Transcript: Darryl F. Zanuck | Mar 01, 1978

The opening slate reads “Talking film.”

Henry King appears. He is in his early nineties, and he has white hair. He is wearing glasses, and a light blue suit with a white shirt and a matching bow tie. He is sitting on an orange coach with a green cushion. Hanging on the wall behind him, there are several diplomas and certificates.

Henry King says WELL, I HAVE EXPRESSED MYSELF
MANY TIMES ABOUT ZANUCK AND
THE ZANUCK YEARS.

A caption appears on screen. It reads “Henry King, Director.”

Elwy says DO IT AGAIN.

Henry King says VERY CONTROVERSIAL MAN.
BUT TO ME, THE LAST OF THE
GREAT HEADS OF THE STUDIO.
HE'S THE LAST.
THEY HAVE HAD NO ONE THAT HAS
THAT ABILITY TO ASSEMBLE
THE PEOPLE AND ASSUME
THE RESPONSIBILITY THAT
THIS MAN HAD.
THIS MAN HAD A RESPONSIBILITY
TO THE PEOPLE.
HE SAID TO ME ONE DAY, HE
SAID, HENRY, THERE ARE 3,700
PEOPLE ON THE PAYROLL
OF THIS STUDIO NOW.
HE SAID, IT'S MY
RESPONSIBILITY TO THOSE
PEOPLE TO KNOW THEY
HAVE A JOB TOMORROW.
THAT THIS JOB IS
GOING TO CONTINUE.
I ALSO HAVE A RESPONSIBILITY
TO THE PUBLIC THAT I AM NOT
GOING TO FEED THEM
A LOT OF TRASH.
THAT I AM GOING TO GIVE THEM
GOOD WHOLESOME STORIES.
THAT WE'RE GOING TO
GIVE THEM ENTERTAINMENT.
I'M NOT TRYING
TO ELECT ANYONE.
I'M NOT TRYING TO PREACH
ANY DOCTRINE, BUT HE SAYS,
I'M TRYING TO SELL
ENTERTAINMENT.

Philip Dunne appears. He is in his early seventies, and has short blondish hair. He is wearing glasses, and a black shirt. He is sitting at his desk, in his office. Hanging on the wall behind him, there are several pictures.

Philip says WELL, HE WAS A
BENEVOLENT DESPOT.
I SUPPOSE THAT'S THE
WAY TO RUN A STUDIO.

A caption appears on screen. It reads “Philip Dunne, Writer.”

Philip continues YOU CERTAINLY CAN'T
RUN IT BY COMMITTEE.
AND IT NEEDED A STRONG HAND.
BUT HE RESPECTED
CREATIVE PEOPLE.
AND HE ENCOURAGED
THEM TO DO THEIR BEST.
SO THAT'S WHY I SAY HE
WAS A BENEVOLENT DESPOT,
AND A CREATIVE
ONE PRODUCTIVELY.

Milton Sperling appears. He is in his mid-fifties, and has brown hair. He is wearing glasses, and a mustard polo t-shirt.

Milton says WELL, THAT YEAR, THE YEAR OF
SUN VALLEY SERENADE,
I HAD DONE FOUR OR FIVE
SCRIPTS FOR ZANUCK.

A caption appears on screen. It reads “Milton Sperling, Producer.”

Milton continues AND THE FIFTH ONE, I
THINK, THE STORY WAS
SUN VALLEY SERENADE.
AND ZANUCK SAID, I
WANT TO PROMOTE YOU.
HE SAID, WHAT WOULD YOU LIKE
TO BE, A DIRECTOR OR PRODUCER?
YOU CAN EITHER PRODUCE
THIS PICTURE OR DIRECT IT.
TAKE YOUR CHOICE.
AND I SAID, I WANT TO
BE LIKE YOU, DARRYL.

Elwy crackles.

Milton continues SO HE SAID,
YOU'RE A PRODUCER.
AND THAT'S HOW I GOT
TO BE A PRODUCER.

Elwy Yost appears in the studio. He’s in his fifties, mostly bald with some dark hair on the sides, and he has a moustache. He wears glasses, a brownish suit jacket, grey trousers, a white shirt, and a dark brown tie. He hosts the program sitting on a chair against a black background with a red film reel. The reel reads “Talking Film” several times, alternately in white and orange. Elwy holds some memory notes on his lap.

Elwy says IF YOU WERE TO LIST THE NAMES
OF THE CZARS, THE GIANT
MOGULS OF THE MOTION PICTURE
INDUSTRY, YOUR LIST WOULD
HAVE TO INCLUDE LOUIS B.
MAYER OF M.G.M., JACK L. WARNER
OF WARNER BROTHERS,
HARRY COHN OF COLUMBIA,
ADOLF ZUKOR OR PARAMOUNT, AND
FINALLY THE SUBJECT OF THIS
PROGRAM, DARRYL F. ZANUCK, WHO
PRESIDED OVER THE DOMINION
OF TWENTIETH CENTURY FOX FOR
SOMETHING LIKE 30 YEARS
AND WAS TRULY THE
LAST OF THE MOGULS.
THE PORTRAIT THAT FOLLOWS IS
IN THE WORDS OF PEOPLE WHO
WORKED AT FOX AND
KNEW DARRYL ZANUCK.
DIRECTOR HENRY KING,
PRODUCER, MILTON SPERLING,
SCREEN WRITER PHILIP DUNNE,
CHIEF PRODUCTION MANAGER,
RAYMOND KLUNE, AND ACTOR,
HENRY FONDA.

Raymond Klune appears. He is in his mid-seventies, and has white hair and a moustache. He is wearing a checkered white and brown shirt. He is sitting in the open-air.

Elwy says RAY, JUMPING AHEAD SOME
YEARS, YOU EVENTUALLY CAME
UNDER ANOTHER GIANT OF
THE CINEMA, DARRYL F. ZANUCK
OF TWENTIETH CENTURY FOX.

A caption appears on screen. It reads “Raymond Klune, Production Manager.”

Elwy continues HOW MANY YEARS DID
YOU WORK FOR ZANUCK?

Raymond smiles and says 13 YEARS.

Elwy says AND YOUR POSITION THERE?

