanleyKramer(1974,February8),WilliamWellman(1975,June23)),OH99v.2,byLawrenceSuid,1973-1976

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f. LouisB.MayerandMGMResearchProject(PandroS.Berman),OH103v.1,byDonaldKnox,1972,February3


f. LouisB.MayerandMGMResearchProject(MargaretBooth),OH103v.2,byDonaldKnox,1971,November8


f. LouisB.MayerandMGMResearchProject(HowardDietz),OH103v.3,byDonaldKnox,1972,March8


f. LouisB.MayerandMGMResearchProject(HalElias),OH103v.4,byDonaldKnox,1971,December28


f. LouisB.MayerandMGMResearchProject(MyronFox),OH103v.5,byDonaldKnox,1971,November10


f. LouisB.MayerandMGMResearchProject(BenGoetz),OH103v.6,byDonaldKnox,1972,March1


DiscussesvariousaspectsofhiscareerwithMGM,particularlyhistimesettingupandheadingtheMGMBritishStudios.Hediscusseshisassociationswithotherexecutivesintheindustry,suchastheSchenckbrothersandLouisB.Mayer.MuchemphasisisplacedonthecharacterofMayerthroughoutthisinterview,aswellashisadmirationforhim.Healsodiscussessomeofthefilmshewasinchargeof,includingBUSMANHONEYMOONandAYANKATOXFORD.

f. LouisB.MayerandMGMResearchProject(WilliamLudwig),OH103v.7,byDonaldKnox,1972,June6


f. LouisB.MayerandMGMResearchProject(CharlesMaddock),OH103v.8,byDonaldKnox,1971,October15and19


f. LouisB.MayerandMGMResearchProject(SamMarx),OH103v.9,byDonaldKnox,1972,January25;February1


f. LouisB.MayerandMGMResearchProject(AllenRivkin),OH103v.10,byDonaldKnox,1972,February14


f. LouisB.MayerandMGMResearchProject(JosephRuttenberg),OH103v.19,byDonaldKnox,1971,November23


f. LouisB.MayerandMGMResearchProject(DoreSchary),OH.103,v.20,byDonaldKnox,1972,June21


f. LouisB.MayerandMGMResearchProject(MarvinSchenck),OH103v.11,byDonaldKnox,1972


f. LouisB.MayerandMGMResearchProject(IreneMayerSelznick),OH103v.12,byDonaldKnox,1972,March17


f. LouisB.MayerandMGMResearchProject(PeteSmith),OH103v.13,byDonaldKnox,1971,November30


f. LouisB.MayerandMGMResearchProject(AdelaRogersSt.Johns),OH103v.14byDonaldKnox,1972,January17


DiscussesStJohns’memoriesofLouisB.Mayer,havingworkedwithhimatMGMasascreenwriter.ShefocusesonhissuccessfulworkingrelationshipwithIrvingThalbergandtheirassociationswithNormaShearer.ShealsotalksaboutMayer’sfriendshipwithWilliamRandolphHearstandhisstrainedrelationshipwithson-in-lawDavidO.Selznick.StJohnstalksatlengthaboutthepoliticsbehindmakingGONEWITHTHEWINDandtalksaboutMayer’sgiftforhandlingMGMstartalentsincludingJeanHarlow,JudyGarland,MickeyRooney,JohnGilbert,andespeciallyClarkGableandGretaGarbo.StJohnsdiscussesatlengthMayer’sattemptstocoaxGarbobacktothemotionpicturebusinessinherlaterlife.

f. LouisB.MayerandMGMResearchProject(SueTaurog),OH103v.15,byDonaldKnox,1972,February18


SueTaurog,neeSueReam,spentsevenyearsasoneofLouisB.Mayer’sprivatesecretaries.

f. LouisB.MayerandMGMResearchProject(BennyThau),OH103v.16,byDonaldKnoxandHowardStrickling,1972,July27


f. LouisB.MayerandMGMResearchProject(RichardThorpe),OH103v.17,byDonaldKnox,1972,February10


f. LouisB.MayerandMGMResearchProject(LawrenceWeingarten),OH103v.18,byDonaldKnox,1972,February17;March8


f. ParamountStudioAsSeenThroughtheEyesofThreeTechnicians(FarciotEdouart),OH100v.1,byJamesUrsini,1973,July31;August1

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f. ParamountStudioAsSeenThroughtheEyesofThreeTechnicians(ErnstFegte),OH100v.2,byJamesUrsini,1973,January18andMarch22

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f. ParamountStudioAsSeenThroughtheEyesofThreeTechnicians(CharlesWest),OH100v.3,byJamesUrsini,1973,January18andMarch30

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f. PaulTerryInterviews(PaulTerry),OH98v.1,1969,December20;1970,June13;July14

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f. PaulTerryInterviews(IsabeleF.Moser),OH98v.2,1970,July2

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f. PaulTerryInterviews(WilliamM.Weiss),OH98v.3,1970,June15

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f. PaulTerryInterviews(Thomas(TJ)Morrison),OH98v.4,1970,June15

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f. PaulTerryInterviews(MannieDavis),OH98v.5,1970,July28

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f. UniversalPicturesProject(GertrudeAstor),OH101v.1,byRichardKoszarski,1973,July12

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DiscussesherstartatUniversalPictures,workingasanextraandmovingupquicklyinthestudio,takingonamixtureofsmallandbigrolesinmanydifferentgenresoffilm.Shealsotalksaboutbeingloanedouttootherstudios,includingMGMwheresheworkedwithstarslikeReneeAdoreeandGastonGlass.Shetalksaboutsomeofthefilmsandserialssheworkedonsuchas:THESCARLETLETTER,THELIONSCLAW,THELIONMAN,KENTUCKYDERBY,BROADWAYORBUST,THERIDINGKID,THEOLDSOAK,THECATANDTHECANARY,THECHEERFULFRAUDIRRESISTIBLELOVER,DAMESAHOYandTHESNAKEWOMAN.Shealsotalksaboutworkingwithsuchdirectorsandactorsas:HootGibson,D.W.Griffith,EdwardSedgwick,HarryCarey,JohnFord,EdwardSloman,PaulLeni,ReginaldDenny,WilliamSeiterandLoisWeber.ShealsotalksabitaboutexperienceandimpressionofUniversalheadCarlLaemmle.

f. UniversalPicturesProject(HarryBurke),OH101v.2,byRichardKoszarski,1974,August15

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DiscusseshowhegotintolandscapingandeventuallygettinghiredbyCarlLaemmletoworkatUniversal.Hetalksaboutoverseeingthemaintenance,laborandnurseryatthestudio,plantingmanyoftheplantstheretodayandcreatinggreensetsformovies.HealsotalksbrieflyaboutDavidHorsely,superintendentandstudiodesigner.

f. UniversalPicturesProject(DavidS.Garber),OH101v.3,byRichardKoszarski,1974,August9

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Discusseshisstartstudyingarchitectureafterthewarandopeninghisownoffice,beforebeingaskedtocometoCaliforniaandworkinUniversal’sartdepartment.Hetalksabouthowhiseducationhelpedhimmovequicklyuptherankstoartdirectorwhereheworkedonwesterns,two-reelmotionpicturesandserials.Hediscussessomeoftheprojectsheworkedonduringthattime,suchastheSlimSummervillepictures,theLeatherPusherSeriesandtheCollegiansSeries.HealsotalksaboutworkingwithsuchactorsasHootGibson,KenMaynardandPearlWhite.Hediscussesbeingpromotedtoworkingonfeaturefilmsandthetransitiontotalkingandcoloredfilms.Someofthefeaturefilmsheworkedoninclude:THECOHENSANDKELLY,BROADWAY,THEKINGOFJAZZandSHOWBOAT.Gaberalsodiscusseshismovebetweenstudios,goingbetweenUniversal,RKOandParamount.HealsotalksabouthisexperienceswithandimpressionsofsomekeypeopleatUniversal,suchas;artdepartmenthead,DannyHall;productionhead,CarlLaemmleJr;anddirector,JohnStahl.GaberalsomentionshelpingtostartUniversal’sUniversalCityClubforitsemployeesandCreditClub,ofwhichhewasalsopresident.

f. UniversalPicturesProject(TayGarnett),OH101v.4,byRichardKoszarski,1973,June7

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DiscusseshisstartasawriterwithMackSennettandtheDeMilleCompany,beforebeingaskedbyDeMilleinhislastyearwiththemtodirect.FromtherehetalksaboutmovingontoWarnerBros.todirectonefilm,ONEWAYPASSAGE,andthenmovingontoUniversal.HetalksextensivelyabouttheworkhedidwithUniversalPictures,whichincluded:O.K.AMERICA,DESTINATIONUNKOWNandS.O.S.ICEBERG.HealsotouchesonthetopicofcensorshipandtheHayesoffice.

