Transcript: Hooray for Hollywood | Mar 27, 1989

A caption reads “Richard Arlen.”

Richard is in his late seventies, clean-shaven and with short straight white hair. He wears a black suit, blue shirt and burgundy tie.

He says AND INSIDE OF A WEEK,
FOR 18 DOLLARS I WAS PROJECTING,
DEVELOPING, PRINTING,
AND DELIVERING.

Elwy says DELIVERING.
I WAS GOING TO SAY.

Richard says AND YOU COULDN'T COLLECT.
AND I COULDN'T
COLLECT ANYTHING.

Elwy says WHEN WAS THIS, RICHARD?

Richard says 1920.
THEN I BECAME AN ASSISTANT
TO ONE OF THE BEST CAMERAMEN
IN HOLLYWOOD, AND THEY FORGOT
AN ACTOR OVER AT FORT HUACHUCA.
AND MY ONLY CAPABILITIES WAS
THAT I COULD RIDE A HORSE,
AND HAVE AN IQ OF 1.
AND I DIDN'T
PASS THE IQ TEST,
BUT I DID PASS
THE HORSE TEST.

The title of the show appears on screen. It reads “Talking film.”

The caption changes to “Pat O’Brien.”

Pat is in his late seventies, clean-shaven and with short receding white hair. He wears a pale blue suit and a white shirt.

Elwy says WHAT WAS “AMERICAN
MADNESS” ABOUT, PAT?
DO YOU REMEMBER?
I HAVEN'T SEEN IT-

Pat says ABOUT AN HOUR
AN A HALF.
THAT'S WHAT
IT'S ABOUT.
COME ON, YOU'RE TAKING
ME BACK 40-ODD YEARS.

Elwy says I WON'T EVEN ASK
YOU ABOUT THE PLOT.

Pat says IT'S ABOUT A BANK.

Elwy says THAT ANSWER IS TOO RICH.

A slate pops up with a caption that reads “Hooray for Hollywood. Hosted by Elwy Yost.”

Elwy 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, chocolate brown trousers and tie, a white shirt and a tan suit jacket. 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 WELCOME, LADIES
AND GENTLEMEN,
TO ANOTHER EDITION
OF
TALKING FILM.
WE SPEND A GREAT DEAL OF
TIME IN THIS SERIES TALKING
WITH ACTORS AND DIRECTORS
AND CINEMATOGRAPHERS AND
OTHERS ABOUT THE ART AND
INDUSTRY OF THE MOTION PICTURE.
WE DON'T TALK ABOUT, VERY
OFTEN, IS THE COMMUNITY
SO MANY OF THE PICTURES
ARE MADE: HOLLYWOOD.
HOLLYWOOD, CALIFORNIA, IS
MORE THAN JUST A DISTRICT
IN LOS ANGELES.
HOLLYWOOD IS ALSO
A STATE OF MIND.
A FANTASY WORLD WHERE
DREAMS ARE MADE,
AND WHERE LEGENDS
ARE BORN.
THIS PROGRAM COMPILES SOME OF
THESE FEELINGS AND ATTITUDES.
DURING THE NEXT HALF HOUR,
I'LL TAKE YOU TO THE BACK LOT
OF A STUDIO,
SCHWAB'S DRUGSTORE,
THE HOMES OF SEVERAL STARS
AND GRAUMAN'S CHINESE THEATRE.
OUR TRIP WILL ALSO INCLUDE
ANECDOTES AND STORIES
FROM THE GOLDEN AGE OF
HOLLYWOOD THROUGH ACTORS
PAT O'BRIEN, BUDDY ROGERS,
AND THE LATE RICHARD ARLEN.
AND PRODUCER, HOWARD KOCH,
WILL PROVIDE A LOOK
AT THE LIFESTYLES OF
TODAY'S HOLLYWOOD.
HERE WE GO NOW
INTO HOLLYWOOD.

A clip rolls. Elwy stands at the entrance gate at Paramount Pictures.

HE says WELL, THIS IS IT, THE FAMOUS
PARAMOUNT PICTURES GATE.
LET'S GO IN.
THIS IS THE GATE THAT CECIL
B. DeMILLE WALKED THROUGH,
AND JESSE LASKY, ADOLPH
ZUKOR, GARY COOPER,
JEAN ARTHUR,
YOU NAME 'EM.
THEY ALL WORKED HERE.
BACK IN HERE, WE HAVE
THE BUSINESS OFFICES
AND OTHER TASKS OF TRADE WITH
WARDROBE AND CASTING HERE.
AND PEOPLE WHO RUN
MESSAGES HAVE THEIR BIKES
STACKED UP HERE.
A LOT OF TERRITORY
IN A MOVIE STUDIO.
LOTS OF PLACES TO GO.
DOWN HERE, THIS ROAD LEADS
RIGHT INTO THE BACK LOT,
SO LET'S TAKE
A LITTLE TRIP.
WELL, HERE WE ARE IN A
WESTERN AMERICAN STREET
IN THE 1880s.
YOU MIGHT THINK I
REALLY WAS BACK THERE.
I FEEL IT.
IT LOOKS SO REAL.
THE SALOON AND THE HOTELS
AND THE PRINTING SHOPS
ALL FROM THAT PERIOD.
BUT ACTUALLY, 'TAINT SO.
IT'S ANOTHER DECEPTION.
YOU FIND A LOT OF DECEPTIONS
OUT HERE IN HOLLYWOOD.
I'M ON A WESTERN
STREET, ALL RIGHT,
AND THE SENSE OF PERIOD
IS CERTAINLY THE 1880s,
BUT I'M NOT BACK THERE,
NOT BY A LONG SHOT.
I'M ON THE BACK LOT AT
PARAMOUNT PICTURES,
THAT FAMOUS STUDIO
OF CECIL B. DeMILLE,
AND GREAT
SPECTACULAR PICTURES.
AND THIS IS THE
WESTERN STREET.
THIS IS WHERE SO MANY
WESTERNS WERE SHOT
FOR THE MOVIES FOR PARAMOUNT
ALL DOWN THROUGH THE YEARS,
AND WHERE A LOT OF
TELEVISION WESTERNS
ARE FILMED TODAY.
EVERYTHING IS A
COMPLETE FRAUD.
THOSE WALLS YOU WERE
LOOKING AT, WELL,
THEY ARE JUST ABOUT A
QUARTER OF AN INCH THICK,
AND THEY ARE EITHER MADE OUT
OF A PLASTIC HYDROCAL
OR ELSE VERY THIN WOOD.
THIS POST IS REAL.
AND THAT'S ABOUT ALL
THAT IS REAL TO IT.
EVERYTHING ELSE
IS A FAKE.
EVEN THE MOUNTAIN
UP HERE.
IT'S NOT ROCK, IT'S
PLASTIC, I'M AFRAID,
LIKE EVERYTHING.
BUT IT'S FUN BECAUSE
PICTURES LIKE
“THE PLAINSMAN” AND “UNION
PACIFIC,” PARTS OF THEM,
“STREETS OF LAREDO,”
PARTS OF MY MEMORIES
AS A MOVIE GOER ALL HAD
TO DO WITH FAKE,
BACK LOT WESTERN STREETS
JUST LIKE THIS ONE.