Raymond says EXECUTIVE PRODUCTION MANAGER
OF TWENTIETH CENTURY FOX.
NOW, THAT WAS A DIFFERENT TYPE
OF ASSOCIATION THAN I HAD
HAD BEFORE THAT BECAUSE WITH
GRIFFITH AND WITH SELZNICK,
YOU WERE INTIMATELY ASSOCIATED
WITH INDIVIDUAL PICTURES.
WITH ZANUCK, THE FIRST
YEAR I WAS THERE,
WE MADE 55 MOTION PICTURES.
I COULDN'T BE INTIMATELY
ASSOCIATED WITH ANY OF THEM.
IT WAS A FACTORY OPERATION

Elwy says RIGHT.

Raymond says WITH THOUSANDS AND THOUSANDS
OF PEOPLE.
IT WAS INTERESTING
IN ANY EVENT.

Elwy says DURING THE ZANUCK YEARS,
ARE THERE ANY PICTURES
THAT STAND OUT?
WHAT YEARS WERE THEY AGAIN?

Raymond says 1943 TO 1956.

Elwy says THROUGH
RAZOR'S EDGE.

Raymond says OH, RAZOR'S
EDGE, THE ROBE.
WE HAD MANY GREAT
MOVIES THERE.
WILSON,
WHICH
WAS A FINE MOVIE.
BROKE ZANUCK'S HEART BECAUSE
IT WAS HIGHLY UNSUCCESSFUL.
BUT DARRYL ZANUCK WAS ONE OF
THE GREAT, GREAT STUDIO HEADS
THAT I'D EVER ENCOUNTERED.
HE WAS A GREAT ADMINISTRATIVE
AND CREATIVE EXECUTIVE HEAD
OF A STUDIO.
AND HE WAS A PLEASURE
TO WORK WITH.
EVEN THOUGH HE WORKED
THE HELL OUT OF YOU ALSO.

Elwy says ANY ODD HABITS?
SELZNICK, AS YOU'VE INDICATED,
WORKED FROM TWO IN THE
AFTERNOON TO TWO
IN THE MORNING.
WHAT ABOUT ZANUCK?

Raymond says WELL, ZANUCK WORKED FROM ABOUT
11 IN THE MORNING UNTIL TWO
THE FOLLOWING MORNING.
AND HE OFTEN, THERE WAS SO
MUCH FILM TO BE LOOKED AT, THE
DAILIES, YOU KNOW, WHEN YOU
HAD FIVE, SIX OR SEVEN OR
EIGHT COMPANIES SHOOTING
EVERY DAY, THE DAILIES IN
THEMSELVES TOOK YOU
TWO HOURS TO SEE.
BUT THEN YOU HAD ROUGH CUTS TO
LOOK AT, YOU HAD FINAL CUTS
TO LOOK AT.
AND HE'D DO THAT AT NIGHT.
AND HE OFTEN, ESPECIALLY
WHEN IT WAS A FIRST OR SECOND
CUT, WANTED A NUMBER OF PEOPLE
BACK TO LOOK AT THEM WITH HIM,
LIKE ME BECAUSE THAT WAS
WHEN YOU FOUND OUT WHETHER
OR NOT YOU HAD TO
REDO SOMETHING.
AND THAT MEANT,
AGAIN, PLANNING.
AND THE NEXT DAY I WOULD OFTEN
GO IN FULL OF ALL SUCH NOTES
ABOUT WHAT WE HAD TO REDO.

Henry King says EVERY MAN UNDER THE SUN.
HE WAS ROUGH,
HE WAS GENTLE,
HE WAS SOFT, HE WAS
TOO SOFT AT TIMES.
TRIED TO ACT TOUGH.
HE TRIED TO MAKE YOU BELIEVE
HE WAS THE TOUGHEST MAN IN THE
WORLD, AND HE WAS THE
SOFTEST MAN I EVER MET.
I MEAN, HE WAS THE TYPE OF A
MAN THAT A BUM LIKES TO MEET
FOR A TOUCH, YOU KNOW?

Henry King and Elwy laugh.

Henry King continues BECAUSE YOU KNOW
YOU'RE GONNA GET IT.
BUT HE -- OF COURSE I
ADMIRE THE MAN SO MUCH.
I'VE SEEN THE THINGS
HE'S GONE THROUGH.
I'VE SEEN CRISIS ARISE.
FOR INSTANCE, I'LL JUST
RECITE ONE LITTLE INSTANCE.
WE WERE DOING A PICTURE
CALLED
A COUNTRY DOCTOR.
THAT WAS ALL DONE FROM
NEWSPAPER STORIES AND IN
CONFERENCE BETWEEN NUNNALLY
JOHNSON, MYSELF, AND
SONIA LEVINE, MANUFACTURED
FROM THE NEWSPAPERS,
MANUFACTURED THE STORY.
AND WE GOT UP TO QUINTS WERE
BORN, AND THEY HAD A SCENE
WHERE THE SHERIFF WAS GOING TO
SERVE THE WARRANT OR SOMETHING.
AND WE GOT STUCK.
WE ASKED ZANUCK WHAT TO DO.
GOT ZANUCK IN ON
THE CONFERENCE.
ZANUCK LISTENED TO WHERE WE
WERE, HE SAID, WELL, DAMMIT,
KEEP THE BABIES ALIVE.

They both laugh.

Henry King continues WE HADN'T THOUGHT ABOUT THAT.