f. UniversalPicturesProject(TedKent),OH101v.5,byRichardKoszarski,1973,June5

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HebrieflydiscusseshisstartatUniversalinthecastingdepartment,beforeswitchingovertotheeditorialdepartmentasanassistanteditor.Kentdiscussestheworkingrelationshipbetweeneditoranddirector;specificallywhatitwasliketoworkwithdirectorsJamesWhaleandWilliamWyler.HediscusseshisexperienceworkingwithsoundduringthattimeinUniversal,andforthefirsttimeontheseriesCOLLEGIANS.Hediscussesthedifferentapproachestoeditingdifferentgenresof

film,suchasdramatic,comedicormusicalpictures.HetalksaboutwhatitwaslikeworkingatUniversal,especiallywithCarlLaemmleandCarlLaemmleJr.

f. UniversalPicturesProject(PaulKohner),OH101v.6,byRichardKoszarski,1974,August14and28

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Discusseshisstartintheindustry,havingbeenbroughttotheU.S.byCarlLaemmletoworkforUniversal.Kohnerdiscusseshismanyroleswiththecompany,startingasanofficeboyandmovingontoassistantdirector,castingdirector,personalrepresentativeofCarlLaemmle,producerandevenheadoftheforeignpublicitydepartment.Talksabouthisinterestinforeignfilms,oftenbringingthemtotheattentionofLaemmletohavethembroughttoAmerica,thesefilmsinclude:THELASTMANandTHEWHITEHELLOFPITZPALU.Asaproducer,hetalksaboutworkingonfilmssuchas:THEMANWHOLAUGHS,LOVEMEANDTHEWORLDISMINE,SURRENDER,HISPEOPLE,S.O.S.ICEBERG,THEREBEL,EASTOFBORNEO,EASTOFJAVA,NEXTTIMEWELOVEandTHEDOOMEDBATTALION.HediscussessomeoftheEuropeanactorsanddirectorsthatheworkedwithsuchas,ConradVeidt,OlgaBaclanova,IvanMosjoukine,VonStroheim,EwaldDupont,JamesWhale,andPaulFejos.Healsobrieflydiscussesthepowerstructurewithinthestudio.

f. UniversalPicturesProject(AnnLittle),OH101v.7,byRichardKoszarski,1973,September3

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Discussesherstartasanactress,transitioningfromthetheatertoworkingforIncevilleStudios.LittletalksaboutwhatitwaslikeworkingwithThomasInce,makingwesternsandcivilwarmoviesathisstudio.ShealsotalksaboutswitchingovertoUniversalStudiosandworkinginOtisTurner’scompanymakingsuchfilmsasTHECLOSEDSHUTTERS,DAMONANDPYTHIAS,andTHEBLACKBOXserial.ShebrieflydiscusseshermovesfromUniversaltoAmericanFilm,thenfromAmericanFilmtoParamountandthenfinallytobeingindependent.

f. UniversalPicturesProject(MaryMacLaren),OH101v.8,byRichardKoszarski,1973,September17

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DiscussesherearlylifeandherstartintheWinterGardenChorus,whichbroughthertoCaliforniaandUniversalStudios.MacLarentalksaboutworkingwithLoisWeber,makingsuchmoviesasWHEREAREMYCHILDREN,SHOESandIDLE

WIVES.ShealsodiscussesworkingwithsuchdirectorsasIdaMaeParker,ToddBrowningandRupertJulian.

f. UniversalPicturesProject(GeorgeMarshall),OH101v.9,byRichardKoszarski,1973,June12

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Discusseshisbeginningsasanextraandstuntplayerinthesilentera,alongsidestarsCleoMadison,BowditchTurner,FrankLloydandHalRoach.MarshalltalksaboutbecominganassistanttoJacquesJaccardandHenryMacRae;workingalongsidethedirectors,andhowthateventuallyledhimtobecomeadirectorhimself.HealsodiscussesconditionsatUniversalunderCharlesLaemmle.

f. UniversalPicturesProject(TedMcCord),OH101v.10,byRichardKoszarski,1973,July15

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DiscusseshisstartasafilmpolisherattheHobartBosworthStudio,eventuallymovingontofilmperforatingandworkinginthedryroom.HetalksabouthowhegothisfirstjobasanassistantcameramantoJamesvonTreesandhowthatgavehimtheopportunitytobecomeadirectorofphotography.McCordtalksaboutworkingonmoviesforstarslikeColleenMoore,MiltonSills,KenMaynard,HootGibson,BuckJonesandJohnWayne;aswellasworkingonmoviessuchasIRENE,SALLY,SOBIG,THEDESERTFLOWER,THECRASH,THEVALLEYOFTHEGIANTS,TREASUREOFTHESIERRAMADREandTHESOUNDOFMUSIC.Hediscussessomeofthetechniques,equipment,andtechnicalissuesincinematographyandinearlysoundfilms.

f. UniversalPicturesProject(HalMohr),OH101v.11,byRichardKoszarski,1973,June11

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DiscusseshisexperienceincinematographybeforejoiningUniversalandhowthatledtohimgettinghiredbythestudioasafilmeditor/cutter.Hegoesontotalkabouthisexperienceswiththestudio,actingasajack-of-all-tradesworkingasacameraman,directorandeditor.Hediscussesdirectorsheworkedwithduringhiscareer,suchasRuthStonehouse,E.A.Dunpont,LoisWeber,PaulLeni,andFejosandMikeGordon.Healsodiscussesfilmsheworkedon,includingBROADWAY,THELASTPERFORMANCE,CAPTAINOFTHEGUARD,ANOTHERPARTOFTHEFOREST,

andANACTOFMURDER.Mohrtalksabitaboutsomeofthecameratechniquesandtoolsthatheusedinthesefilmstogettheshotshewanted.

f. UniversalPicturesProject(GeorgeRobertson),OH101v.12,byRichardKoszarski,1974,August5

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DiscusseshisfirstjobwithUniversalinthepropertydepartmentbeforegettingdraftedintoWWIaspartofacamouflageunitmadeupofotherstudioworkers.HetalksabouthisreturnfromthewarandgoingbacktothepropertydepartmentatUniversalandeventuallybecomingagrip.Hediscussesseveralfilms,UNDERTWOFLAGS,FOOLISHWIVESandMERRY-GO-ROUND;aswellassomeoftheindustrypeopleheworkedwith,suchas;ToddBrowning,EricvonStroheim,RupertJulianandIrvingThalberg.

f. UniversalPicturesProject(HenryTiedmann),OH101v.13,byRichardKoszarski,1974,August7

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DiscusseshisstartatUniversalintheelectricaldepartment,workingasasun-arcoperatorandeventuallymovingtothesheetmetalshop.Hetalksabitaboutsomeofthemoviesheworkedon,suchasTHEHUNCHBACKOFNOTREDAMEandALLQUITEONTHEWESTERNFRONT.

f. UniversalPicturesProject(CharlesVanEnger),OH101v.14,byRichardKoszarski,1973,July29

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DiscusseshisearlyjobsandbusinessventuresbeforegettingajobworkinginthelabatParamountforDaveHorsley;whereheeventuallyworksasanassistantcameramanwithMauriceTourneurandJohnVandenbergworkingonTHEPRIDEOFTHECLANandTHEPOORLITTLERICHGIRL.Hetalksaboutbeingajack-of-all-tradesatParamount,wherehewasassistantcameraman,secondcameraman,spotlightmanager,actorandfilmcutterforpicturessuchasBLUEBIRD,ADOLLHOUSEandSALOME.HetalksaboutmovingouttoCaliforniatoTriangleStudiosandmakingmovieslikeCALEBWEST.FromTriangleStudios,hetransitionedtoUniversalandworkedwiththelikesofIrvingThalberg,ClarenceBrownandMaxLinder,makingTHELASTOFTHEMOHICANSandCAPTAINKID.Healsotalksaboutbeinganinventorandcreatingbackprojectionat20thCentury-Fox,aswellashisexperienceworkingforWarnerBrosandFirstNational.

f. UniversalPicturesProject(GrantWhytock)OH101v.15,byRichardKoszarski,1973,May29

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DiscusseshistimeatUniversalasaneditor,workingwithdirectorsRexIngram,JackFord,GeorgeMarshall,JoeDeGrasse,AllenHolubarandJosefvonStroheim.Hetalksaboutsomeofthefilmswehasworkedonsuchas;THEFOURHORSEMAN,PRISONEROFZENDA,MARENOSTRUM,THEDEVIL’SPASSKEY,THEVOICEANDTHEWIRE,THEPRINCEOFAVANUEAandTHETALKOFTHETOWN.WhytockdiscusseshisexperienceworkingunderIrvingThalbergatUniversalandwithJulianRupert,andwhyherefusestoworkwithhimagain.HealsotalksaboutsomeofthewomendirectorsatUniversal,suchasLoisWeber,IdaMaePark,andElsieJaneWilson.Whytockdiscusseswhathisjobasaneditorconsistedof,howhewasassignedjobs,aswellasthedifferencesintechniquesandtoolsusedbackwhenhestartedandthepresenttime.