Elwy sits in a studio with Richard Arlen and Buddy Rogers.

Buddy is in his mid-fifties, clean-shaven and with short wavy receding gray hair. He wears off-white trousers, an off-white jacket and a polka dotted shirt.

Elwy says BUDDY, HOW DID YOU
GET INTO MOVIES?
HOW DID IT
START FOR YOU?

Buddy says I DOUBT IF I CAN
REMEMBER BACK THAT FAR.
I WAS AT THE UNIVERSITY OF
KANSAS TAKING JOURNALISM.
MY DAD HAD A NEWSPAPER
IN KANSAS, OLATHE.
AND PARAMOUNT HAD AN
IDEA FOR A PARAMOUNT
SCHOOL FOR ACTING.
THEY WERE GOING TO SELECT
TEN BOYS AND TEN GIRLS
FROM ALL THE UNIVERSITIES
THROUGHOUT THE COUNTRY,
AND PUT US ALL TOGETHER
IN A SCHOOL OF ACTING,
THEN TURN US LOOSE AND
SEE WHAT MIGHT HAPPEN.
I MADE TEST AT LAWRENCE,
THE UNIVERSITY OF KANSAS.
I DIDN'T WANT
ANY OF THE BOYS
AT THE FRATERNITY
HOUSE TO KNOW.
THEY WERE ALL FOOTBALL
PLAYERS AND BASKETBALL
PLAYERS, SO I SNEAKED OUT
TO A LITTLE PARK WHERE
A PARAMOUNT MAN WAS
THERE WITH A CAMERA.
I LATER SAW THE FILM,
AND IT WAS PROBABLY,
WITHOUT A DOUBT, THE
WORST FILM EVER SHOT.

Richard says FIVE SIDE?

Buddy says THAT WAS A FIVE
SIDE, YEAH.
AND THAT'S HOW
IT STARTED.

Elwy says RICHARD ARLEN,
WHAT ABOUT YOU?
HOW DID YOU GET
INTO PICTURES?

Richard says WELL, I JUST
SORT OF LEAKED IN.
I TOOK A TEST FOR “WINGS,”
AND I HAD AN ONION DOWN HERE.
AND THE STUDIO WOULDN'T
GIVE ME A TEST.
AND CHARLIE BARTON
WAS THE PROP MAN,
AND THE ELECTRICIAN
WAS EARL CANTRELL,
WHO HAS SINCE
PASSED AWAY.
AND THEY TOOK THE TEST
OF ME WITH THE FIRST
ELECTRIC CAMERA.
AND I HAD TO CRY.
I HAD TO READ THIS
LETTER AND CRY.
AND I COULDN'T CRY, SO I
HAD TO SQUEEZE THIS THING,
AND MY GOD, I
SQUEEZED IT TOO HARD,
AND THE TEARS
WERE RUNNING OUT.

Richard and Buddy laughs.

Buddy says YOU NEVER
STOPPED CRYING.

Richard says I ALMOST FLOODED
MYSELF OUT OF THE PART.
BUT I WAS SO MAD.
I KEPT GETTING MADDER DURING
THE TEST BECAUSE THE STUDIO
WOULDN'T GIVE IT TO
ME, AND I, YOU KNOW,
MADE AN OBSCENE
MOTION.
AND WELLMAN SAW IT, AND HE
SAID, THAT'S THE GUY I WANT.

Buddy says LIKE THEY DO TODAY.

Richard says NO, YOU WOULDN'T
DO IT TODAY.
THEY DO IT TO YOU ALL THE
TIME IN THE ROLLS ROYCE.

Elwy says AND YOU HAD NEVER MET
WILLIAM WELLMAN BEFORE THAT?

Richard says NO.
HE COULD HAVE HAD ANY STAR
HE WANTED, AND HE SAID, NO,
I'LL TAKE ROGERS
AND ARLEN.
HE SAID, THEY'LL DO
WHAT I ASK THEM TO DO.
BECAUSE IF HE GOT A STAR,
THE STAR WOULD TELL HIM
WHAT HE WOULD DO.
AND HE COULDN'T
GET THEM TO FLY.

Elwy says BUT HE COULD GET YOU BECAUSE
YOU ARE BOTH EXPERIENCED.

Richard says WE WOULD DO
ANYTHING FOR A JOB.

Buddy says 65 DOLLARS A WEEK.

Elwy says MY GOD.

The caption changes to “Pat O’Brien.”

Pat says WELL, THAT'S ANOTHER
THING, UNDER CONTRACT,
IF A ROLE WOULD COME
ALONG AND YOU WEREN'T
PARTICULARLY
ENAMOURED OF IT,
YOU'D GO UP TO THE FRONT
OFFICE AND FIGHT WITH JACK.
SAY I DON'T WANT
TO DO THIS.
YOU GOTTA DO IT,
IT SAYS SO.
WELL, I DON'T
WANNA DO IT.
SO YOU'D BE SUSPENDED.
SO YOU GET SUSPENDED.
YOU GO TO HAWAII,
SPEND SOME TIME THERE,
COME BACK TO WORK.
BUT I WAS USUALLY VINDICATED
BECAUSE I REMEMBER ONE ROLE
I DIDN'T WANT TO PLAY, IT
WAS CALLED “STAGE STRUCK.”
AND I SAID, I DON'T
WANT TO DO THIS, JACK.
TO GIVE YOU A SHORT ANSWER
BUT, THE PART IS LOUSY.
WHICH WAS RATHER-

Elwy says A NICE WAY OF
PUTTING IT.

Pat says SO ANYWAY, IN THOSE
DAYS, WARREN WILLIAM,
WHO WAS SORT OF A PROTOTYPE
OF JACK BARRYMORE,
REMEMBER THE
GREAT PROFILE.

Elwy says I REMEMBER.
GREAT VILLAIN ON
THE SCREEN, TOO.
“ARIZONA.”