Raymond says HE WAS NOT ROUGHER.
THAT'S NOT THE CORRECT WORD.
HE WAS A STERNER TASK MASTER.
HE DIDN'T TRY TO DO EVERYTHING
HIMSELF THE WAY SELZNICK DID.
HE WOULD DELEGATE.
AND ONCE HE DELEGATED,
YOU HAD THE AUTHORITY.
AND IF YOU DIDN'T DO
YOUR JOB, OUT YOU'D GO.
BUT HE NEVER
INTERFERED WITH IT.
ONCE YOU HAD THE AUTHORITY TO
DO SOMETHING, HE WOULD JUST
NEVER INTERFERE.
I REMEMBER I HAD A HASSLE
WITH OTTO PREMINGER ONCE OVER
SOMETHING, AND OTTO WAS
VERY UPSET ABOUT THE THING.
AND I SAID, WELL, OTTO, I'M
TERRIBLY SORRY BUT THE CHIPS
ARE DOWN AND I HAVE TO MAKE
THE DECISION, AND YOU HAVE TO
ABIDE BY IT.
HE SAID, NO I DON'T.
HE SAYS, I'LL GO
OVER TO DARRYL.
AND I SAID, WELL,
WAIT JUST A MINUTE.
I'LL MAKE AN
APPOINTMENT FOR YOU.
SO I FLIPPED THE INTERCOM.
I SAID, DARRYL, OTTO
PREMINGER IS IN MY OFFICE.
AND HE AND I HAVE
JUST HAD AN ARGUMENT.
HE'S GOING TO APPEAL TO YOU.
AND ARE YOU FREE NOW?
HE SAID, I'LL SEE
HIM IN FIVE MINUTES.
THAT WAS THE END OF THAT.
OTTO CAME OUT OF HIS OFFICE,
AND IT WAS JUST AS I HAD TOLD
HIM IT WOULD BE.
DARRYL WOULD
NEVER, NEVER CHANGE.
IF HIS DECISION HAD SOMETHING
TO DO WITH THE CREATIVE
ASPECT OF IT, THAT
WAS ANOTHER MATTER.
BUT IF IT HAD TO DO WITH THE
LOGISTICS OR THE SCHEDULE, OR
WHERE YOU WERE GOING TO DO IT,
OR HOW YOU WERE GOING TO DO
IT BECAUSE IN THOSE DAYS
THERE WERE MANY WAYS OF DOING
SOMETHING, YOU KNOW?
GO ON LOCATION, OR YOU COULD
DO IT IN THE STUDIO, OR YOU
COULD GO IT AT NIGHT, OR DAY
FROM NIGHT, OR WHATEVER, AND
OFTEN BUDGETARY CONSIDERATIONS
WERE THE CONTROLLING FACTOR.
HAD TO BE.
BECAUSE WE DID OPERATE WITH
RATHER STRICT FINANCIAL
CONTROLS IN THOSE MAJOR
STUDIO SITUATIONS.
IN FACT, THERE WAS REALLY
NO OTHER SUCCESSFUL WAY
THAT ONE COULD OPERATE.
AND WELL, DARRYL ZANUCK WAS
JUST, I THINK, THE BEST STUDIO
HEAD THAT'S BEEN AROUND.

A caption appears on screen. It reads “The Actor and the Studio.”

Henry Fonda appears. He is in his early seventies, and has short grey hair. He is wearing a light blue shirt, and a pair of jeans. He is sitting comfortably in an armchair. In the background, there is another armchair and a big fern.

Elwy says HENRY FONDA, TALKING ABOUT
THE ORGANIZATION OF FOX AND
CONTRACTS AND
THINGS LIKE THAT.
FROM AN ACTOR'S POINT OF VIEW,
WHAT WAS IT LIKE TO BE A
CONTRACT PLAYER AT TWENTIETH
CENTURY FOX IN THE HEYDAY OF
THE BIG STUDIOS?
YOUR CONDITIONS OF LIFE THERE,
GOING TO THAT PLACE TO WORK.
ARE THERE ANY MEMORIES
OVERALL OR GENERAL MEMORIES?

Henry Fonda chuckles and says NO, THEY'RE VERY UNHAPPY
MEMORIES BECAUSE I WAS A
REASONABLY HAPPY ACTOR
IN THIS MEDIUM BEFORE
I SIGNED THE CONTRACT.
I WAS A FREELANCE.
BECAUSE THE WENINGER
CONTRACT WAS VERY DIFFERENT.
HE WAS AN INDEPENDENT MAN.
HE MIGHT HAVE USED ME IN ONE,
MAYBE TWO FILMS A YEAR, SO I
WAS LOANED OUT TO THE BEST
FILMS THAT WERE OFFERED TO ME.
THAT'S HOW I GOT TO --

Elwy says DO THOSE FOX PICTURES.

Henry Fonda says THE GOOD JESSE JAMES FOX WAS
ON LOAN OUT FROM WENINGER.
AND THEN EVENTUALLY, HE
DISSOLVED THIS COMPANY
FOR TAX REASONS, AND I
BECAME A FREELANCE.
AND I DID SOME
GOOD FILMS AT TWENTIETH.
I DID
YOUNG Mr. LINCOLN,
AND
DRUMS ALONG THE MOHAWK,
BOTH AS A FREELANCE.
AND I WAS DOING PICTURES
AT OTHER STUDIOS TOO,
IN THE SAME WAY.

Elwy says DID YOU FINALLY GET
A CONTRACT AT FOX?

Henry Fonda says I DIDN'T WANT A
CONTRACT WITH ANYBODY.
BUT
THE GRAPES OF WRATH
CAME ALONG
AND ZANUCK USED IT LIKE BAIT.
AND EVERY ACTOR IN THE COUNTRY
WANTED TO PLAY TOM JOAD.
AND ZANUCK ASKED ME IF I WOULD
SIGN A CONTRACT, IF HE WOULD
GIVE ME TOM JOAD.
AND I HAD A BIG TALK
WITH HIM ABOUT IT.
HE SAID, LOOK, I CAN'T AFFORD
TO GIVE YOU THIS MARVELLOUS
PART AND THEN HAVE YOU TURN
AROUND AND GO TO M.G.M. AND DO
A PICTURE WITH JOAN CRAWFORD.
AS THOUGH THAT WAS THE WORST
THING THAT COULD HAPPEN
TO AN ACTOR, YOU KNOW?

Elwy laughs.

Henry Fonda continues SO IT SOUNDED TO ME LIKE
HE WAS REALLY SERIOUS.
I WANT TO BUILD YOU UP.
SO I BIT.
AND I TOOK THE CONTRACT.
I SIGNED THE CONTRACT.
AND I DID
THE GRAPES OF WRATH.
WELL, MY NEXT FILM, AS
I'VE ALREADY SAID WAS...
LILLIAN RUSSELL.
JUST TRASH.
I DID NOTHING BUT TRASH AT
THAT STUDIO UNTIL
OX-BOW.
AND THAT WAS ONLY BECAUSE
BILL WELLMAN MADE A DEAL WITH
ZANUCK TO SAY, I WILL DO THIS
PICTURE THAT YOU WANT ME TO
DO, IF YOU'LL LET
US DO
OX-BOW.
AND ZANUCK MADE THE DEAL, AND
WE DID
OX-BOW
WITH NOBODY
PAYING ANY ATTENTION TO US.
ZANUCK DIDN'T EVEN KNOW THE
PICTURE WAS ON THE LOT.
WHEN IT WAS FINALLY PREVIEWED
AND ZANUCK AND HIS WIFE WENT
TO THE PREVIEW THEY HATED IT.
HATED IT.