f. UniversalPicturesProject(IrvinWillat),OH101v.16,byRichardKoszarski,1973,August10

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Discusseshisstartintheindustryattherequestofhisbrotherandhisoneattemptatstarringinamoviebeforedecidinghewasbetteroffbehindthecamera.Hetalksaboutsomeoftheworkhedidasacinematographerandworkingwithfilm.Healsotalksaboutworkingasadirectorandhismethods,styleofworkandbrieflydiscussessomeofhisfilmslikeBACKTOGOD’SCOUNTRYandTHEMICHIGANKID.

f. UniversalPicturesProject(WilliamWyler),OH101v.17,byRichardKoszarski,1974,August15

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DiscusseshisstartatUniversal,doingdifferentmenialjobsasanerrandboy,cutter,propassistant,etc.,andhisfirstbreakasathirdassistantdirectorforthefilmTHEHUNCHBACK.HetalksaboutworkingonWesterntwo-reelerslike,THETWO-FISTERandTHELITTLEFOXES,asaburgeoningdirector.Wylerwaseventuallypromotedtonon-westernmovieswhereheworkedonfilmslikeANYBODYHERESEENKELLY,AHOUSEDIVIDED,COUNSELORATLAW,DETECTIVESTORYandTHELOVETRAP.Hetalksabouthisstyleofdirectingandthecameramenhelikestoworkwithonfilms.HealsotalksabouthisrelationshipandinteractionswithotherEuropeandirectorsatUniversalStudios,suchasE.A.DupontandPaulLeni.Wyler

discusseshismovetoGoldwynStudios,whatitwaslikeworkingthere,andsharesmanystoriesandexperiencesfromhiscareer.

f. TheWesterninthe1920s(IrvinWillat(1971,June9;November20;December22),VirgilMiller(1971,May21;1972,March1),HootGibson(1961),AnnLittle(1971,September22),TedFrench(1971,October16;1972,February5),JimandEdnaRush(1972,March1)),OH7,byRobertS.Birchard,1971-1973

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DiscussestheWesterninthe1920sfromtheperspectiveofthedirector(IrvinWillat),thecinematographer(VirgilMiller),thestar(HootGibsonandAnnLittle)andthecowboy(TedFrenchandJimandEdnaRush).AfewintervieweesdiscussworkingattheAmericanFilmCompany(Flying“A”Studios),WilliamS.Hartfilms,photographing/performingstuntsandworkingwithanimals,andworkingwithCarlLaemmleatUniversalStudios.VirgilMilleralsodiscusseshisrelationshipwithGrouchoMarxovertheyears.

Series2:Individualsf. EdwardAnhalt,OH37,byEstelleChangas,(UCLA),1969,September3,October10,

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Discusseshisbeginningsinediting,sound,andcameraworkbeforetransitioningtoscreenwritingandproduction.HediscussesissuesofcensorshipandtheHouseUn-AmericanActivitiesCommittee,specificallythe1947hearings.HetalksaboutDeanMartin,MarlonBrando,andMontgomeryCliftandhisrelationshipwithproducerHalWallis.HediscussesBECKETafewtimes,includinghisAcademyAward-winningscreenplay.

f. MintaDurfeeArbuckle,OH38,byKevinBrownlow,1969,June

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DiscussesmanypeoplethatsheknewandworkedwithduringtheSilentEra,especiallyMabelNormand,MackSennett,CharlieChaplin,andherex-husbandRoscoe“Fatty”Arbuckle.Discusses,indepth,herexperienceswhenhewasaccusedofmurderandhowshewaskidnappedwhiletravelingtobewithhim.Containsanindexinthefront.

f. TexAvery,OH39,byJosephAdamson,(UCLA),1969

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Discussesmanyfacetsofhisprolificcareer,includingthedevelopmentofBugsBunny,PorkyPigandDaffyDuck.HedetailshismovesfromWalterLantz

ProductionstoWarnerBrotherstoMetro-Goldwyn-Mayeraround1942andhislatermovebacktoLantz.Hetalksaboutworkonmilitarytrainingfilmsandhisshifttotelevisioncommercialworksince1951,includingtheFritoBanditocharacter.HetalksseveraltimesaboutRedHotRidingHood,includingcensorshipofthecartoon.

f. WilliamBeaudine,OH40,byKevinBrownlow,1971,October

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Partoralhistory,partresearchessay.DiscussesBeaudine’sstartinfilmfromhisdaysasapropboyforD.W.Griffithtohiscareerasadirector.HediscussesmovingtoCaliforniainthe1910andworkingforvariousstudiosinthe1920s.Includesbackgroundinformationandashortfilmographyofworksrangingfrom1922-1928.

f. PandroS.Berman,OH14,byMikeSteen,1971,September24and30;October5,11,21;November1and8

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Discusseshisstartasa“third”assistantdirectoratFBO(latertobecomeRKO)andlaterworkasheadofthefilmeditingdepartmentatRKO.BermantalksaboutproducinghisfirstfilmandleavingRKOtobeginhistwenty-seven-yearcareerasaproduceratMGM.Bermandiscusseshisearlyinfluencesandworkasanassistantdirectorandfilmeditor,andhisprolificcareerasaproducer.WhendelvingintohisworkatRKOandMGM,BermanalsodiscussesindetailtheworkingsoftheHollywoodstudiosystemandhisassociationwithsuchpeopleasLouisB.Mayer,DavidO.Selznick,andJosephP.Kennedy.

f. EricM.Berndt,OH12vol.1-2,byWilliamC.Flaherty,1971,October22and29;November12,22and29;December13,20and27;1972,January10andMarch31

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DiscusseshisearlycareeratPhotophoneandRCAduringwhichhecontributedtothedevelopmentof16mmfilm,soundandtechnology.Discussesformationofown16mmcompany(Berndt-MasurerCorp.)andinventionstothepresent.

f. HenryBlanke,OH41,byBarrySteinberg,(UCLA),1969,January17and24;February5and19

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DiscusseshiscareerasproduceratWarnerBrothers,especiallyhisearlyworkwithErnstLubitschandhislaterassociationwithWilliamDierterle,withwhomheproducedastringofbiographicalfilms.Discussespersonalaestheticpreferencesofcinemaandhowhebroughtthemtobearonlaterprojects,particularlyTHENUN’S

STORY.Hediscussesnuancesoftherelationshipsbetweendirectorsandproducersandtheformationofaproducer’sguild.HetalksaboutworkingwithBetteDavisonafewfilms:THEOLDMAID,OLDACQUAINTANCE,andTHEPETRIFIEDFOREST.

f. FrankBlount,OH42,byKevinBrownlow,1969,June

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DiscusseshowhescoutedaUSlocationforthefilmBEAUGESTE(1926)afteroriginalscoutswerekidnappedinAlgeria,andwasthengivenroleofProductionSuperintendent(productionmanager).Exploresissuessuchasbuildingandrunningacampforthousandsofpeopleandanimals;includingchallengessuchaswater,smallpox,gamblingandentertainment,andbrieflymentionstheuseof“USNegroCavalry”(BuffaloSoldiers)inthefilm.Productionfinishedunderbudgetandearlywithnohealthorviolenceissues.

f. JohnBrahm,OH23,byJoelGreenberg,1971,October13,18,20,22;November9

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DiscussescareerasatheaterdirectorinBerlinandViennaasafilmdirector(1935-1955,1966)inEnglandandHollywood,andfinallyasatelevisiondirectorofover200series(1950sand1960s).Includessupplementaryinterviewwithscreenwriter,BarreLyndon,onTHELODGERandHANGOVERSQUARE.

f. W.R.Burnett,OH43v.1-3,byDennisL.White,1976,March19,24,29;April2,6,9,16,21,23,27,30;May4,7,11,14,17,21

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Discusseshisnovels,stories,andscriptsaswellashisdealingswithactors,directors,andproducersinHollywood.Exploreshisbackgroundandhowitaffectedhiswriting.Analyzescharactersandsocialsystemsinhisworks.Manyinsightsintoscriptwritingaswellastheprocessesforscriptapprovalandfilmcreation.

f. RidgewayCallow,OH35,byRudyBehlmar,1976

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DiscusseshisworkwithdirectorsonfilmsatMGM,RKO,Columbiaandotherstudiosfromthebeginningofhiscareerin1927uptoTHESOUNDOFMUSIC(1965).

f. TeetCarle(C.E.Carle),OH44,byRaeLindquist,(UCLA),1969,February17,March5,April26

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Discusseshiscareerasapublicist,primarilyatParamountbutwithstintsatMetro-Goldwyn-MayerandTwentiethCenturyFox,fromthe1920s-1950s.HetalksatlengthabouttheformationandpoliticsofWesternAssociationofMotionPictureAdvertisers(WAMPAS)andScreenPublishersGuild(SPG).

