Transcript: Talking Film: The Big Studios Twentieth Century-Fox | Mar 24, 1989

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.

He says THIS EDITION OF
TALKING
FILM
TAKES A LOOK
AT THE FACTORY SYSTEM
RESPONSIBLE FOR THE MAKING
OF SOME OF THE BIGGEST,
THE FINEST, AND OF COURSE,
SOME OF THE WORST
PICTURES EVER MADE.
I'M REFERRING TO THE
HOLLYWOOD STUDIOS,
OR TO BE MORE SPECIFIC,
WITH REFERENCE
TO THIS PARTICULAR
PROGRAM, 20TH CENTURY FOX.
WE'LL EXAMINE THIS FAMOUS
STUDIO THROUGH THE WORDS
OF PEOPLE WHO REPRESENT THE
BROAD RANGE OF FUNCTIONS
NECESSARY TO THE OPERATION
OF THIS FACTORY SYSTEM
IN THE HEYDAY OF
HOLLYWOOD FILMS.
OUR GUESTS ARE
MILTON SPERLING,
PRODUCER OF “I
WAKE UP SCREAMING,”
AND “SUN VALLEY
SERENADE.”
JET FORE, WHO HAS BEEN
A PUBLICIST AT FOX
FOR ALMOST 30 YEARS.
LIONEL NEWMAN, WHO LIKE HIS
TALENTED BROTHER, ALFRED,
RUNS THE MUSIC
DEPARTMENT.
RAYMOND KLUNE, WHO FOR
A PERIOD OF TEN YEARS,
WAS CHIEF PRODUCTION
MANAGER AT THE STUDIO.
AND FINALLY, ACTOR
VINCENT PRICE,
WHO BEGAN HIS CAREER
AS A 20TH CENTURY FOX
CONTRACT PLAYER.
LADIES AND GENTLEMEN, A
PORTRAIT OF A STUDIO,
20TH CENTURY FOX.

A video rolls.

Elwy says HOW WOULD YOU
DESCRIBE, LOOKING AT,
THIS IS PROBABLY AN
IMPOSSIBLE QUESTION.
BUT I'M FASCINATED BY
IT, THE FOX PRODUCT.
AS DIFFERENT FROM THE
WARNER'S PRODUCT AND
THE MGM PRODUCT, AN
THE PARAMOUNT PRODUCT.
WHAT IS THE FOX PRODUCT?

A caption reads “Milton Sperling. Producer.”

Milton is in his mid-sixties, clean-shaven and with short wavy brown hair. He wears glasses and a mustard yellow polo shirt.

He says THE FOX PRODUCT
WAS MUSICAL COMEDY,
AND COMEDY, PRIMARILY.
PRIMARILY THAT.
UNLIKE ZANUCK'S
YEARS AT WARNERS,
WHICH WERE HEADLINE
STORIES - GANGSTERS,
CURRENT EVENTS - IT WAS
TRUE ESCAPIST FILM.
HE WAS MAKING FANTASY
FILMS, REALLY.

Elwy says “GRAPES.”

Milton says WELL, THERE WERE
SOME EXCEPTIONS,
BUT THAT CAME LATER.
“GRAPES” CAME LATER.
THAT WAS JUST BEFORE
THE WAR, I BELIEVE.

Elwy says YES, AND “OXBOW.”
CAME, LATER, TOO.

Milton says “OXBOW” CAME LATER, TOO.

Elwy says SOME CRITICAL PICTURES.

Milton says SOME CRITICAL PICTURES.
BUT THERE WERE VERY
FEW AND FAR BETWEEN.
MOSTLY, DARRYL WAS TURNING
OUT AUDIENCE FILMS.
HE WANTED TO MAKE
SUCCESS OF THAT COMPANY.
AND HE WANTED TO SEE
THAT STOCK GO UP.
SO HE WASN'T TAKING
CHANCES WITH ANYTHING.
HE HAD A GOOD
STOCK COMPANY.
HE FOUND SOME
GOOD PEOPLE.
HE FOUND SONJA
HENIE, FOR EXAMPLE.
PLUCKED HER OUT OF THE
OLYMPICS WHEN SHE WON THAT.
AND PUT HER INTO
A WHOLE SERIES.
HE ACTUALLY HAD AN
IDEA OF THE SERIES
PERFORMER IN
THOSE DAYS.
BECAUSE HE HAD SONJA
HENIE IN ONE SKATING
PICTURE AFTER ANOTHER.
HE MADE ABOUT
EIGHT OF THEM.
I THINK I MADE SIX
OF THOSE EIGHT.

Elwy says THEN HE HAD ALL THAT B
SERIES GOING - THE CHANS.

Milton says CHARLIE CHANS.
HE HAD THE SHERLOCK HOLMES
SERIES GOING AT THAT TIME, TOO.
HE ALSO HAD THE ALICE
FAYE MUSICALS GOING.
ONE AFTER ANOTHER.
IDENTICAL EXCEPT FOR THE
CHANGE OF TITLE AND PERIOD.

Elwy says SAME SCRIPTS.

Milton says SAME SCRIPTS.
SAME WITH BETTY GRABLE.
OH, YES, THEN HE HAD
THE INVENTOR STRAIN.
HE HAD DON AMECHE
INVENTING VARIOUS THINGS.

Elwy says THAT'S RIGHT.
THE TELEPHONE.

Milton says I MADE THAT ONE.