Elwy says THAT MASTERPIECE?

Henry Fonda says THEY HATED IT?
YES.

Henry Fonda sighs and continues AND WHEN THE PICTURE FINALLY
BECAME A PRESTIGE PICTURE,
AND ZANUCK REALIZED, THEN
HE BEGAN TO TAKE BOWS.
IT WAS HIS PICTURE.
ANYWAY, THE QUESTION WAS
WHAT WAS IT LIKE BEING UNDER
CONTRACT FOR TWENTIETH.
FOR ME, IT WAS HELL.
I ONLY WAS HAPPY WHEN I WOULD
FIGHT WITH ZANUCK AND GET OUT
OF DOING A FILM I DIDN'T
WANT TO DO AND GO OVER TO
PARAMOUNT TO DO
LADY EVE,
OR TO WARNER BROTHERS TO DO
MALE ANIMAL.

Elwy says LADY EVE
WITH
PRESTON STURGES.

Henry Fonda says THAT'S RIGHT.
BUT THOSE WERE
VERY FEW TIMES.
MOST OF THE TIME I DIDN'T WIN
THE FIGHT, AND I WOULD STAY
AND DO
WILD GEESE CALLING
AND SOME OF THE OTHER TRASH.

A caption appears on screen. It reads “Working with Zanuck.”

Henry King says DARRYL ZANUCK IS
NOT A STRANGE MAN.
THE STRANGE MAN DOESN'T
SEEM TO ME TO APPLY TO HIM.
HE'S, IN A WAY,
AN EVERYDAY MAN.
A TOUGH MAN, FROM HIS WAY OF
THINKING, AND A SOFT MAN FROM
MY WAY OF THINKING.
I THINK HE'S ONE OF THE NICEST
MEN AND, OF COURSE, HE'S THE
LAST OF THE BIG STUDIO HEADS.
HE'S THE LAST ONE OF THE
MEN WHO ASSUMED ALL THE
RESPONSIBILITY OF THE STUDIO
NO MATTER WHAT IT WAS,
FROM THE GARDENER TO THE TOP.
IT WAS HIS FAULT.
HE WAS, I KNEW
THEY WERE HERE.
IF ANYTHING WAS WRONG, HE
WOULD TAKE THE BLAME FOR IT.
BUT HE HAD THE ABILITY TO
SURROUND HIMSELF WITH THE
CHAMPION PEOPLE OF THE
WORLD, APPARENTLY.

Henry King chuckles and continues I DON'T SAY THAT JUST BECAUSE
I HAPPEN TO BE ONE OF THEM.

Elwy says YOU WERE.

Henry King says BUT AT THE SAME TIME, HE WAS
ALWAYS SELECTING THE BEST.
HE HAD THE VERY BEST.
HE RAN THE STUDIO.
THIS MAN WAS AT THAT STUDIO
SOMETIMES TO TWO IN THE MORNING.
HE PROBABLY WOULDN'T SHOW UP
THE NEXT DAY UNTIL TEN.
BUT WHEN HE CAME IN,
EVERYTHING WAS IN ORDER ON
HIS DESK, AND HE WENT DOWN A
STRAIGHT LINE, EVERYTHING.
NOTHING PASSED THAT MAN'S EYE.
I DON'T KNOW HOW TO EXPLAIN
HIM OTHER THAN THAT.
BUT HE WAS A DOER.

Elwy says AND HE WAS ALSO AN ARTIST.
HE COULD CREATE.
HE WAS A CREATIVE MAN.

Henry King says HE WAS A GOOD WRITER.
HE WAS A VERY GOOD WRITER.
AND HE HAS COME TO YOUR AID
A MILLION TIMES WHEN YOU'D
THINK ALL HOPE WAS LOST.
AND HE WOULD SPRING
IT LIKE THAT.

Elwy says HOW WAS ZANUCK ABLE TO TAKE
RISKS, AND I WOULD SUSPECT
THEY WERE RISKS IN BACKING
SUCH PICTURES AS
THE OX-BOW INCIDENT,
PINKY, GRAPES OF WRATH,
AND
THE GUNFIGHTER?
THOSE WERE VERY
DIFFERENT MOVIES.
HOW DO THEY GET MADE?
I MEAN...

Henry King says HE WOULD APPROVE THESE STORIES
WHEN THEY WERE PURCHASED.
EVERYTHING CAME
TO HIS ATTENTION.
THE STORY DEPARTMENT CAME TO
HIM, EVERYTHING WAS APPROVED
BY ZANUCK.
HE APPROVED IT.
OF COURSE, HE HAD THIS.
HE HAD PEOPLE AT THE HEADS OF
THESE DEPARTMENTS THAT HE HAD
GREAT CONFIDENCE IN.
AND IF THEY EVER, YOU KNOW,
EVER MISLED HIM ON ONE OF
THESE, WELL, HIS CONFIDENCE
WOULD FAIL, AND HE WOULDN'T
MIND REMINDING THEM
OF IT, YOU SEE?
AND WHEN A STORY COME BY
LIKE THE
OX-BOW INCIDENT,
HE'D SAY, THIS IS DIFFERENT.
THIS IS A DIFFERENT STORY.
AND I DON'T WANT TO DO THE
SAME PICTURE ALL THE TIME.
LET'S DO THAT.
WHEN
THE GUNFIGHTER
CAME ALONG.
THAT, I THINK, NUNNALLY
JOHNSON WAS MORE RESPONSIBLE
FOR THAT THAN ANYTHING.
HE TOOK THAT TO
ZANUCK'S ATTENTION.
IMMEDIATELY ZANUCK
UNDERSTOOD IT.
IT WAS A STORY
ABOUT ONE THING.
IT WAS ABOUT
JUST ONE THING.
A MAN THAT WANTED TO QUIT
DOING SOMETHING HE'D BEEN
DOING ALL HIS LIFE.

Elwy says HE WANTED TO QUIT
FIGHTING, DIDN'T HE?
GUNFIGHTING.

Henry King says THAT WAS THE PLOT.
HE WANTED TO QUIT.
HE WANTED TO GET BACK
TO HIS WIFE AND BABY.

Elwy says DID HE EXPECT IT WOULD
MAKE MONEY THOUGH?
HE DIDN'T EXPECT IT
WOULD LOSE MONEY.
IT DIDN'T OF COURSE.