f. BenCarre,OH45,byDavidLumsden,(UCLA),1968,July31

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DiscusseshisearlyworkasapainterfortheaterandfilminParisatAmableStudioandCitéGaumont.SubsequentlytalksabouthisworkinNewYorkatEclairStudioandParagonStudioandhismovetoCaliforniaafterWorldWarI.HetalksaboutvariousHollywoodpersonalitiesinthe1910sand1920s,anddiscussesthedownsizingofscenicartistsandpaintersduringstrikesin1937and1947.

f. MerianC.CooperandErnestSchoedsack,OH46v.1-2,bybyKevinBrownlow&RonHaver,1971,March31

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OriginallyintendedasabasisforabookCooperwaswritingaboutthemakingofKINGKONG,delvesextensivelyintobothheandErnestSchoedsack’s(whowaspresent)careersandwarexperiencesinWWI,WWII,andthePolish-SovietWar.ExtensivebackgroundinformationonfilmssuchasGRASS,CRANG,THEFOURFEATHERS(1929),KINGKONG,THELASTDAYSOFPOMPEII,andMIGHTYJOEYOUNGincludingtechnicalinnovationsmadebyCooperandSchoedsackalongwithanimatorWillisO’BrienaswellasdevelopmentsincolorfilmandthehistoryofTechnicolor.DiscussesmanyfiguresofHollywoodandstudios,especiallyDavidO.SelznickandRKO.AlsodiscussesthecontributionsofscreenwriterRuthRoseandjournalist/spyMargueriteHarrison,whosavedCooperfromstarvinginaSovietprisoncamp.CooperandSchoedsackwouldlatergoontoworkwithHarrisononthefilmGRASS.

f. JohnCromwell,OH47,byGaryCarey,unknown

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Discusseshiscareerstartingasateenagerworkingonstage,touringthenationandworkinginNYC,becomingadirectorwhichledtoworkinginfilmstartingin1929.Discussesthetransitionbetweensilentandsoundfilm,workingwithvariousactors,writers,anddirectors,andhistimeworkingwiththeStateDepartmentduringWWII.GivesmuchbackgroundonnearlyallhisfilmsandendswithTHEGODDESS(1958).Doesnotdiscusshisblacklistingorhislatercareer.

f. FloydD.Crosby,OH34,byNicholasPasquariello,1973,March12and20;May2,6,17;June9and27;July7

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Discusseshisoutdoorcamerawork,hislightingtechniques,andhisworkwithsuchdirectorsasRobertFlaherty,F.W.Murenau,RogerCorman,PareLorentz,andRobertRossen.

f. GeorgeCukor,OH3,byGavinLambert,1970,August–1971,April

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Discusseshislongcareer,oftenthroughthelensofworkingwithspecificactors(GretaGarbo,JoanCrawford,AngelaLansbury,IngridBergman,RexHarrison,JudyGarland,amongothers).Hetalksaboutworkfromvariouspartsofhiscareer,includingthecostumedramasandthelighterMetro-Goldwyn-Mayercomediesofthe1930s,thetransitiontodarkermelodramasin1941,themusicalssuchasASTARISBORNandMYFAIRLADY,andtheSpencerTracy-KatharineHepburncomedies.Recurringthemesintheinterviewarehisaversiontodepictingviolenceinhisfilmsandthechangingculturalattitudestowarddepictingsexualityonscreen.SomefilmsthatCukordiscussesatlengthareTHEWOMEN,GASLIGHT,andGONEWITHTHEWIND,althoughhewasultimatelydismissedfromthatfeature.

f. GeorgeCukor,OH48,byStephenFarber,(UCLA),1969

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Discussesvariousaspectsofhiscareer,includinghisarrivalinHollywoodduringthedevelopmentofsoundinmotionpictures.Talksthroughouttheinterviewaboutthemoretechnicalaspectsoffilmmaking.Hetalksaboutthevariousphilosophiesofcamerause,includingthoseofAlfredHitchcockandSpencerTracy.HediscusseshismovefromParamountPicturestoRKOPicturesandtalksaboutworkingwithErnstLubitschandDavidO.Selznick.

f. NormanO.Dawn,OH20,byStephenP.Cohen,1974,February1,8,15,22;March8

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Discusseshisworkasacinematographerandtheinventionofspecialeffectsintheearlydaysofthemotionpictureindustry.

f. AllanDwan,OH1v.1-5,byPeterBogdanovich,1968,October-December;1969,September

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Discusseshiscareer,beginningwithhisworkasalightingengineer,andthenasascreenwriterandadirectorofWesternsfortheAmericanFilmCompany(Flying“A”Studios)inthe1910s.HediscussestherestofhiscareermakingpicturesforUniversal,TwentiethCenturyFox(wherehedirectedShirleyTempleinthe1930s),Paramount,Republic,andvariousindependentproducersthrough1961.

f. DaveFleischer,OH50,byJosephAdamson,(UCLA),1968

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Entitled“WherecanIgetagoodcorned-beefsandwich?”Discusseshiscareerinanimation,direction,andproduction,includingtheinventionoftheRotoscopeandtheestablishmentofRedSealPicturesandFleischerStudioswithhisbrotherMax.HediscusseshisadministrativeroleatScreenGemsandtheScreenGemsstrike.HealsotalksabouttheabsorptionofFleischerStudiosbyParamountPictures.HediscussesworkingwithCabCalloway,theMillsBrothers,EthelMerman,andRudyValleandtalksaboutthecreationoftheBettyBoopandPopeyecartooncharacters.

f. GeorgeFolsey,OH51,byJoelGreenberg,1973,November26;December3,6,11,and14

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Anextensivediscussionofhisseven-decadecareerstartingasateenagerinthe1910sinNewYorktohislatertelevisionworkinthe1960sand70s.Coversnearlyallhisfilmsandmostoftheimportantfiguresoftheday,thatheworkedwith.Aremarkablememoryfordetailbringsoutmanytechnicaldetails,innovations,andinterestinganecdotes.

f. SidneyFranklin,OH52,byKevinBrownlow,1964,December19

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Franklinwasinterviewedwhileworkingonhismemoirentitled“WeLaughedandWeCried,”asyetunpublished.DiscussiontouchesonmanypartsofhiscareerbutinterviewersteersconversationbacktoSilentEraforthemostpart.Coversmostofthefilmsandstarsworkedwithinthateraandtechniquesdeveloped.Hasanindexoffilmsandfiguresatthefront.

f. FrizFreleng,OH53,byJosephAdamson,(UCLA),1968,July23–1969,June26

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Discussesmanyaspectsofhiscareerfromthe1920s-1960sinanimation,direction,andproduction,includinghisworkatDisney,WarnerBrothers,Metro-Goldwyn-Mayer,andUnitedArtists.Discusseshisinceptionof“LooneyTunes”withothersontheanimationteamunderLeonSchlesingeratWarnerBrothersin1930.TalksatvariouspointsaboutvoiceactorMelBlancandaboutthecreationofBugsBunny,PorkyPig,andthePinkPanther.HealsotalksabouthisexperiencedirectingatWarnerBrothersfrom1932-1964.

f. HugoFriedhofer,OH32,byIreneKahnAtkins,1974,March13-14,19,21;April1,8,10,15,17,22,29

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Discussescuewritingforsilentfilms,worksasanarranger,orchestratorandcomposterat20thCentury-Fox,WarnerBrothers,andotherstudiosaswellastelevision.

f. LeeGarmes,OH54v.1-2,byCharlesHigham[2copies]

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f. LeeGarmes,OH55,byJamesUrsini,(UCLA),1969

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DiscussesvariousaspectsofworkingonDUELINTHESUN(1946)withKingVidorandDavidO.Selznick,amongafewotherhighlightsofGarmes’lengthycinematographycareer(1910s-1970s),includingworkingwithJosefvonSternbergonSHANGHAIEXPRESS(1932).

f. TayGarnett,OH56,byCharlesHigham,1971,Fall

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DiscusseshisstartinthefilmindustryasacartoonistandartdirectorforfilmmagazinesMovieMagazineandThePhotoplayers.GarnettgoesontotalkabouthisswitchintowritingtitlesforHalRoach,thenmovingontowritegagsforMackSennettandFirstNationalStudios,beforefinallybeinghiredasawriterforDeMilleStudios;wherehewouldbreakintodirectingwiththefilmsCELEBRITYandSPIELER.Healsotalksaboutmanyoftheothermoviesmadethroughouthiscareerandthevariousstudiosheworkedfor,including:THEFLYINGFOOL,OH,YEAH!,HERMAN,BADCOMPANY,ONEWAYPASSAGE,PRESTIGE,O.K.AMERICA,DESTINATIONUNKNOWN,S.O.S.ICEBERG,CHINASEAS,SHECOULDN’TTAKEIT,SLAVESHIPandmanymore.Garnettalsogivesinsightintohisviewsontheprinciplesofdirectingandtherelationshipbetweendirectorandwriter;aswellastheswitchfromsilenttotalkingfilmsandfromstationarytomovingcamerasandhowtheyeffectedthemovieindustry.