Pat says SO ANYWAY, HE
SAID, ALL RIGHT,
WARREN WILLIAM
WILL PLAY IT.
WELL, WARREN
WILLIAM PLAYED IT.
I GOT BACK FROM HAWAII,
WARREN WILLIAM HAD BEEN FIRED.
SO I WAS VINDICATED.

Buddy says I GOTTA TELL ELWY THIS,
RIGHT AT THIS TIME,
THIS WAS SILENT, DICK AND
I MADE A COUPLE OF SILENTS
BEFORE THE TALKIES CAME.
SO THEY BUILT A SOUND
STUDIO AT PARAMOUNT
BECAUSE JOHN GILBERT HAD
A VOICE, AND WE ALL HEARD
THAT WE MIGHT HAVE A
JOHN GILBERT VOICE.
WE MIGHT NOT RECORD.
AND WE THOUGHT AT
THAT TIME ONLY GOD
WOULD GIVE CERTAIN PEOPLE
VOICES THAT WOULD RECORD,
THAT WOULD TAKE
TO A NOTE.
SO WE DIDN'T KNOW IF WE WERE
GOING TO HAVE VOICES OR NOT.
SO THEY BUILT THIS BIG
SOUND STUDIO AT PARAMOUNT,
AND EACH DAY THEY'D BRING
SOME STAR IN TO FIND OUT
IF HE OR SHE
HAD A VOICE.
WE'RE WATCHING, WE'D SEE
THEM TAKE IN SOMEBODY.
WALLY BARRY WOULD GO IN
THERE AT 9:00 IN THE MORNING.

Richard says BECAUSE HE
COULDN'T TALK.
THE MICROPHONE WAS WAY
UP IN THE AIR THOSE DAYS.

Buddy says BUT THEY'D HAVE THE STAR
IN THERE ALL DAY LONG.
AND ABOUT 3 OR 4 O'CLOCK
IN THE AFTERNOON,
THE DOOR WOULD OPEN, AND A
LITTLE BOY WOULD RUN OUT
AND SAYS, WALLY
BARRY HAS A VOICE!
WALLY BARRY
HAS A VOICE!

They laugh.

A clip shows Elwy at the entrance of the Chinese Theatre.

He says WELL, HERE WE ARE AT
GRAUMAN'S CHINESE THEATRE
IN HOLLYWOOD, ON
HOLLYWOOD BOULEVARD.
AND WE ARE GOING
THROUGH A SIDE ENTRANCE
JUST OFF A PARKING LOT.
WHEN YOU GET INSIDE HERE, I
WANT YOU TO LOOK UP AT SOME
OF THIS ARCHITECTURE
BECAUSE I THINK
IT'S ABSOLUTELY
TERRIFIC.
VERY ORIENTAL, AND REALLY
SUGGESTIVE OF ANOTHER AGE.
A TIME THAT'S GONE BY.
A LOT OF PEOPLE
HERE TODAY.
THEY'VE COME TO
SEE “STAR WARS.”
WE'RE GOING TO COME DOWN
HERE A LITTLE BIT
AND TAKE A LOOK AT
A FEW OF THE NAMES
AND SOME OF THE FAMOUS
FOOTPRINTS HERE.
HERE WE HAVE, “TO SID VIVA
IN THE SOUTH AMERICAN WAY,”
CARMEN MIRANDA,
MARCH 24, 1944.
AND OVER TO THE LEFT
HERE A LITTLE BIT,
ONE OF MY FAVOURITE
COWBOY STARS, BILL HART,
“TO MY FRIEND GRAUMAN.”
THAT'S SID
GRAUMAN, OF COURSE.
AND THAT'S
NOVEMBER 28, 1927.
THIS PLACE WAS CONSTRUCTED,
I UNDERSTAND, BACK IN 1927.
AND JUST UP HERE, DANNY
THOMAS, JANUARY 26,
OVER HERE, OF COURSE,
A PAIR OF GREAT ONES,
MARILYN MONROE, AND JUST
OVER TO THE LEFT OF HER
IS JANE RUSSELL IN
“GENTLEMEN PREFER BLONDES.”
AND THEN RIGHT
STRAIGHT UP ABOVE,
WE HAVE CHARLTON
HESTON.
AND THAT WAS
DONE IN '62.
IT'S AN AMAZING
SENSE OF TIME.
BUT THERE ARE HIS HANDS
AND THERE ARE HIS SHOES.
AND THIS IS IT.
IT'S A FEELING
OF HISTORY.
THIS IS WHERE THE GREATS
AND THE NEAR GREATS,
MOSTLY THE GREATS, CAME
AND PUT THEIR HANDS DOWN,
THEIR FEET DOWN, AND
VARIOUS OTHER PARTS
OF THEIR ANATOMY AND WERE
RECORDED FOR IMMORTALITY.
GRAUMAN'S CHINESE
THEATRE.

Another excerpt of the interview with Pat O’Brien rolls.

Elwy says PAT O'BRIEN, DO YOU FEEL
WARNER BROTHERS' PICTURES -
AND YOU MADE SO MANY
WARNER'S PICTURES - WERE
DIFFERENT, BASICALLY, AND
IN SOME WAY DIFFERENT
FROM THE PICTURES OF OTHER
STUDIOS LIKE MGM OR PARAMOUNT?

Pat says WELL, OF COURSE, WE MADE
A LOT OF THE SO-CALLED
GANGSTER PICTURES,
YOU KNOW, PAUL MUNI,
EDDIE ROBSON, JIMMY
CAGNEY AND MYSELF.
AND OF COURSE, MGM WAS
ALWAYS IN THE SPOTLIGHT
AS BEING THE ARISTOCRACY
OF THE BUSINESS,
AND I GUESS WE
WERE THE PEASANTS.
BUT WE MADE THE PICTURES
THAT MADE MONEY.

Elwy says YOU BET.

Pat says WE HAD SOME GREAT STARS
THERE WITH CAGNEY AND BOGART.

Elwy says YES, “SAN QUENTIN,” AND
I CAN REMEMBER WITH,
I THINK, BOGIE.

Pat says WELL, BOGIE AND I MADE
FIVE PICTURES TOGETHER.
WE MADE “ANGELS WITH DIRTY
FACES,” “SAN QUENTIN,”
“THE GREAT O'MALLEY.”
I PLAYED A COP IN THAT.
IN QUENTIN I
PLAYED A WARDEN.
“CASTLE ON THE HUDSON.”
NO, THAT WAS
JOHNNY GARFIELD.
“CHINA CLIPPER.”