Henry King says HE DIDN'T MAKE PICTURES
THAT HE THOUGHT WOULD LOSE MONEY.
IF HE THOUGHT A
PICTURE WAS NO VALUE,
HE WOULDN'T HAVE
ANYTHING TO DO WITH IT.
HE SAID NO ONE
WANTS TO SEE THAT.

Elwy says SO HE WAS QUITE CONVINCED
THE GRAPES OF WRATH
AND
PINKY
AND THESE
MOVIES WOULD MAKE MONEY?

Henry King says THEY WERE ABOUT SOMETHING.
THAT WAS THE MAIN THING.
BUT IN
THE GUNFIGHTER,
WE HAD ONE LITTLE THING
THAT WAS VERY FUNNY.
ZANUCK WAS AWAY AT THE TIME.
AND WHEN I TALKED TO PECK,
PECK SAID HE'D DO THE STORY
IF I DID IT.
AND I TOLD PECK ABOUT
WHAT THESE MEN WERE LIKE.
I SAID, A MAN WASN'T A MAN
UNLESS HE HAD A MUSTACHE.
AND I SAID, WHEN THEY HAD A
HAIRCUT, THEY PUT A POT ON HIS
HEAD AND CUT THE HAIR
RIGHT UP TO THAT.
AND I TOLD HIM THESE THINGS.
AND PECK WAS, HE'S A VERY
QUICK FELLA TO GRAB ON.
TWO DAYS LATER, PECK CAME INTO
THE STUDIO AND HE HAD HIS
HAIRCUT RIGHT UP TO HERE.
SHAVED RIGHT UP TO HERE.

Henry King points at his neck and continues AND HE HAD HIS MUSTACHE, TWO
DAYS GROWTH OF MUSTACHE.

Elwy says BY GOLLY.

Henry King says WHEN I WORKED, GOT THROUGH
THE FIRST SEQUENCE OF THE
PICTURE, NUNNALLY
SAID ZANUCK WAS AWAY.
NUNNALLY SAID TO ME, HE SAID,
HENRY, YOU KNOW, I WONDER HOW
ZANUCK IS GOING TO LIKE
THAT MUSTACHE ON PECK?
AND I SAID, WELL, NUNNALLY,
WHAT DO YOU MEAN THE MUSTACHE
ON PECK?
I SAID A MAN IN THOSE DAYS, A
MAN, HE HAD TO HAVE A MUSTACHE.
HE JUST WASN'T A MAN
WITHOUT A MUSTACHE.
AND I SAID, WHAT
ARE YOU GONNA DO?
HE PLAYED A GENERAL
IN THE LAST PICTURE.
WHAT ARE YOU GOING TO DO, JUST
CHANGE THE UNIFORM AND CALL
HIM
THE GUNFIGHTER?
CHANGE FROM A GENERAL, THAT'S
ALL YOU'RE GONNA DO TO HIM?
HE SAID, YOU MAY BE RIGHT,
I JUST WONDER HOW
ZANUCK WILL TAKE IT.

Elwy laughs.

Henry King continues WELL, WE WENT ON,
MADE THE PICTURE.
WE HAD IT COMPLETED,
FINISHED AND CUT.
WELL, ZANUCK CAME
BACK FROM EUROPE,
AND THE FIRST THING HE
SAW WAS
THE GUNFIGHTER.
HE LOOKED AT IT.
HE SAID, THIS IS TREMENDOUS.
TREMENDOUS.
IT'S GREAT.
IT'S EXCELLENT.
BUT HE SAYS I'D GIVE 50,000 DOLLARS
OF MY OWN MONEY RIGHT OUT OF
MY OWN POCKET IF I COULD GET
THAT MUSTACHE OFF OF PECK.

Elwy laughs.

Henry King continues WELL, OF COURSE, I COULD
HAVE GONE THROUGH THE SEAT.
NUNNALLY LOOKED AT ME.
HE WOULDN'T SAY, HE
DIDN'T PASS ANY BUCKS,
HE JUST LOOKED AT ME.
AND I SAID, WELL, DARRYL, I
SAID, HE PLAYED A GENERAL
IN THE LAST PICTURE
AND WORE A UNIFORM.
AND I SAID, HE WAS
POLICED UP LIKE A GENERAL.
NOW, HE'S GOING TO PLAY A
BANDIT, HE'S GOING TO PLAY
THIS GUNFIGHTER, YOU'RE
GOING TO JUST TAKE
THE UNIFORM OFF OF HIM.
HE SAYS, HENRY,
PLEASE UNDERSTAND ME.
HE SAYS, REMBRANDT COULDN'T
HAVE PAINTED A GREATER PICTURE
THAN THIS IS HERE.
YOU'VE PAINTED A REMBRANDT.
BUT HE SAYS, I'M JUST THINKING
ABOUT THAT YOUNG AUDIENCE,
PECK'S FOLLOWING.
I'M WONDERING IF THEY'LL
GO FOR THE MUSTACHE.

Henry King smiles.

Elwy says DID THEY?

Henry King says WELL, IT DIDN'T MAKE AS MUCH
MONEY AS SOME OF HIS OTHER
PICTURES, BUT IT DID VERY
WELL, AND WILL LIVE LONGER
THAN ANY OF THE OTHERS.

Milton and Elwy appear sitting opposite each other. Elwy is wearing glasses, and a light-coloured suit jacket.

Milton says WELL, I MET HIM FIRST AT
WARNER'S, SEVERAL YEARS BEFORE
HE TOOK OVER TWENTIETH CENTURY.
WHEN I FIRST CAME
OUT TO HOLLYWOOD,
HE WAS MY SECOND EMPLOYER.
I WAS SENT OUT TO SEE
HIM ON THE GROUNDS THAT
I WAS A PERSON CAPABLE
OF TAKING SHORTHAND.
OF COURSE I WASN'T.
I COULDN'T TAKE SHORTHAND,
BUT I PRETENDED I
COULD TO GET THE JOB.

Elwy says YOU WERE JUST A KID.

Milton says JUST A KID.
AND THE JOB WAS TO BE ZANUCK'S
CONFERENCE SECRETARY.
WHICH MEANT I SAT IN ALL THE
MEETINGS WITH WRITERS, ZANUCK
WITH WRITERS, AND WOULD MAKE
NOTES OF THE IDEAS ZANUCK HAD,
NOT THE OTHER PEOPLE.
JUST ZANUCK'S IDEAS.

Elwy laughs.