f. JosephGershenson,OH30,byIreneKahnAtkins,1976,March4,8,12and15

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Discussescareerasaconductorinvaudevilleandsilentmoviehouses,asfilmproducer,andasheadofmusicdepartmentofUniversal(1949-1968),workingwithallmajormotionpicturecomposers.

f. HaroldGrieve,OH57,byAnthonySlide,1980,February27

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f. GeorgeGroves,OH28v.1-2,byIreneKahnAtkins,1973,August14,28,30;September4,18,21,25;October2,9,16,24

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DiscussesearlyyearsasarecordingengineerwithVitaphoneinNewYork,thenmovingtoCaliforniawithWarnerBrotherswhereheworkedintheSoundDepartmentuntilhisretirementin1972.

f. HenryHathaway,OH58,byPollyPlatt

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f. EdithHead,OH59,byDavidChierichetti,1973,May29;August1

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Discussesherprolificcostumedesigncareer,startingwithherbeginningssubmittingclothingsketchestoParamountPicturesforsummerworkwhileteachingartinthelate1920s.ShetalksaboutinitiallysketchingunderdesignersHowardGreerandTravisBantonatParamountbeforeultimatelydoingherowndesignsforthatstudio.ShediscusseshertransitionfromdoinguncreditedworkonearlyfilmslikeWOLFSONGwithLupeVelezandGaryCoopertogainingsuccessasadesignerwhoworkedwellwithindividualstars.ShediscussesworkingwithactorssuchasMarleneDietrich,BetteDavis,MaeWest,AudreyHepburn,KimNovak,andGraceKelly,amongmanyothers.ShetalkswithadmirationaboutthecostumedesignsofIreneSharaffanddiscussesherworkingrelationshipwithdirectorsCecilB.DeMille,AlfredHitchcock,andBillyWilder.ShefinisheswithabriefdiscussionofherlatecareerworkatUniversalPicturesbeginninginthelate1960s.

f. JerryHoffman,OH26,byBobNero,1974,December3;1975,January13and27;February10and25;March5and13

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DiscussescareerasNewYorknewspapermancoveringvaudevilleandmotionpictures,asassistanttoLouellaParsons,asproducerwithDarrylF.ZanuckandatMGM,andlatercareeraspublicistatvariousstudios.

f. DavidStanleyHorsley,OH60,byPaulMandell,1974,March5

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f. JamesWongHowe,OH61,byAlainSilver,(UCLA),1969

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Discusseshislengthycinematographycareer,includinghisearlystartasacameramanforCecilB.DeMilleandultimatelybecomingDeMille’scameradepartmenthead.Talksabouttrendsincinematographyovertheyears,includingtechnicaldevelopments,workingrelationshipswithdirectorsandactors,andtransitioningtotelevisionwork.

f. RichardHuemer,OH62,byJosephAdamson,(UCLA),1968,July24–1969,June30

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DiscusseshiscareerfromtheearlydaysofanimationthroughhisworkwiththeDisneyStudios,wherehehelpedtocreatedDonaldDuckandworkedonSNOWWHITEANDTHESEVENDWARFS,PINOCCHIO,andFANTASIAaswellasillustratingcomicstrips.HealsotalksabouthisworkwithDaveandMaxFleischer,includingworkonPopeyeanduseoftheRotoscope.

f. NunnallyJohnson,OH63,byThomasR.Stempel,(UCLA),1969

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DiscussescareerasscreenwriteratParamountand20thCentury-Foxfromsilenterathroughthe1930s.TalksabouthisproductiverelationshipwithDarrylF.Zanuck,whichledtohiscareerasproducer.DiscussesformationofhisownInternationalpicturesinthe1940s,hissubsequentinvolvementwithUniversal,andhisindividualprojectsuptothepresent.

f. BronislawKaper,OH31v.1-2,byIreneKahnAtkins,1975,July14,16,21,24,29;August1,6,11,18-19;September24,26,30;October14

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DiscussesearlymusiccareerinGermany,comingtotheUnitedStatesin1935,andworkingatMGMfor28years.

f. RaymondKlune,OH64,byJohnDorr,(UCLA),1968,October15and30;December12;1969,April3

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Discusseshiscareerinproductionmanagementfromthe1920s-1969.TalksatlengthabouttheaspectsofworkingonGONEWITHTHEWINDwithDavidO.Selznick.AlsodiscusseshisstartworkingforD.W.Griffithinthe1920sand1930sandhowthatinfluencedhimtherestofhiscareer.TalksaboutbeingvicepresidentatRKOPicturesfrom1956-1958andgeneralmanagerofMetro-Goldwyn-Mayerfrom1958-1969.

f. HowardKoch,OH25,byEricSherman,1974,April1

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DiscussesearlycareerandcolleaguesatMercuryTheatreoftheAir,eachofhisWarnerBrothersfilmsinthe1940s,theblacklistingeraandeffectsonhislatercareer,andthefilmascollaborativeart.

f. MitchellLeisen,OH8,byDavidChierichetti,1969,November3and6,December6;1970,January16,February6and26

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Discussescareerascostumedesigner,artdirector,anddirector;alsocoversworkwithCecilB.DeMilleandhisfilmsforParamount.

f. CharlesLeMaire,OH65,byDavidChierichetti,1973,August13and14

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f. AdolphLinkof,OH66,byDianaDreiman

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f. DavidLipton,OH67,byAndreLindquist,(UCLA),1969,March5and12;April9,16,and23;May1,6,and14;July29

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Discusseshislengthycareerinstudiopublicitybeginningduringthesilentfilmeraandultimatelyextendingintothe1970s,includinghisyearsatBalabanandKatz,FamousPlayersCanadianCorporation,Columbia,andUniversal.Hetalksaboutthechangesinfilmpublicitythathappenedwiththearrivalofsoundtechnology.Alsodiscussesdoingpublicityforindividualstarsofthescreenandstage,includingSallyRand,MarleneDietrich,RitaHayworth,andothers.Talksabouttheadvertisingattitudesofdifferentdirectorsandchangingtrendsinadvertisingovertheyears.

f. HaroldLloyd,OH68,byKevinBrownlow,1969,June

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Discussesthepopularityoftheglassescharacter,whyhestartedwearingglassesandwhyheeventuallygotridofthem.HetalksabouthisownstyleofcomedyandthestyleoffellowcomediansCharlieChaplinandBusterKeaton.Hebrieflydiscussessomeofthefilmshehasworkedon,suchas;KIDBROTHER,THEFUNNYSIDEOFLIFEandtheLONESOMELUKEreels.

f. RobertLord,OH69,byColinShindler,1972,April1,8,16,and29;May6,12,and20;June3

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DiscusseshowhefirstbecameinterestedindramaduringhistimeatHarvard.HetalksaboutworkingforCapitolTheaterunderplaywrights,GuyBolton,ArthurRichman,andRobertMilton,andbecominganapprenticeplaywright.LordeventuallymovedtoLAtolearnhowtobeamotionpicturewriteranddirector,propositionedbyFoxVaudevilleCompany/MotionPictures.LorddiscusseshistimeworkingwithFoxbeforehiseventualfiringafterhisfightwithSolM.Wurtzel.HetalksabouttitlingDanishcomediesbeforebeingofferedajobwithLichtigandEnglanderatWarnerBroswhereheworkedwithDarrylZanuck,JackWarner,HalWallis,BryanFoy,SamBischoff,MarionDavies,DelmarDaves,WilliamRudolphHearst,danceDirectorsBusbyBerkeleyandBobbyConnolly,andwritersJerryWaldandRichardMacaulay.Hetalksabouthisexperiencesbeingonloantodifferentstudios,suchasRKOandMGM.HealsodiscussesworkingwithDavidO.Selznick,WilliamWellman,PandroS.Berman,andMarcelDeSan.HetalksaboutleavingWarnerandgoingtoMGMandthentoColumbiawhereheworkedforHumphryBogart’sstudio,Santana.Hegoesintosomedetailaboutsomeofthemovieshehasworkedonthroughouthiscareer,suchas;THELIONANDTHEMOUSE,MILLIONDOLLARCOLLAR,KIDGLOVES,YOUSAIDAMOUTHFUL,FIREMAN,SAVEMYSHILD,HARDBOILEDROSE,ONEWAYPASSAGE,GOLDDIGGERSOF1935,SIVESTARFINAL,MEADOWLARK,THELITTLEGIANT,DR.SOCRATES,DODGECITY,WONDERBAR,20,000YEARSINSINGSING,THEPRIVATELIVESOFELIZABETHANDESSEX,BORDERTOWN,BLACKLEGIONandDR.CLITTERHOUSE.LordalsotalksabouthisexperiencesinthefirstandsecondWorldWar,aswellastheKoreanWar,withtheBalloonCorps.andtheSignalCorps.