Elwy says OH YEAH, “CHINA CLIPPER.”
WHAT ABOUT THE IRISH
COMMUNITY IN HOLLYWOOD?
YOU WERE PART OF IT.
FRANK CAPRA GAVE IT
A NAME, DIDN'T HE?

Pat says WELL, THOSE OF US
WHO HAD EMANATED,
OR COME FROM BROADWAY
LIKE CAGNEY, SPENCER TRACY,
FRANK McHUGH,
FRANK MORGAN, LYNN OVERMAN
JIMMY GLEASON,
BILL FRAWLEY.
WELL, FOUR OF US IN
PARTICULAR WHO HAD KNOWN
EACH OTHER ALL THESE
YEARS IN NEW YORK
WOULD MEET EVERY WEEK,
AND THE REST WOULD JOIN.
THAT WOULD BE TRACY,
CAGNEY, McHUGH AND O'BRIEN.
WE'D MEET EITHER AT OUR HOMES
OR THE VARIOUS RESTAURANTS.
AND FRANK CAPRA USED TO SEE
US EVERY ONCE IN A WHILE.
AND HE NAMED US
THE IRISH MAFIA.
SO AS A CONSEQUENCE, A LOT
OF THE OTHER CONTEMPORARIES
SUCH AS BILL FRAWLEY,
YOU KNOW, WITH LUCY,
AND LYNN OVERMAN, PROBABLY
ONE OF THE GREATEST
COMEDIANS IN THE HISTORY
OF SHOW BUSINESS,
FRANK MORGAN,
BRILLIANT ACTOR.

Elwy says ALL FRIENDS.

Pat says RALPH BELLAMY.
THOSE OF US WE
STILL SEE.
OF COURSE, I LOST
SPENCE TEN YEARS AGO,
AND WE WERE BOYS TOGETHER
SINCE WE WERE 12.

Elwy says THAT YOUNG.

Pat says WE ENLISTED TOGETHER IN
THE FIRST WAR IN 1917.
WE BOTH WENT TO THE AMERICAN
ACADEMY OF DRAMATIC ART.
SO OUR CAREERS
THROUGHOUT THOSE YEARS -
THEN OF COURSE THE REASON
WE WOULD MEET DURING THESE
TIMES, WE WERE SEPARATED
EXCEPT CAGNEY AND MYSELF
BECAUSE SPENCE WAS
UNDER CONTRACT TO MGM,
FRANK McHUGH WAS
FREELANCING,
AND CAGNEY AND I AND
THE REST OF THEM
WERE AT VARIOUS
STUDIOS, FOX AND RKO.
BUT, YOU KNOW,
THE STUDIOS THEN,
WHEN YOU ARE UNDER
CONTRACT, THEY BUILT YOU.
THIS WAS A STRUCTURE THAT
WAS SO IMPORTANT IN THE LIVES
OF EVERYBODY, INCLUDING
THE STUDIOS THEMSELVES.
WE'D HAVE THESE BIG TREKS
WHERE YOU'D HAVE THE PREMIER
AND GO ON TO NEW YORK AND
SPEND HUNDREDS OF THOUSANDS
OF DOLLARS, BUT IN
RECOMPENSE, IT PAID OFF.

Elwy says SURE.
CAGNEY.
I THINK YOU WERE SAYING
YOU TALKED TO HIM
THE OTHER DAY
ON THE PHONE.
HOW IS HE?

Pat says YES, HE'S WONDERFUL.
HE'S UP IN
MARTHA'S VINEYARD.
'COURSE, HE'S ONE OF THE
DEAREST MEN I'VE EVER KNOWN,
I GUESS NEXT TO SPENCE,
MY CLOSEST FRIEND.

Elwy says WHAT WAS HIS PERSONALITY
LIKE, PAT, AS A PERSON?
A GENTLE KIND OF MAN?

Pat says VERY GENTLE.
THE COMPLETE ANTITHESIS OF
WHAT HE DID ON THE SCREEN.

Elwy says OH, REALLY?

Pat says AND OF COURSE, A BEAUTIFUL
ARTIST, PAINTER, YOU KNOW?
HE WENT TO ART SCHOOL AT
COLUMBIA UNIVERSITY BEFORE
HE EVER WENT
ON THE STAGE.

Elwy says I DIDN'T KNOW THAT.
GREAT ACTOR.

Pat says A DEAR, DEAR MAN.
AS I SAY, YOU NAILED IT.
GENTLE IS THE WORD.

A clip of the interview with Richard and Buddy rolls.

Elwy says COOPER.
YOU USE FOR THE NAME
FOR COOPER EARLIER.

Richard says LONG TACK SAM.

Elwy says HOW DID THAT
COME ABOUT?

Richard says WELL, IT WAS
A MAGICIAN.
MAN, SIX FOOT FOUR, WHO DID
THESE MAGIC TRICKS FOR ONE HOUR.
AND OF COURSE, EVERYTHING
COOPER DID WAS A MAGIC TRICK.
BUT ALL HE EVER
SAID WAS YUP AND HI.
THAT'S THE FIRST TIME I
EVER HEARD THE WORD HI.
HE DIDN'T WANT TO SAY
HELLO, IT WAS TOO LONG.
AND IF YOU SAID HELLO
TO COOPER ON MONDAY,
YOU GOT AN
ANSWER ON FRIDAY.
SO WE CALLED HIM
LONG TACK SAM.

Buddy says NOW, WE LOVE COOPER,
LOVE HIS MEMORY,
LOVE EVERYTHING, BUT
HE WAS A QUIET, NICE,
RESERVED BOY THOSE
FIRST FEW YEARS.
THOSE FIRST FEW YEARS.

Elwy says DID HE CHANGE THEN?

Richard says NO.

Buddy says NOT MUCH.

Richard says NO, COOP DIDN'T
CHANGE.
HE WAS ABOUT
THE SAME.
HE WAS VERY SHY.

Buddy says LOVED AUTOMOBILES.
OH, HE HAD A STABLE
OF CARS, DICK.

Richard says HE WAS ALWAYS
BUYING AUTOMOBILES.
BECAUSE WHEN HE DID
HIS FIRST TALKIE,
HE OWED ABOUT AS MANY
PAYMENTS ON A CAR AS I DID,
WHICH IS ENDLESS.
AND HE HAD A
CHRYSLER IMPERIAL.
AND HE SAID, MY GOD,
IF I DON'T TALK
I'M GOING TO LOSE
THE CHRYSLER.
I SAID, YOU BETTER START
TALKING RIGHT NOW.