Milton continues WHICH WOULD THEN BE TYPED
UP AND SENT TO THEM AS THE
SERMON, YOU KNOW,
OF THE DAY'S EVENTS.
MY FIRST MEETING WITH
HIM OCCURRED IN THE
FOLLOWING FASHION.
I WENT OUT TO WARNER BROTHERS
WHERE HE WAS THEN RUNNING
THE STUDIO.
AND I WAS TOLD TO WAIT BECAUSE
HE WAS IN A MEETING WITH SOME
PEOPLE WHO WERE MAKING
A PICTURE CALLED
LITTLE CAESAR, I
THINK IT WAS.

Elwy says ROARING TWENTIES.

Milton says ROARING TWENTIES.
AND I WAITED FOR
QUITE A LONG TIME.
I WAS TOLD WHEN A BUZZER SOUNDED
I WAS TO ENTER THE OFFICE.
AFTER HALF AN HOUR OR MORE, A
BUZZER SOUNDED, AND I WENT TO
THE DOOR, OPENED IT, AND
DISCOVERED, TO MY SURPRISE,
ANOTHER DOOR, WHICH I RAN
RIGHT INTO BECAUSE HE HAD
DOUBLE DOORS TO
SEAL OFF SOUND.
AND OPENED THAT DOOR, AND SAW
IN THE ROOM, A VAST ROOM,
HUGE OFFICE.
I'D NEVER SEEN AN OFFICE
THIS LARGE BEFORE.
THIS WAS A DESK
AT THE FAR END.
AND SITTING AROUND THE
WALLS WERE VARIOUS PEOPLE.
JIMMY CAGNEY AND MIKE CURTIZ,
AND HAL WALLIS, THE WRITER,
PRODUCER, THE WRITER OF THE
FILM, WHOSE NAME I FORGET,
AND A DESK WITH
NO ONE VISIBLE.
AND AS I STOOD THERE, ZANUCK
SUDDENLY POPPED UP FROM BEHIND
THE DESK WITH HIS POLO
MALLET POINTED AT ME.

Milton makes a gesture as if he were holding a machine gun, and continues AND HE WENT, DA DA
DA DA DA DA DA DA.

Elwy chuckles.

Milton continues AND I STOOD THERE
IN ASTONISHMENT.
AND HE FINALLY SAID, FALL
DOWN, YOU SON OF A BITCH,
YOU'RE DEAD.

Elwy chuckles again.

Milton continues SO I REALIZED HE WAS
ILLUSTRATING A WAY
IN WHICH CAGNEY WOULD
ASSASSINATE HIS RIVAL
WHEN HE CAME TO VISIT CAGNEY.
AND THAT WAS THE SCENE.
I WAS PLAYING THE RIVAL.

Elwy says HE NEVER STOPPED
SHOOTING, DID HE?
Milton says NEVER STOPPED SHOOTING
UNTIL HE SAID FALL DOWN.
HE ASSUMED I WOULD
KNOW WHAT TO DO.
AND HE WAS VERY ANNOYED THAT
HIS FIRST BULLET DIDN'T KILL ME.

They both laugh.

Milton says HE WAS MISSING ME.
IN ANY CASE,
THAT'S HOW WE MET.

Elwy says DID THAT IMAGE EVER CHANGE?
WAS ZANUCK ALWAYS
SHOOTING BULLETS?

Milton says ZANUCK WAS ALWAYS LIKE THAT.
ENORMOUS ENERGY.
ENORMOUS ENERGY, AND
A FRUSTRATED ACTOR.
HE LOVED TO ACT OUT SCENES.

Elwy says SHORT MAN, BIG MAN?

Milton says SHORT MAN.
HE WAS SMALL MAN.
SMALL, BUT WELL-BUILT,
VERY MUSCULAR.
VERY ATHLETIC PERSON.

Elwy says WHAT ABOUT THIS CURIOUS NOD
YOU WERE TELLING ME ABOUT
BEFORE THE INTERVIEW?

Milton says OH, YES.
ZANUCK LIKED PEOPLE, OF
COURSE, WHO AGREED WITH HIM.
ALSO PEOPLE WHOSE
OPINIONS HE RESPECTED.
AND, OF COURSE, THE WAY TO WIN
HIS RESPECT WAS TO HAVE AN
OPINION VERY MUCH
THE SAME AS HIS.

Elwy laughs quietly.

Milton continues AND THERE WAS ONE MAN WORKING
FOR HIM, A PRODUCER, WHO WAS
IDENTIFIED BY NUNNALLY JOHNSON
AS THE MAN WITH THE BIASED NOD.
THE MAN WITH THE BIASED NOD.
AND WHAT THAT MEANT WAS THAT
THE PRODUCER IN THE MEETING
WITH ZANUCK, AND ZANUCK LOVED
THIS MAN BECAUSE HE SAID
HE'S ALWAYS ONE
STEP AHEAD OF ME.
HE ALWAYS KNOWS EXACTLY HOW
I'M GOING TO, WHAT I'M GOING
TO SAY, WHETHER IT'S
RIGHT OR WRONG.
AND THE WAY IT WORKED WAS THAT
THE MAN WOULD SIT AND WATCH
ZANUCK VERY CAREFULLY,
AND LISTEN TO HIM.
AND WHEN HE HEARD ZANUCK
COMING TO THE END OF THE
SENTENCE, CALLING FOR A
DECISION, HE WOULD RAISE HIS
HEAD WAY BACK, AND THEN HE
WOULD BRING IT DOWN SLOWLY.
NOW, AS ZANUCK FINISHED, IF
ZANUCK WANTED AN AFFIRMATIVE
ANSWER, HE'D CONTINUE
IT DOWN TO THE NOD.
IF ON THE OTHER HAND, IT
CAME TO A NEGATIVE OPINION,
HE'D COME LIKE THIS,
AND JUST SWITCH
RIGHT IN THE MIDDLE
AND SHAKE HIS HEAD.

Elwy laughs.

Milton continues AND ZANUCK ALWAYS
HAD HIS EYE ON HIM.
AND HE'D SAY,
THAT MAN KNOWS.
HE'S ALWAYS THERE WITH ME.
KNOWS EXACTLY HOW IT IS.
AND THAT WAS BRILLIANT.
KEPT HIM IN WORK FOR YEARS.

Milton laughs.

Elwy says AND YET, THIS MAN COULD, NOT
NECESSARILY TO MENTION NAMES,
WHEN SOMEBODY WAS DEPOSED BY
HIM, AT ONE STAGE, MAKE A
REFERENCE, COULDN'T HE?