f. JeanLouis,OH70,byDavidChierichetti,1972,August31

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DiscusseshislifeinFrance,hisinterestinartandwomen’sclothes,andhowheeventuallycametoAmericawherehewashiredonbyHattieCarnegietodesigngarmentsforherfashionhouse.LouistalksaboutbeingapproachedbyColumbiaStudiostoworkasadesignerandthetroublethatcausedhimwithCarnegie.HetalksaboutwhatitwaslikedesigningclothesforColumbiaandcomparesittosomeoftheotherstudioshewouldworkwithonloan,suchasMGMandFox.HediscussesthecircumstancesaroundhimeventuallyleavingColumbia,movingontoworkasacouturedesignerforBenReigandthenopeninghisownbusiness.Louisspendsalotoftimetalkingaboutthemanyactorshehashadthechancetodressthroughouthiscareer,suchas;IreneDunne,CharlesBoyer,RitaHayworth,LucilleBall,JudyHolliday,BettyGrable,JoanCrawford,KimNovak,LanaTurner,ConstanceBennett,DorisDay,MarleneDietrich,MarilynMonroe,FrankSinatra,GingerRogersandJudyGarland.Hediscussessomeofthechallengeshehadtonavigateindressingstarsforblackandwhite,technicolor,andcinemascopefilms.HealsomakesnoteofwhatitwaslikeworkingwithsomeotherprominentdesignerslikeBobMackie,ElizabethCourtneyandMaryAnnNyberg.

f. RanaldMacDougall,OH17v.1-3,byJoelGreenberg,1973,November23,27-30;December4

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f. JohnLeeMahin,OH72,byEstelleChangas,1968

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f. RoubenMamoulian,OH73,byStevenGreenberg,1973,May

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f. DanielMandell,OH71,byBarrySteinberg,(UCLA),1969

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Discusseshiscareerasafilmeditorfrom1921to1964withparticularreferencetosilentfilmtechniquesandhisworkwithWilliamWylerandSamuelGoldwyn.

f. AbbyMann,OH74,byStephenFarber,(UCLA),1969

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Discussessomeofthespecificfilmsheworkedon,whiletalkingaboutissuesfromhisscreenwritingandproducingcareer,includingtheprocessofadaptingnovelsforthescreenandthedifferencesbetweenwritingfortelevisionandfeature-lengthfilms.AlsotalksaboutMcCarthyisminHollywoodandcommercialinfluencesonartisticdecisionsinfilmmaking.

f. LeoMcCarey,OH2v.1-2,byPeterBogdanovich,1968,November25;1969,January-May

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Discussescareer,beginninginthe1920sasagagmananddirectorofHalRoachshorts,throughhis1930scomedies,endingwithhissporadicworkinthe1950sand1960s.DuetoMcCarey’spoorhealthatthetimeoftherecording,theinterviewersuggestsareadingofthetranscriptastherecordingsaredifficulttolistento.

f. LewisMilestone,OH75,byKevinBrownlow,1972,January26

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DiscussesabitofhisearlylifebeingborninOdessaandcomingtoAmericajustbeforethestartofWWI.TalksabouthowhewasintroducedtothefilmindustrythroughhisworkwiththeSignalCorps,duringthewar.HediscusessworkingatJ.J.Hampton’sindependentstudioandHaworthPicturesCorporationasacutterandassistantcutterandthefiringconspiracyhehadtodealwithbeforeleavingtojoinFoxandthenWarnerBros.,whereheworkedwithDickWallaceandWilliamA.Seiter.MilestonediscussesbecomingadirectoratWarnerBros.andmakingtwomoviesforthem,SEVENSINNERSandCAVEMEN.HetalksabouthisexperiencesworkingwithWarnerBros.andwhyheeventuallychosetoleave,healsodiscusseshisfollowingexperiencesworkingwithHowardHughes,UniversalandParamount.Hediscussessomeofthemovieshemadethroughouthiscareer,suchas;TWOARABIANKNIGHTS,HELL’SANGELS,ALLQUIETONTHEWESTERNFRONT,RAIN,KIDBROTHERandTHEGARDENOFEDEN.Healsotalksaboutthewayhechosetoworkinthisbusinessandhisstyleofdirecting,citingthedifferentpeopleandaspectsthatinfluencedhim.

f. LewisMilestone,OH76,byJoelGreenberg,1971,October15-16,21,23,25,27,and29-30;November1and4

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DiscussessimilartopicstoOH75regardinghiscareer;however,Milestoneprovidesmuchmoredetailinthisinterview.Inthisinterviewhediscusseshisearlylife,family,andschoolingintheRussianEmpire.Aswellashowhefirstbecameinterestedandinvolvedintheater.HediscusseshowhecametoAmericaandthe

oddjobshepickeduptoearnmoney,particularlyhisjobbookingportraits.HetalksaboutvolunteeringforWWI,wherehemeetsJosefvonSternberg,RichardWallaceandVictorFleming,andhowtheygothiminterestedinthemovieindustry.MilestonealsomakesnoteofhisrelationshipwithRichardWallace,bothinandoutoftheArmy.HetalksaboutmovingtoCaliforniaafterthewarandgettinghisfirststudiojobwithJ.D.HamptonStudiocuttingfilm,andthenmovingontoSessueHayakawa’sstudio,andthetroublesurroundinghiseventualpartingfrombothstudios.HediscussesgoingtoworkforSennettStudioandInceStudiowhereheworkedforHenryKingandthengoingtoworkforBillSeiter.HetalksaboutworkingforWarnerBros.andmakinghisfirstmoviesasaDirectoronSEVENSINNERSandCAVEMEN.MilestonetalksextensivelyabouthisdealingswithJackWarner,andthelawsuittroublethatproceededhisleavingthestudioandbeingblackballedbytheProducersAssociation.HetalksaboutbeingloanedouttoParamountformovieslikeTHENEWKLONDIKEandFINEMANNERSandtherelationshiphehadwithTommyMeighan.HegoesontotalkaboutworkingforHowardHughesandUnitedArtiststomakemovieslikeTWOARABIANKNIGHTSandTHEGARDENOFEDEN.HealsodiscusseshistroubleswithSamGoldwynatGoldwynStudiosandhisworkwithUniversalinALLQUIETONTHEWESTERNFRONTandOFMICEANDMEN.

f. HalMohr,OH77,byKevinBrownlow,1973,June11

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Discusseshisearlylifeandhowhebecameinterestedinmotionpictures,aswellashisfistjobasafilminspectorforSolLesser.Mohrtalksaboutthevariousjobshehadafter,whichincludeworkingforMilesBros.,makinghisowncameratophotographnewseventsandsellthemtoOrpheumTheatre,andbeingaportraitphotographer.HetalksaboutreturningtoSolLesser,wherehecreatedthelocalnewsreel,TheGoldengateWeekly.HealsotalksabouthelpingSolcreateandpromotetheStudioItaliaAmericanFilmsandhisexperienceworkingwithvariousstudios,suchas;Universal,WarnerandINCE.HealsotalksabouttheindependentworkhedidwhenhegotoutoftheSignalCorpsduringWWI.Mohrtalksabouthisexperiencesasacutter,editorandadirectorandthemanytoolsandtechniqueshehasusedthroughouthiscareer.Healsodiscussessomeofthemovieshehasworkedon,including;THEBIGIDEA,THEWEDDINGMARCH,LITTLEANNIEROONEY,SPARROWS,OLDSANFRANCISCO,THEGLORIOUSBETSY,BROADWAYandTHEFOURHORSEMEN.Healsodiscussesthepeoplehehasmetandworkedwiththroughouthiscareer,suchas;LeoMaloney,VonStroheim,PaulFejos,JoeVonSternberg,MaeWestandJohnMescal.HealsotalksabitabouttheASC/IATSEstrikesthattookplaceinHollywoodandthatinfluencedthecameramenofthattime.

f. L.WilliamO’Connell,OH78,byKevinBrownlow

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Discusseshisstartinadvertising,wherehemetGeorgeGibsonwhoeventuallygothimworkinginmotionpicturesasanassistantdirectorandcameraman.O’ConnelldiscusseshistimeworkingforstudioslikeFirstNational,LaskyStudiosandFoxStudios.Hetalksaboutsomeofthemovieshehasworkedon,suchas;SUNDOWN,OLIVERTWIST,MISSING,JOANTHEWOMAN,BELOVEDBRITEGLORIOUSADVENTURE,TIDESOFPASSION,THEHAPPYWARRIOR,THEBOTTLEIMP,THEWHISPERINGCHORUS,THELITTLEAMERICAN,THEFOURDEVILSandOLDKENTUCKY.Healsotalksaboutsomeofthepeopleheworkedwiththroughouthiscareer,including;FranReicher,DeMille,HalRosson,Wyckoff,J.StuartBlackton,CharlieRosher,MaryPickford,KingVidor,JackFarrowandWilliamHoward.HetalksabitaboutbeingdraftedinWWIandhistimewiththeSignalCorps.