Elwy says RICHARD, TELL US ABOUT “THE
VIRGINIAN” MADE BACK IN '29
WITH GARY COOPER
AND WALTER HUSTON.

Richard says THE ONLY REASON THEY PUT
ME IN IT WAS BECAUSE COOPER
AND I WERE VERY CLOSE
FRIENDS AND I HAD MADE
FIVE TALKING PICTURES, AND
THEY THOUGHT I WOULD BE
SOME HELP TO COOPER.
WELL, COOPER HAD MADE UP HIS
MIND THAT HE COULDN'T TALK.

Elwy says LITERALLY?

Richard says IT TOOK US THREE DAYS TO
GO 300 MILES BECAUSE
WE STOPPED AT EVERY BISTRO
TO FORTIFY OURSELVES.
I DON'T KNOW WHY I WAS
FORTIFYING MYSELF,
I GUESS TO LIVE
WITH COOPER.
AND UNFORTUNATELY-

Buddy says WANTED CONFIDENCE,
DICK, IN HIMSELF?

Richard says UNFORTUNATELY, COOPER HAD
STOLEN THE DIRECTOR'S GIRL,
WHICH IS LUPE VELEZ.

Elwy says OH, NO.

Richard says VICTOR FLEMING
WAS THE DIRECTOR.
AND I'LL NEVER FORGET
AS LONG AS I LIVE,
AFTER WE WERE THERE A WEEK,
WE HAD LESS THAN 30 SECONDS
OF FILM THAT
YOU COULD SHOW.
AND FLEMING CALLED
ME DOWN AND HE SAID,
I'M GOING TO GET RID OF
YOUR FRIEND, COOPER,
THE BIG LUG FELLA.
AND I SAID, WHAT FOR?
AND HE SAID, WELL HE CAN'T
REMEMBER HIS DIALOGUE.
AND I REMEMBER THE
DIALOGUE VERY WELL BECAUSE
I WAS TRYING TO GIVE HIM SIGNALS
ALL THE WAY THROUGH IT.
AND HE CAME IN AND SAT ON
A ROCK WITH MARY BRIAN,
AND SHE SAID, DID YOU READ
THAT BOOK I GAVE YOU?
AND HE SAYS, YES'M.
DID YOU LIKE IT?
AND HE SAYS, NO, MA'AM.
THIS IS THE DIALOGUE.
WHAT DIDN'T YOU
LIKE ABOUT IT?
WELL, IT WAS
SHAKESPEARE.
HE SAID I DON'T LIKE A
FELLA THAT RUNS UP
AND DOWN ROPE LADDERS.
WHY DON'T HE
KNOCK AT THE DOOR
AND ASK HER FATHER
LIKE ANYBODY ELSE.
THAT WAS THE BIG BUGABOO.
HE COULDN'T GET
PAST THAT.
SO I CALLED THE STUDIO AND
I CALLED MISTER SCHULBERG
WHO WAS IN CHARGE THEN,
AND I SAID, LOOK,
THIS WILL RUIN THIS FELLA'S
CAREER IF YOU TAKE HIM
OUT OF THE PICTURE.
AND HE SAID, YOU GO
BACK AND TELL FLEMING
THAT WE HAVE JUST SEEN
THE FOOTAGE ON COOPER
AND IT'S THE GREATEST THINKING
PERFORMANCE WE'VE EVER SEEN.
HE WAS TRYING TO
REMEMBER YUP AND NOPE.

Back at the interview with Pat, Pat says
FOR A WHILE AFTER “ANGELS
WITH DIRTY FACES,”
I WAS GOING TO FALL
INTO, YOU KNOW,
MY COLLAR ON BACKWARDS
ALL THE TIME, YOU KNOW,
THE PRIEST ROLE.

Elwy says THAT'S RIGHT.

Pat says I PLAYED ENOUGH OF THOSE
TO BE ORDAINED, YOU KNOW?
BUT FINALLY I
GOT OUT OF IT.
BUT I ENJOYED
PLAYING THEM.
BUT PEOPLE THINK I
PLAYED SO MANY PRIESTS,
I PLAYED SO MANY
COPS, BUT I DIDN'T.
IN 46 YEARS, I'VE ONLY
PLAYED FOUR PRIESTS,
AND I THINK
THREE POLICEMEN.

Buddy says WE WERE ALL
UNDER CONTRACT.
SEE, WE WERE PARAMOUNT.
THERE WERE ABOUT 25 OR 30,
AS THEY CALLED US STARS.
WE HAD ALL OUR DRESSING
ROOMS RIGHT THERE.
THERE WOULD BE
RICHARD DIX, BEBE DANIELS,
DIETRICH, WALLY BEERY,
CLARA BOW, CHEVALIER.
AND THERE WERE 25
OF US, GARY COOPER.
NOW, WE'D COME TO
STUDIO ONE DAY.
WE'RE ALL UNDER
CONTRACT.
AND WE'RE HAPPY, AND THE
DIRECTORS WERE UNDER
CONTRACTS, THE
WRITERS ARE.
SO WE'RE THE HAPPIEST
FAMILY IN THE WORLD.
WE'RE SPEAKING TO EVERYBODY,
AND LOVING EVERYBODY.
BECAUSE WHEN
YOU MAKE A FILM,
THE DIRECTOR WOULD SAY,
OH, THAT'S PERFECT.
I SAY, BUT IT
WASN'T GOOD.
OH, YES, IT WAS.
AND IT WASN'T PERFECT.
BUT HE WAS GETTING A GOOD
SALARY AND WE WERE TOO,
SO EVERYTHING WAS
PERFECT.
SO YOU COME IN THE STUDIO -
WHAT I MEANT TO SAY IS -
AND THEY'D SHOW YOU THE
YEARLY BOOK OF WHAT
YOU WERE GOING TO DO
THAT YEAR, DICK?

Richard says YEAH.
YOU'D KNOW EXACTLY.

Buddy says FOR A YEAR.
FOUR PICTURES.
DICK MADE FOUR, I MADE
FOUR EVERY YEAR FOR YEARS.
AND WE'D COME IN AND WE'D
SEE A PICTURE OF US
WITH FAY WRAY, CLARA
BOW, JEAN ARTHUR.
OH, I'M GOING TO
WORK WITH HER.
WHO ELSE?
OH, I'M GOING TO
WORK WITH HER.
THAT WAS THE STORY, AND WE
WERE HAPPY, WE ACCEPTED IT.
WE ACCEPTED THE STORIES,
WE ACCEPTED EVERYTHING.
WE WERE A PARAMOUNT FAMILY.