Milton says YES, HE COULD BE VERY UNKIND.

Elwy says A DEFLATING REFERENCE.

Milton says DEFLATING REFERENCE.
HE COULD BE VERY INSENSITIVE.
COULD BE INSENSITIVE.
HE COULD BE TERRIBLY
INSENSITIVE, AND YET,
BE SO UNBEARABLY KIND.

Philip says WHEN WE FINISHED
DAVID
AND BATHSHEBA, WHICH WAS
SORT OF A LIFE PRESERVER
FOR THE COMPANY BECAUSE
THEY'D HAD A LOT OF FLOPS.
THIS IS DURING THE
BEGINNING OF THE DECLINE.
AND
DAVID AND BATHSHEBA
WAS SUCH A BIG HIT
IT SAVED THEM AT THE TIME.
AND I REMEMBER ZANUCK TALKING,
WHEN WE WENT BACK TO NEW YORK
FOR THE OPENING, AND ZANUCK
WAS TELLING EVERYBODY,
PHIL DUNNE AND I WORKED FOR
TWO YEARS ON THE SCRIPT.
WE MUST HAVE HAD A
HUNDRED CONFERENCES.
WELL, I LOOKED BACK AT MY
LOGBOOK, WE'D HAD FOUR MEETINGS.

Elwy laughs and says MY GOODNESS.

Philip says BUT HE WAS STILL PRESENT.
EVERYBODY UNDERSTOOD HOW THE
SCRIPT WAS WRITTEN AND THESE
FOUR MEETINGS, PROBABLY A
TOTAL OF SEVEN OR EIGHT
HOURS WAS THE EXTENT OF IT.

Elwy says MILTON, I UNDERSTAND HE WAS
QUITE A PRACTICAL JOKER.

Milton says OH, YES.
HE CAME UP WITH SOME BIZARRE
AND WONDERFUL JOKES.

Elwy says GOT A COUPLE?

Milton smiles and says WELL, FOR ONE THING, HE
LOVED TO TICKLE PEOPLE.
HE HAD A PROD.
HE HAD A LONG STICK.

Elwy says THAT HE WOULD
TICKLE PEOPLE WITH?

Elwy laughs.

Milton says THAT HE WOULD TICKLE PEOPLE
WITH WHEN THEY WEREN'T LOOKING.
USUALLY, AS THEY TURNED AWAY
FROM HIS DESK, HE WOULD REACH
OVER AND CATCH THEM
WHERE IT TICKLED MOST.
AND PEOPLE, OF COURSE, JUMPED
IN SURPRISE AT THIS ASSAULT
ON THEM.
AND HE WOULD, OF COURSE,
HOWL WITH LAUGHTER.
THERE WAS ONE MAN WHO
HAD A JOB FOR YEARS.
I THINK HE STAYED FOR TEN
YEARS BECAUSE HE COULD JUMP
HIGHER THAN ANYBODY ELSE.

Elwy says WHAT WAS IN THE STICK?

Milton says IT WAS KIND OF
AN ELECTRIC PROD.

Both Milton and Elwy laugh.

Elwy says AN ACTUAL ELECTRIC PROD
THEY'D USE FOR CATTLE?

Milton says CATTLE PROD.

Elwy says FIRST EXECUTIVE
SUITE, ELECTRIC PROD.

Milton says IT WAS WONDERFUL.
EVERYONE WAS
AVAILABLE TO THIS.

Elwy crackles.

Milton says AND HE RESPECTED NO ONE.
IT DIDN'T MATTER WHO IT WAS.
HE WOULD GIVE A LITTLE GOOSE,
YOU KNOW, AS THEY WALKED IN
OR WENT OUT.

Elwy says AND THIS ONE FELLA WOULD LEAP
HIGHER THAN ANYBODY ELSE.

Milton says HE WAS LIKE A BALLET DANCER.
IT WAS FANTASTIC.
HE WOULD KEEP JUMPING, TOO.

Elwy says AND ZANUCK WAS DRIVEN TO...

Milton says OH, HYSTERICAL WITH
LAUGHTER AT THIS.

Elwy says AND SOMETHING
WITH BUTTONHOLES?

Milton says YES, I TOLD YOU HE LOVED TO
DO, FOR EXAMPLE, A MAN WOULD
COME IN WITH A BRAND NEW SUIT
THAT HE'D HAVE MADE, COST HIM
AT THAT TIME, 200 DOLLARS,
MADE IN LONDON FOR HIM.
AND, OF COURSE, IN THOSE DAYS,
TWO SUITS HAD BUTTONHOLES UP
HERE FOR BOUTONNIERES
AND THAT SORT OF THING.

Milton points at both sides of his chest and continues AND ZANUCK WOULD
LIE IN WAIT FOR HIM.
HE'D WAIT FOR HIM UNTIL HE
WENT TO THE MEN'S ROOM.
AND HE'D FOLLOW HIM IN.
AND HIS COAT WOULD
BE HANGING ON A HOOK.

Elwy says JUST OUTSIDE THE CUBICLE

Milton says JUST OUTSIDE THE CUBICLE.
ZANUCK WOULD HAVE A LONG LOCK
WHICH HE HAD BOUGHT SOMEPLACE,
AND PUT IT THROUGH THE TWO
BUTTONHOLES AND PULL THE
COAT TOGETHER,
AND THEN LOCK IT.

Elwy crackles.