f. HarryOliver,OH79,byDianaDreiman,(UCLA),1968,July25andAugust1

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Discussesaspectsofhislifeandcareerinartdirectioninthefilmindustryfromthe1910s-1940sandhisarchitecturalwork.HediscussesaspectsofhisearlyartdirectionworkatThomasInceStudio,includingthemurderofThomasInce.HealsotalksaboutWilliamRandolphHearst.HediscussesvarioustechnicalinnovationsthathecreatedforhisfilmworkandtalksaboutworkingwithF.W.MurnauandWillRogers.

f. WalterPlunkett,OH80,byDavidChierichetti,1973,October12

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Discusseshisearlyinterestintheaterandart.Plunketttalksabouthisinitialyearsoutofcollege,andhisrockystartintheindustryuntilhisfirstrealjobwithFBOStudios,organizingthewardrobedepartmentandmakingcostumesformoviessuchasQUEENKELLY,untilthestudiowasboughtbyRadio-RKO.WithRKOhetalksaboutmakingcostumesforsuchmoviesas;FLYINGDOWNTORIO,GAYDIVORCE,RIORITA,CIMARRONandDIXIANA.Hedescribessomeofthestrugglesthatdesignershadtodealwithduringtheshiftfromsilenttotalkingfilms,blackandwhitetocolorfilms,andtheintroductionof3Dandwidescreencinemascopefilms.HediscusseshisexperienceswithsuchactorsasEvelynBrent,RichardDix,AnnHarding,FredAstaire,GingerRogers,DeannaDurbin,KatharineHepburnandIreneDunne.PlunketttalksabouteventuallyleavingRKOandworkingwithDavidO.SelznickonsuchmoviesasNOTHINGSACRED,TOMSAWYER,HUNCHBACKOFNOTREDAMEandGONEWITHTHEWIND.Hetalksextensivelyabouthisexperienceswiththeactors,withSelznickandmakingcostumesforGONEWITHTHEWINDandDUELINTHESUN.HealsogivesacomparisonofworkingonthefilmsLITTLEWOMENandCIMARRON,bothwithRKOStudiosandlaterwithMGM.HegoesontotalkaboutmakingotherfilmssuchasSINGIN’INTHERAIN,THREEMUSKETEERS,SEVENBRIDESFORSEVENBROTHERS,LUSTFORLIFE,SOMECAMERUNNING,THEFOURHORSEMENOFTHEAPOCALYPSE,RAINTREECOUNTY,and

POLLYANNA.Plunkettalsotalksabitaboutsomeoftheotherdesignersthathewasworkedwithinhiscareer,includingIreneSharaff,HelenRoseandOrry-Kelly.

f. JamesPoe,OH81,byStephenFarber,ca.1968-1969

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Discussessomeofthescreenplaysthatheworkedon,including;HOTSPELL,CATONAHOTTINROOF,BIGKNIFEandATTACK.PoediscusseshiscurrentprojectHORSESandsomepotentialideasforfuturefilms.Poealsodiscussestheideaofcensorshipasitwasinthebeginningofhiscareerandhowitisinpresenttime,anditseffectsonmoviemaking.Hetalksabouthisroleasascreenwriterandtheextenttowhichheworkedwithdirectorsonthevariousfilmshewrote,aswellasthedifferenceinpowerbetweenthetwo.Healsodiscussessomeofthescreenplayshewrote,whosefinishedproducthewasthemostdissatisfiedwith,suchas;SANCTUARY,THEBEDFORDINCIDENT,TOYSINTHEATTACKandTHERIOT.Poeextensivelydiscusseswhatheconsidersthemostimportantaspectsofscreenwritinginregardtostoryandstructure.HealsodiscussesproducersHalWallisandDavidO.Selznick,aswellasscreenwritersAlbertLewin,IsabelLeonard,EdwardAnhalt,andErnestLehman.

f. AbrahamPolonsky,OH21,byEricSherman,1974,January19and28;March7and18;April12;May2;September23

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Discusseshisphilosophy,earlyyearsinHollywood,politicalexperiencesduringthe1950sand1960s,re-entryintofilminthelate1960sandhisfutureprojects.

f. IrvingRapper,OH82,byJoelGreenberg,1973,November14-15,17,and19-20;December21

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DiscusseshislovefortheEnglishlanguageandhowthatledhimtopursueacareerintheater,eventuallylandingajobwiththeA.H.WoodsCompanyasanassistantstagemanager.ItwasherethathemadehisdirectorialdebutwiththeplayFIVESTARFINAL.ThisgavehimtheopportunitytoworkintheU.S.onplayslikeANIMALKINGDOMandTHEFIREBIRD.Rapperthentransitiontofilm,firststudyingunderdirectorRobertLeonardatMGMandtheneventuallyworkingasadialoguedirectoratWarnerBrothers.Asadialoguedirector,heworkedwithsuchdirectorsas;MichaelCurtiz,AnatoleLitvak,RaoulWalsh,WilliamKeighleyandWilliamDierterleandonsuchmoviesas;JUAREZ,THELIFEOFEMILEZOLA,KIDGALAHAD,ALLTHISANDHEAVENandHIGHSIERRA.Hetalksabouthisdirectorialdebutfilm,SHININGVICTORY,followedbyONEFOOTINHEAVEN,THEGAYSISTERS,NOWVOYAGER,

THECORNISGREENandmore.HealsotalksaboutsomeoftheworkhedidwithmoviesbackinNewYorkandatParamountStudios,includingworkingonAHOLEINTHEWALL.Hetalksaboutthevariousactorsthathehasworkedwiththroughouthistimeintheindustry,including;PaulMuni,BetteDavis,FredricMarch,IdaLupino,JohnnyGarfield,ClaudeRains,GladysCooper,JoanLorring,JohnDall,RosalindIvan,MildredDunnockandRonaldReagan.Rappertalksalotabouttheroleofadialoguedirectorandadirector,howtheyinteractwitheachother,andhisexperiencesinbothpositions.HetalksaboutwhatitwaslikeworkingatWarnerBrothers,JackWarnerandSteveTrilling.Healsotalksaboutothernamesintheindustrythathelikedworkingwithoradmired,suchas;cameramenCharleyRosher,SolPolitoandJamesWongHowe;producerHalWallis;andcomposersMaxStreiner,VictorYoung,andErichKorngold.

f. WalterReisch,OH83,byJoelGreenberg,1971,October11,19,and22;November4and8

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f. RayRennahan,OH11,byCharlesHigham,1970,June

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f. RayRennahan,OH84,byJamesUrsini(UCLA),1969,January28

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DiscusseshisworkasTechnicolorrepresentativeonDUELINTHESUNandworkingwithDavidO.SelznickandKingVidor.Hetalksaboutdifferentissuesassociatedwithcolorphotography,colortelevision,andTechnicolorfilms.HealsotalksaboutworkingwithLillianGish,LionelBarrymore,JenniferJones,andGregoryPeck.

f. CaseyRobinson,OH85v.1-2,byJoelGreenberg,1974,July14and28;August18and25;September21

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f. HaroldRosson,OH5,byBillGleason,1971,January6,10,14;1971,February5and18;1971,April24

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BeginswithabriefbiographyofRossonwrittenbyBillGleasonbasedonatapedinterviewdonein1961.Thenthe1971oralhistorydiscussessomehighlightsofRosson’scareerincinematography,includinghisworkwithdirectorsGeorgeCukor,

JosefvonSternberg,CecilB.DeMille,andVictorFleming.Hediscussesactresseshehasworkedwith,includingJeanHarlow,theirworkonBOMBSHELL,andtheirsubsequentmarriage.Healsotalksabouttheuseofblack-and-whiteandcolorphotographyonTHEWIZARDOFOZ.

f. JosephRuttenberg,OH16v.1-3,byBillGleason,1972,January24and31,March2and13,April1and12

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Discussestheroleofthecameraman,hisownworkasadirectorofphotography,especiallyatMGMandtheindividualswithwhomhehasworked.

f. GeorgeSeaton,OH22,byDavidChierichetti,1974,January14and29;April24,May1

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DiscussescareerasawriteratMGMandColumbia,hisdirectorialdebutatColumbia,Perlberg-SeatonProductionsatParamount,hiscurrentactivitiesatUniversal,aswellashisworkwiththeWriters’GuildofAmerica,WestandtheAcademyofMotionPictureArtsandSciences.

f. JohnF.Seitz,OH10,byJamesUrsini,1971,June4and28,July21and23,September10;1972,January21andApril7

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Discussescareerasacinematographer,havingshothisfirstfilmin1914,histechnicalinnovationsandhisworkwithdirectorssuchasRexIngram,PrestonSturgesandBillyWilder.