Richard says YOU WERE A
PARAMOUNT FAMILY.

Pat says WELL, MIKE CURTIZ, OF
COURSE, HE WAS LIKE GOLDWYN.
HE WAS FAMOUS
FOR HIS ACCENT,
AND HE NEVER DID
QUITE CONQUER IT.
HE WAS A HUNGARIAN.
HE WAS A GREAT
DIRECTOR IN HUNGARY.
AND FREQUENTLY, YOU KNOW, HE
WOULD MAKE THESE HORRENDOUS
MISTAKES IN GRAMMATICAL
ERRORS, SYNTAX, ET CETERA.
SO WE WERE LIVING IN MALIBU
AT THE TIME, MOMMY AND I,
AND WE HAD A
COTTAGE DOWN THERE.
AND THEY WERE
SHOOTING SOME PICTURE,
I DON'T RECALL
THE TITLE.
THEY HAD AROUND 400
OR 500 EXTRAS.
AND THEY HAD A SCENE
WHERE THEY HAD TO SUMMON
THIS MOTOR LAUNCH TO
COME INTO THE DOCK.
WELL, FOR SOME STRANGE REASON,
CURTIZ NEVER HAD LUNCH.
HE DIDN'T LIKE TO EAT.
THAT'S HIS BUSINESS.
WE DID, YOU KNOW?
ANYWAY, THE SCENE CALLED
FOR THEM TO SUMMON
THIS MOTOR LAUNCH FROM OUT
AT SEA INTO THE DOCK.
SO AT 11:30 OR 11:15,
OVER THE LOUD SPEAKER,
CURTIZ IN HIS EMPHATIC
ACCENT SCREAMS,
“SEND FOR THE LAUNCH!”
AND 450 EXTRAS BROKE FOR
LUNCH AND CURTIZ WENT CRAZY.
“WHAT'S GOING ON?”
HE SAID, “I MEANT
THE MOTOR LAUNCH NOT-.”
IT'S TOO LATE.
HERE COME THE
450 BOX LUNCHES.

Elwy laughs.

Elwy says THE HUNGRY
TEEMING HORDES.
THAT'S A BEAUTY.
THAT'S A BEAUTY.

Pat says ONE THING HE DID
LAUGH AT IT AFTER THAT.
IT WAS ON HIMSELF.

Elwy says WHAT WAS HIS
SECRET, PAT?

Pat says I'D SAY CAMERA TECHNIQUE
MORE THAN ANYTHING ELSE
BECAUSE IT WASN'T EASY
FOR HIM TO COMMUNICATE.
AFTER ALL HE DID ONE OF THE
GREAT PICTURES OF ALL TIME,
“YANKEE DOODLE DANDY.”
THAT'S PAR FOR THE COURSE.
THAT'S PRETTY GOOD.

The caption changes to Howard Koch. Producer.”

Howard is in his seventies, clean-shaven and with very short graying hair. He wears a black suit, white shirt and striped tie.
Elwy says I KNOW ONCE UPON A TIME
WE USED TO HEAR TALES
BACK IN THE '30s OF THE
BROWN DERBY AND CHASEN'S.
DO PEOPLE STILL
EAT THERE?

Howard says WELL, CHASEN'S
THEY STILL DO.
IN FACT, I ATE DINNER
THERE LAST NIGHT.

Elwy says SO IT'S STILL THERE.

Howard says BUT CHASEN'S IS A
SNOBBERY KIND OF PLACE,
OR A PLACE WHERE
THE SNOBS GO.
AND I DON'T MEAN
TO PUT IT DOWN,
BUT UNLESS THEY KNOW YOU,
YOU DON'T GET A GOOD TABLE.
THEY SHUFFLE YOU
INTO THE BACK.
AND THAT'S UNFORTUNATE,
BUT THAT'S THE WAY OF LIFE.
THE PEOPLE THAT ARE AT
THE MOMENT AT THE TOP
OF THE HEAP GET THE BEST
TABLES, AND THE ONES
THAT WERE ON THE
TOP OF THE HEAP,
THEY GET THE
WORST TABLES.
BUT YOU CAN
LIVE WITH THAT.
BUT THE BROWN DERBY, I DON'T
KNOW IF ANYBODY GOES
TO THE BROWN DERBY ANYMORE
UNLESS THEY'RE TOURISTS.
BECAUSE WHEN I WAS A YOUNG
MAN OUT HERE I'D GO TO THE
DERBY, I'D SEE CLARK GABLE
OR MYRNA LOY OR CAROLE LOMBARD
OR EVEN AVA GARDNER,
LATER ON, AND LANA TURNER,
AND THOSE PEOPLE.

Elwy says WHERE DO PEOPLE
EAT TODAY THEN?

Howard says WELL, I THINK THE TWO
FAVOURITE RESTAURANTS
ARE THE BISTRO
AND CHASEN'S.
THE BISTRO IS IN
BEVERLY HILLS,
AND CHASEN'S IS ON THE
OUTSKIRTS OF BEVERLY HILLS.
THERE ARE A LOT OF LITTLE
RESTAURANTS POPPING UP
THAT ARE VERY IN KIND OF
RESTAURANTS THAT ARE VERY CHIC
AND VERY FRENCH, AND THAT'S
WHERE THEY SORT OF GO.
AND THE DRESS HAS
BECOME VERY EASY.
THE DRESSUP IS GONE.
THE WOMEN ARE CHIC BUT
NOT DRESSED TO THE LAST,
YOU KNOW, DETAIL AS THEY
WOULD BE IN THE CHASEN'S
OR BISTRO GROUP.
BUT HOLLYWOOD IS STILL VERY
CHIC, AND VERY, AS YOU KNOW,
THEY'RE STYLE
MAKERS OUT HERE STILL.
AND THE MOVIES ARE STYLE
MAKERS OF WHAT TO WEAR,
WHAT TO EAT,
AND WHAT TO DO.

Elwy says THAT'S RIGHT.

Howard says BUT IT'S ALSO, IT'S A TOWN
WHERE THERE ARE A LOT
OF PARTIES GIVEN AT HOME.

Elwy says CAN I ASK YOU ABOUT
THE PARTIES TODAY
COMPARED TO THE
OLD DAYS?