Milton continues THE COAT WOULD BE
FASTENED BY THIS LOCK.
HE COULDN'T GET
IT OUT, OF COURSE.
UNLESS HE GOT THE LOCKSMITH
OR CUT THE BUTTONHOLES OUT.
BUT THAT WAS THE
SORT OF THING HE DID.
HE WAS TERRIBLY FUNNY.
HE WAS ALSO ONE OF THE
KINDEST MEN I'VE KNOWN.
AND RESPECTFUL OF PEOPLE
WHO WORKED FOR HIM.
CREATIVE PEOPLE
WHO WORKED FOR HIM.
AND HE WAS A FATHER FIGURE
TO ME, I CONFESS THIS.
I HAD ENORMOUS
ADMIRATION FOR HIM.
AND HE WON MY ADMIRATION
BEYOND ANY RECALL ON THE FIRST
INSTANCE OF A PREVIEW OF THE
FIRST PICTURE I MADE FOR HIM.
WE WENT OUT TO
PASADENA FOR THIS.
AND THE PICTURE HAD A
DISASTROUS RECEPTION.
TOTAL.
IT REJECTED COMPLETELY
BY THE AUDIENCE.
THERE WAS NOT ONE LAUGH.
PEOPLE WERE LEAVING FROM THE
MIDDLE OF THE PICTURE ON.
AND I FELT I
COULDN'T FACE ANYONE.
SO I SNEAKED OUT THE SIDE DOOR
AND WALKED RIGHT INTO ALL THE
EXECUTIVES FROM THE STUDIO,
PLUS PEOPLE FROM NEW YORK.
AND AS I CAME OUT OF THE
THEATRE, THEY ALL SAW ME,
AND JOE SCHENCK WHO WAS THEN
PRESIDENT OF THE COMPANY,
POINTED AT ME, AND HE
SAID, THERE HE GOES.
AS THOUGH I WERE A THIEF.
I STOPPED DEAD.
AND THEY ALL LOOKED AT ME
ACCUSINGLY BECAUSE THIS WAS MY
PICTURE, AND IT WAS A BOMB.
ZANUCK PUT HIS ARM AROUND
ME, AND HE SAID, IF THERE'S
ANYTHING WRONG WITH THIS
PICTURE, IT'S MY FAULT BECAUSE
I TOLD HIM WHAT TO DO.

Elwy says OH, MY GOSH.

Milton says THEN HE TURNED TO ME AND HE
SAID, NOW, LET'S GO BACK TO
THE STUDIO AND FIX THIS.
WE'RE GOING TO MAKE A HELL
OF A PICTURE OUT OF IT.
AND WE DID.
WE RECUT THE PICTURE.
Milton chuckles and says AND IT CAME OUT TO BE
SUN VALLEY SERENADE.

Elwy says OH, NO.

Milton says YES, THAT WAS IT.
WE JUST STARTED IT WRONG.
THE AUDIENCE DIDN'T KNOW
WHAT IT WAS GOING TO BE.
THEY DIDN'T KNOW IT WAS
GOING TO BE A COMEDY.
THEY THOUGHT IT WAS SOME
OTHER KIND OF PICTURE.

A caption appears on screen. It reads “The Talent of Zanuck.”

Philip says WELL, AGAIN, I THINK A GOOD
DEAL DERIVED FROM THE NATURE
OF THE MAN IN CHARGE.
AND IF YOU HAD TO SUM UP
DARRYL ZANUCK, I WOULD SAY
HE WAS A VICTORIAN IDEALIST.
YOU NOTICE THE OLD FOX
PICTURES IN THAT PERIOD,
THE RIGHT ALWAYS TRIUMPHED.
THE HEROES WERE
NOBLE, GALLANT.
THE LADIES WERE GALLANT, TOO.
THERE WERE NO ANTI-HEROES.
GOOD CAME OUT ON TOP.
IT WAS A THING THAT APPEALED
TO ME BECAUSE THAT HAPPENED TO
BE MY OWN TONE OF THOUGHT.
I HAVEN'T QUITE
GOTTEN OVER IT YET.
I GREW UP IN A PERIOD WHEN WE
STILL THOUGHT THAT THE WORLD
COULD BE MADE A BETTER PLACE.
AND THAT, I THINK, WAS THE
BIG TONE OF THE FOX PICTURES.

Elwy says WHY HAVE THEY GOT THIS SORT
OF NEW BREED OF CAT IN, THE
PACKAGERS, THE DEALERS, THE
MONEY MEN, BUT NOT THE GREAT
PRODUCERS LIKE ZANUCK?
WHY, Mr. KING?
I DON'T UNDERSTAND THAT.

Henry King says THAT, I DO NOT KNOW.
I DON'T KNOW WHETHER ANY
MORE ARE BORN OR NOT.

Elwy says AH, THAT MAY BE IT.
THERE WAS ONLY
ONE DARRYL THEN?

Henry King says YOU KNOW, WHEN DARRYL ZANUCK
WOULD TELL YOU ONCE HE LIVED
IN HOLLYWOOD AND WALKED TO
UNIVERSAL CITY BECAUSE HE
DIDN'T HAVE FIVE CENTS, HE
COULDN'T AFFORD THE FIVE CENTS
FOR THE BUS FARE, YOU
CAN SEE HOW THE ROAD
THAT DARRYL ZANUCK CAME UP.
YOU TAKE LOUIS B. MAYER, WHO
WAS ALSO A VERY GREAT MAN,
AND THALBERG, NOT BORN WITH A
SILVER SPOON IN THEIR MOUTH.
THESE MEN, THEY WORKED.
THEY KNEW THEIR BUSINESS.
THEY KNEW WHAT THE
BUSINESS WAS ABOUT.
THEY KNEW HOW IT WAS MADE.
THEY KNEW HOW THEY COME IN IT.
AND YOU TAKE MOST OF THOSE
PEOPLE THAT HAVE BEEN A BIG
SUCCESS LIKE ZANUCK, OR
LOUIS B. MAYER HAVE STARTED,
AND THEY CRAWLED
BEFORE THEY WALKED.

Elwy says WAS HE A GENIUS?

Philip says WELL, GENIUS IS
A STRANGE WORD.
I THINK HE WAS A
BRILLIANT EXECUTIVE.
AND ONE OF THE MARKS
OF A GOOD EXECUTIVE,
HE KNEW HOW TO HANDLE PEOPLE.
HE KNEW WHO COULD BE
BULLIED AND WHO COULDN'T.
WHOM YOU HAD TO PERSUADE.
ON WHOM TO USE THE CARROT
AND WHOM THE STICK.
AND HE WAS EXTREMELY
ENTHUSIASTIC AND KNEW HOW TO
IMPART HIS ENTHUSIASM SO YOU
LEFT HIS OFFICE SWEARING
THIS WAS THE GREATEST
PICTURE EVER MADE.
AND THESE ARE INVALUABLE
ATTRIBUTES FOR A SUCCESSFUL
EXECUTIVE, WHICH IS
BASICALLY WHAT HE WAS.
A CREATIVE EXECUTIVE.
HE TALKED IN OUTRAGEOUS
CLICHÉS, BUT HE DEPENDED
ON YOU TO TRANSLATE THE
CLICHÉ INTO A GOOD SCENE,
GOOD SEQUENCE, GOOD LINE.

Watch: Darryl F. Zanuck