f. VincentSherman,OH15v.1-2,byEricSherman,1972,May14,19,and23

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Discussescareerasactor,writerandcontractdirectoratWarnerBrothers(1939-1950),hisinvolvementwithblacklisting,hisrelationshipswithHarryCohn,JackWarnerandDarrylF.Zanuck.

f. GeoffreyShurlock,OH4,byJamesM.Wall,1970,July31

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DiscussesimmigrationtotheUnitedStatesfromLiverpool,London,hisearlycareerasaproducerforParamountStudios,thetransitionfromsilentfilmstotalkies,andhiscareerattheMPAAfrom1932to1968.ShurlockalsodiscussestheevolutionoftheCodeOffice,blacklisting,thebreakdownoftheCode,andUnitedStatesversusEuropeanattitudestowardscensorship.

f. GeorgeStevens,OH105,Undated


f. DonaldOgdenStewart,OH6,byMaxWilk,1971,December8,13,and20

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Discussescareeraswriter,withparticularreferencestohisworkwithIrvingThalberg,andtheriseofsocialconsciousnessinthe1930s.

f. JamesG.Stewart,OH29v.1-2,byIreneKahnAtkins,1976,April11,18,25,30;June13and20

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Discusseshisexperiencesasasoundengineerintheearlyyearsofradio,motionpicturesandtelevision,hisworkatRKOforDavidO.SelznickandcurrentlyattheBurbankStudios.

f. KarlStruss,OH88,byJohnDorr,(UCLA),1969

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DiscusseshisyouthinNewYorkandhisearlyworkinphotography,includingstillphotographyworkforCecilB.DeMille.Discusseshisworkonspecificfilms,particularlySUNRISEandBEN-HUR,andhislatestworkintelevisioncommercials.TalksaboutworkingatParamountPicturesfrom1931-1947,aboutworkingwithanumberofdirectorsandactors,includinghiscinematographyformultipleMaeWestfilmsandBingCrosbyfilms.

f. H.N.(HaroldNorling)Swanson,OH24,byBobNero,1974,December20;1975,January3,February7,March28

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DiscussesearlydaysinChicagoasaneditor,hiscareerasaHollywoodliteraryagentinthe1930sforF.ScottFitzgerald,WilliamFaulknerandothersandthecurrentroleoftheliteraryagent.

f. NormanTaurog,OH90v.1-2,byRayLoynd,1971,September20,October7;1972,August2;September14;1973,May18

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DiscussesTaurog’searlylife,hisintroductiontotheaterandthefilmindustry,specificallyhisstartasanactorandhiseventualtransitionintoeditinganddirecting.Mapsouthiscareer,startingatUniversalandmovingontootherstudiossuchas;LKOStudio,FoxStudio(SunshineComedies),VitagraphPictures,TiffanyPictures,MetroPictures/MGMandParamountStudios.Hegoesintodetailabouttheprocessofmakingsilentfilms,includingvariousrolesonset.Hetalksaboutsomeofthegreatproducershehasworkedwiththroughouthiscareer,includingDavidSelznickandJoePasternak.Hetalksaboutthetransitionfromsilentfilmstotalkiesandblackandwhitetocolorpictures.Hetalksaboutsomeofthemovieshehasworkedon,includingSKIPPY,BOYSTOWN,TROOPERSTHREE,THEGUMPSERIES,MADABOUTMUSIC,FOLLOWTHELEADER,TOMSAWYERANDHUCKLEBERRYFINN,HOLD‘EMJAIL,LUCKYNIGHT,THEBEGINNINGOFTHEEND,HOODLUMSAINTANDBLUEHAWAII.Healsocommentsonactorsheworkedwiththroughouthiscareer,includingLarrySemon,LloydHamilton,LupinoLane,AliceHowell,DeanMartinandJerryLewis,FredClark,MickeyRooney,JudyGarland,GeorgeWentzlaff,MarioLanza,MauriceChevalierandElvisPresley.InthisinterviewTaurogalsocommentsontheconditionsofchildactorsandthoseintheindustry,frombothhisownexperiencesandfromwhathehasbeenabletoobservethroughouthiscareer.

f. MauriceTourneur,OH89,byKevinBrownlow,unknown

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f. DaltonTrumbo,OH91,byStephenFarber,1969,June26;July10and22

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DiscussesTrumbo’sstartinwriting,beginningin1925-1933,whichincludesjobswiththeNorthAmericanReview,TheForum,VanityFairandtheHollywoodSpectator.Hediscusseshisintroductiontoworkingwithscripts,startingatWarnerBrothersandmovingontoColumbia,RKOandMGM.HegoesintogreatlengthsabouthisinvolvementwiththeScreenWritersGuild,thecreationoftheScreenPlaywrightsUnionandtheeventualblacklistcontroversyduringtheColdWarandCommunistscare.Hetalksabouttheeffectithadonhiscareerandhisfamily,aswellasthelengthsheandothershadtotaketobeabletokeepworking,suchasblackmarketscripts.HealsodiscusseshiseventualbreakbackintothepublicwithcontroversyandscandalsurroundinghisfilmsSPARTACUSandEXODUS,leadingto

theendofblacklisting.Healsogoesontodiscussindetailsomeofthescriptshehasworkedonduringthesetimes,including:THELASTSUNSET,THEBRAVECOWBOY,LONELYARETHEBRAVE,THESANDPIPER,HAWAIIandTHEFIXER.

f. LorenzoTucker,OH104,byThomasCalabresewithMikeGreenlee,undated


Discusseshisearlylifeandhowhegotintoacting,aswellashisworkandexperiencesasablackactor,startingoutasastageperformerandtransitioningtofilm.Heexplainshiseventualsplitfromactingtobeamedicalexaminerandhisexperiencesthere.Hediscusseshisviewpointonblackfilmsandtheperceptionofsegregationbetweenwhiteandblackactors.HetalksatgreatlengthsaboutthedirectorOscarMicheaux;whathewaslikeasapersonandadirector,thewayheworkedandmademovies,andTucker’scollaborationswithhim.Healsotalksaboutothershehashadachancetoworkwithintheindustry,suchastheSmithSisters,SlickChester,EthelMoses,CatherineNoissette,SylviaBirdsong,W.A.Clayton,BeeFreeman,andMaeWest.HetalksabouthisworkinANNALUCASTAanditslongtourthroughLondon.

f. WilliamTuttle,OH92,byBarbaraBeery,1975,February1;March31;June20;November1;December13;1976,February6,May29

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f. StanVanderbeek,OH93,byJohnPyros,1975,October16and28;November13

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f. FlorenceVidor,OH94,byKevinBrownlow,1969,June

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DiscusseshermemoriesandexperienceswithChesterandSidneyFranklin,expressingheradmirationfortheworktheywereabletodowithchildrenandanimals.ShealsotalksabitaboutmeetingKingVidor,herstartintoactingandsomeofthefilmsandrolesshehasbeenapartof.Thisincludes;ATALEOFTWOCITIES,THEGRANDDUCHESSANDTHEWAITER,ALICEADAMS,THEVIRGINIAN,andTHEYELLOWGIRL.

f. KingVidor,OH95,byJamesUrsini,(UCLA),1969,January31

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DiscusseshisworkonDUELINTHESUN,andworkingwithDavidO.Selznick'sattentiontodetail,andadisagreementbetweenVidorandSelznick.TalksaboutissuesassociatedwithTechnicolorandwiththeHaysCode.DiscussesworkingwithLillianGish,JenniferJones,andGregoryPeckandhisvariousfilmsincludingRUBY

GENTRY,HALLELUJAH,OURDAILYBREAD,THECROWD,MANWITHOUTASTAR,LABOHEME,NORTHWESTPASSAGEandAMERICANROMANCE.

f. HalWallis,OH96,byJohnMahoney,unknown

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f. RaoulWalsh,OH97,byPeterBogdanovich,1971,February25

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f. HarryWarren,OH33,byIreneKahnAtkins,1972,August12,15,24,28,30;September7and25;October17and30;November14,17,21,29

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DiscussesearlydaysasassistantdirectoratVitagraph;thenconcentratesonhiscareerasaprolificsongwriterforWarnerBrothers,20thCentury-FoxandMGM.

f. GrantWhytock,OH18,byKevinBrownlow,1969,June

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f. CraneWilbur,OH9,byBillSmith,1971,December18

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DiscussescareerasactorintheserialsTHEPERILSOFPAULINEandROADO’STRIFEandhislatestworkasadirectorandwriter.Mrs.Wilbur,neeLenitaLane,isalsoincludedintheinterview.

f. CraneWilbur,OH106,byBillSmith,1972,March24


DiscusseshiscareerandmakingfilmssetinprisonswithBryanFoy.

Documents

Finding Aid Oral History Collection · 2019-08-20 · Finding Aid for the Oral History Collection Collection Processed by: Marissa Vassari, 8.8.12 Revised, Emily Wittenberg, 11.1.18