Howard says I CAN TELL YOU, I HAD AN
EXPERIENCE LAST WEEK
THAT DESTROYED ME, IN
RESPECT I COULDN'T BELIEVE
THIS STILL EXISTED.
A PARTY WAS GIVEN FOR
ME ON A SETTING
LIKE IT WAS A MOVIE SET.
IT WAS THE MOST
BEAUTIFUL PARTY
I'VE EVER BEEN
TO IN MY LIFE.
THERE WERE ABOUT
350 PEOPLE.
IT WAS IN THE
GARDEN, I SHOULD SAY,
OF THE CHAIRMAN OF THE
BOARD OF PARAMOUNT PICTURES,
BARRY DILLER.
THERE WERE CARS BLOCKED ALL
THE WAY FROM THE MIDDLE
OF COLDWATER CANYON
INTO BEVERLY HILLS
WHICH IS ABOUT
THREE MILES.
IT WAS A GARDEN OF EDEN.
I'VE NEVER BEEN TO
A PARTY LIKE THAT.
THE FOOD WAS SENSATIONAL,
THE PEOPLE WERE BEAUTIFUL,
IT WAS LIKE
HOLLYWOOD USED TO BE.
THE PHOTOGRAPHERS SNAPPING
PICTURES, THE GIRLS,
HAIR, THEY WERE MADE
UP BEAUTIFULLY.
THE CLOTHES WERE
BEAUTIFUL.
THE MEN WERE GALLANT.
IT WAS JUST ONE
OF THOSE NIGHTS.
AND I HAVEN'T
GOTTEN OVER IT YET.

Elwy says THAT'S AN EXCEPTION
TO THE RULE, OBVIOUSLY.

Howard says THAT'S AN EXCEPTION.
BUT THERE IS A LOT OF
PARTY-GIVING AT HOME.
TEN, TWENTY,
THIRTY PEOPLE.

Elwy says WERE PARTIES GIVEN AT HOME
IN THE OLD DAYS CHIEFLY, TOO?

Howard says WELL, I THINK IN THE OLD
DAYS THERE WERE MANY THINGS
GOING ON THAT WE DIDN'T
KNOW ABOUT BECAUSE
YOU DIDN'T HAVE THE
PRESS EXPOSURE.
THE MEDIA NOW, THE
MINUTE SO AND SO KISSES
SO AND SO OR HAS A DRINK,
IT'S IN THE PAPER.

Elwy stands across the street from Schwab’s Pharmacy.

He says OUT HERE IN THE HOLLYWOOD
WORLD IS SCHWAB'S DRUGSTORE,
OTHERWISE KNOWN AS
SCHWAB'S PHARMACY.
THIS IS THE SPOT THAT LEGEND
HAS IT THAT LANA TURNER
WAS DISCOVERED ON A STOOL
THERE BACK IN THE 1930s.
I'D ALWAYS
BELIEVED THAT.
SO WHEN I CAME HERE
I SHOT RIGHT OUT.
FRIEND OF MINE HAD ME PAUSE
EN ROUTE THOUGH TO SHOVE
A BOOK IN MY HAND CALLED,
“DON'T GET ME WRONG,
I LOVE HOLLYWOOD.”
BY SIDNEY SKOLSKY,
THE NOTED COLUMNIST AND
RACONTEUR AND TALE-TELLER
ABOUT THE CITY OF
MOTION PICTURES.
AND HE CLAIMS IT DIDN'T
HAPPEN HERE AT ALL.
LANA TURNER WAS
DISCOVERED, ALL RIGHT,
BUT IT WAS AT THE TOP HAT
MALT SHOP AT SUNSET
AND HIGHLAND, SOME
MILES EAST OF HERE,
RIGHT ACROSS FROM
HOLLYWOOD HIGH SCHOOL.
BUT THAT TRUTH DIDN'T STOP
PEOPLE FROM BELIEVING
IN THE MYTH AND LEGEND OF
SCHWAB'S JUST THE SAME.
AND THE PLACE BECAME WORLD,
WORLD FAMOUS IN THE LEGEND
OF MOTION PICTURES.
A FRIEND OF SKOLSKY'S
NAMED TOM JENKS ONCE WROTE,
“THE SCHWABADERO,”
MEANING SCHWAB'S,
BUT USING THAT TERM
AS A TAKE OFF FROM THE
TROCADERO - “THE SCHWABADERO
SELLS PERFUMES, ICE CREAM,
PRESCRIPTIONS AND DREAMS.”

Elwy says WHAT PLACE DOES THE BEVERLY
HILL HOTEL PLAY TODAY?

Howard says WELL, THE BEVERLY HILLS
HOTEL HAS ONE ROOM CALLED
THE POLO LOUNGE, WHERE
IF YOU WANT TO KNOW
WHO IS MAKING A DEAL,
THAT'S WHERE YOU GO.
THAT'S IN THE
EXECUTIVE AREA.
BECAUSE IN THE EARLY
MORNING BREAKFAST,
THERE'S EVERYBODY IN
TELEVISION AND MOVIES
AND THEY ARE WHEELING
AND DEALING.
THE BEVERLY HILLS HOTEL IS
PROBABLY THE ONLY HOTEL
IN THE WORLD THAT HAS
100 PERCENT OCCUPANCY.
YOU NEVER CAN
GET A ROOM THERE.

Elwy says MY GOD.

Howard says BUT IT DRAWS ALL THE
TELEVISION EXECUTIVES,
ALL THE MOVIE EXECUTIVES,
ALL THE ACTORS,
ACTRESSES, AND IT'S
A FABULOUS HOTEL.

Elwy says THOSE COTTAGES OUT THE
BACK, WHAT ARE THEY FOR?

A fast clip shows a series of very secluded cottages.

Howard says WELL, THEY'RE THERE, AND
THEY ARE VERY EXPENSIVE.
THEY ARE ABOUT
350 DOLLARS A DAY.

Elwy says WHAT WAS THAT AGAIN?
350 DOLLARS?
I CAN'T COUNT
THAT HIGH.

I CAN'T EITHER.
350 DOLLARS AMERICAN.

Elwy says OH, BOY, OH, BOY.
PEOPLE WHO WANT
PRIVACY, I GUESS, EH?

Howard says WELL, I WONDER HOW MUCH
PRIVACY THEY GET, REALLY.

Elwy says 350 DOLLARS A DAY YOU
SHOULD GET SOMETHING.

Howard says ELIZABETH TAYLOR'S
BUNGALOW IS NUMBER 5,
AND WHILE SHE IS THERE,
THE CRAZIES ARE THERE
WITH THE CAMERAS
AND ALL THAT.

Elwy says THE CRAZIES, THE CRAZIES.
UP THIS WAY IS, I GUESS, ONE
OF THE MOST FAMOUS STARS
OF ALL TIME.
AT LEAST HE WAS.
HE'S PASSED ALONG NOW.
BUT BACK IN THE '30s, THERE
WAS NOBODY QUITE LIKE HIM.
HE WAS KNOWN AS
MISTER BANJO EYES.
I'M REFERRING TO NONE
OTHER THAN EDDIE CANTOR.
THAT'S WHERE EDDIE CANTOR
LIVED ALL THOSE YEARS.

He points at a large house.

Elwy says AND GUESS WHO LIVED ACROSS
THE STREET FROM EDDIE CANTOR.
YUP, HIS NEIGHBOUR
JUST SO HAPPENED TO BE
ONE OF THE GREAT COMEDIANS OF
ALL TIME, NAMED JACK BENNY,
LIVING IN THAT HOUSE
OF RECLAIMED BRICK
SO ELEGANTLY SITUATED UNDER
THE TREES OVER THERE.
NOW, WOULD YOU ALSO GUESS
WHO JACK BENNY'S NEIGHBOUR
HAPPENED TO BE?
SHE STILL
LIVES THERE.
HER NAME IS
LUCILLE BALL.
LUCILLE OF THE “I
LOVE LUCY” SHOWS,
AND SO MANY OTHER HISTORIC
TELEVISION APPEARANCES.
NOW, I WANT YOU
TO COME WITH ME,
WE'LL TAKE A LOOK
DOWN THE STREET.
I DON'T THINK WE CAN
GET TOO CLOSE TO IT.
I'M SURE IT MUST BE RINGED
WITH GUARDS BECAUSE
THE MAN WHO LIVES ACROSS
THE STREET, OH,
I THINK HE'S JUST ABOUT THE
MOST FAMOUS OF THEM ALL.
HE'S STILL VERY
BIG IN MOVIES,
BUT HE'S BEEN IN THEM
SINCE THE 1930s, AND WELL,
YOU CAN'T GET TOO GOOD
A LOOK AT THE HOUSE,
BUT IF YOU REALLY STRAIN
YOUR EYES PAST ALL THOSE
TREES AND SHRUBBERY
AND FLOWERS,
YOU MIGHT GET A GLIMPSE OF
SOME OF THE THATCHED ROOF
AND WHATEVER HE'S GOT
UP THERE, AND CHIMNEY,
I'M REFERRING TO NONE
OTHER THAN JIMMY STEWART.
BECAUSE THAT'S WHERE
JIMMY STEWART LIVES.
IT'S AMAZING.
I JUST HAPPENED TO DRIVE BY
A KIND OF ORDINARY SET
OF CORNERS, TWO STREETS
ACROSS, AND GUESS
WHO HAPPENED TO BE LIVING
HERE IN BEVERLY HILLS?

Pat says ALL RIGHT, MEN, EVERYBODY
UP, EVERYBODY UP!
NOW, WE'RE STARTING
A NEW SEASON TODAY.
WE GOT A TOUGH
SCHEDULE AHEAD OF US.
BUT WE'RE USED TO
THAT IN NOTRE DAME.
NOW, LET'S GET THIS
STRAIGHT FROM THE START.
I DON'T WANT ANY OF YOU
SPOILED HIGH SCHOOL STARS
TO THINK YOU'RE ANY
BETTER THAN ANYONE ELSE.
THAT GOES FOR YOU,
LETTERMAN, TOO.
ANY BOY HERE WHO THINKS THAT
ALL HE HAS TO DO IS PASS
THE BALL, OR KICK, TURN
IN YOUR SUIT TONIGHT!
TURN IT IN TONIGHT!
YOU CAN'T MAKE
THE TEAM HERE.
NOW, I'LL EXPECT YOU TO
MAINTAIN A HIGH AVERAGE
IN YOUR STUDIES.
YOU DIDN'T COME TO NOTRE
DAME JUST TO PLAY FOOTBALL.
TEN YEARS FROM NOW, THE
PUBLIC WILL HAVE FORGOTTEN
EVEN THE BEST OF YOU.
REMEMBER THIS, FOOTBALL
IS A GAME FOR CLEAN MINDS
AND CLEAN BODIES.
I WANT EVERY BOY ON THIS
SQUAD TO BE ON THE UPBEAT
ALL THE TIME.
TEAMWORK, TEAMWORK,
TEAMWORK.
THE MOST ESSENTIAL THING IN
FOOTBALL TODAY IS BLOCKING,
BLOCKING, BLOCKING.
WHEN YOU HIT A MAN, CUT HIM
DOWN LIKE A SACK OF WHEAT.
NOW, I'M GOING TO TELL YOU
SOMETHING ABOUT A YOUNG MAN
MOST OF YOU TOO
YOUNG TO REMEMBER.
GEORGE GIPP.
HE WAS TRULY A
WILL O' THE WISP.
HE WAS THE FIRST ALL
AMERICAN TO BE NAMED
BY WALTER CAMP AT THE SCHOOL
OF OUR LADY, NOTRE DAME.
I WAS WITH GEORGE
WHEN HE DIED.
AND WHEN HE WAS GOING OUT HE
LOOKED OUT AT ME, HE SAID,
“ROCKNE, ROCKNE, I'M NOT
AFRAID, HONEST, I'M NOT.
BUT COACH...
SOME DAY WHEN THE
GOING IS TOUGH,
AND THE BOYS AREN'T
GETTING THE BREAKS,
TELL 'EM TO GO OUT AND MAKE
JUST ONE FOR THE GIPPER.
I DON'T KNOW WHERE
I'LL BE THEN, ROCKNE,
BUT I'LL KNOW ABOUT IT.
AND I'LL BE HAPPY.”
I WANT THAT BACK FIELD TO
HIT THAT LINE RIGHT SIDE!
LEFT SIDE, LEFT, LEFT,
RIGHT, RIGHT, LEFT!
I WANT YOU DOWN THAT FIELD
SO YOU CAN'T STOP US!
NOBODY CAN STOP US!
I WANT YOU TO GO.
GO, GO, GO FOR
NOTRE DAME.
THAT'S WHAT THE WHOLE
THING IS ALL ABOUT.

Elwy stands on the sidewalk of the Chinese Theatre. He looks around, takes out a marker and writes his name on an empty star on the curb.

The end credits roll.

Talking films. Hosted by Elwy Yost.

Producer, Bruce Pittman.

Executive producer, Elwy Yost.

A production of TV Ontario. The Ontario Educational Communications Authority. 1979.

Watch: Hooray for Hollywood