Elwy says VERY INDEBTED
TO DON AMECHE.
MORE SHOULD BE
SAID ABOUT THAT.

Milton says YES, HE WAS
EXTRAORDINARY.
THE TELEPHONE WAS
KNOWN AS THE AMECHE
FOR SEVERAL YEARS.

Elwy says WARNERS WAS ON THE
BIOGRAPHY KICK OF
THE EMILE ZOLA'S,
AND SO FORTH.

Milton says DARRYL HAD MADE THOSE.
THAT WAS ALL DONE
DURING HIS PERIOD.
SO HE CARRIED
SOME OF THAT OVER.

Elwy says HE CONVERTS IT TO
AN INVENTION KICK.

Milton says EXACTLY.

Elwy says EDISON.

Milton says HE HAD IDEAS THAT
WENT IN THAT DIRECTION.
THERE WERE THREE
MAINSTREAMS.

Elwy says WELL, YOU SURE
PLAYED YOUR ROLE
WHEN YOU THINK OF ALICE
FAYE, SONJA HENIE,
BETTY GRABLE - THE PICTURES
THAT CAME UNDER YOUR WING.
YOU WERE A WRITER.

Milton says THEY WERE TYPICAL.

Elwy says YOU'RE A WRITER.
YOU'RE A PRODUCER.
AND YOU'RE A
WRITER PRODUCER.
I'M WONDERING HOW FAR YOU
WENT TOWARD TAILORING
THE SCRIPTS TO MEET THE
TALENTS OF THE STARS.
YOU'VE PARTLY ANSWERED
THIS, BUT I'D LIKE YOU
TO APPROACH THAT AGAIN:
TAILORING THE SCRIPTS TO MEET
THE TALENT OF THE STARS.

Milton says WELL, IN SOME CASES, IT WAS
THE NON-TALENT OF THE STARS.
TAILORING THE SCRIPTS TO
AVOID ANY ACTING HAZARDS
BECAUSE IN MANY INSTANCES,
THESE PEOPLE WERE GIFTED.
THEY WERE GIFTED
SINGERS, GIFTED SKATERS,
GIFTED ENTERTAINERS IN
THEIR RESPECTED FIELDS,
BUT HAD NO
TRAINING AS ACTORS.
SO IT WAS VERY IMPORTANT TO
SURROUND THEM WITH ACTORS
AND PERMIT THEM TO DO
THEIR STUNT WITHOUT
TOO MUCH INTERFERENCE
FROM STANISLAVSKI.

Elwy says WHAT IS YOUR FAVOURITE?
IS THERE A FAVOURITE WRITING
EXPERIENCE IN THOSE YEARS,
OR IS THAT CRAZY?

Milton says I GUESS THE FAVOURITE
FILM, BECAUSE OF
THE FUN INVOLVED, WAS
“SUN VALLEY SERENADE.”
I LEARNED TO SKI
DURING THAT PICTURE.
I HAD FOUR MONTHS
AT SUN VALLEY,
AND I'D IMPROVED MY
PHYSICAL BEING THERE.

The caption changes to “Jet Fore. Publicist.”

Jet is in his mid-fifties, clean-shaven and with short wavy gray hair. He wears glasses, a gray suit, pale blue shirt and midnight blue tie.

Elwy says YOUR PA CAME TO THE
LOT IN THE EARLY DAYS?

Jet says YEAH, MY DAD WAS A
POLICEMAN HERE IN 1928.
AND HE WAS HERE
FOR ABOUT 40 YEARS.

Elwy says MY GOD.
THE DAYS OF TOM MIX.
I WAS RAISED WITH HIM
ON SATURDAY MATINEES.

Jet says YOU WERE RAISED
WITH HIM.

Elwy says IN MATINEES, GOING TO SEE
TOM MIX, ALL HIS MOVIES,
AS A KID GROWING UP.
AND HE WAS HERE.

Jet says WELL, I'M NOT THAT OLD.
I DON'T RECALL TOM MIX.

They laugh.

Elwy says YOU'RE LOOKING AT
AN ANCIENT MAN HERE.

Jet says THIS USED TO BE
A RANCH OUT HERE.
YEARS AGO, IN
THE EARLY '20s,
IT WAS THE OLD
FOX RANCH.
AND BUCK JONES AND TOM MIX
MADE THEIR PICTURES HERE.
AND THE STABLE
IS STILL HERE.

Elwy says REALLY?

Jet says BUT THEY'VE CLEANED
IT UP A LITTLE BIT.
THEY DEFUMED IT.
BUT TONY'S STABLE WAS
HERE, AND SILVER KING.

Elwy says GEE.
THEY BUILT THE TOWN,
WILLIAM FOX HIMSELF,
BUILT THE TOWN FOR TOM'S
PICTURES, DIDN'T HE, PRIMARILY?

Jet says THAT'S ALL THEY SHOT OUT
HERE WAS LOCATION SHOTS
FOR TOM MIX PICTURES.
BACK IN THE EARLY '20s.

Elwy says ONE OF YOUR LEGENDS
THE DARRYL ZANUCK.
I MEAN, WE HEAR ABOUT
HIM FROM EVERYONE
WE TALK TO ON
THIS TRIP.
AN INCREDIBLE KIND
OF CHARACTER.
DO YOU KNOW ANY GOOD
DARRYL ZANUCK STORIES?

Jet says OH, LISTEN, HE WAS
A TREMENDOUS GUY.
VERY DYNAMIC.
HE REALLY MADE
THIS COMPANY.
I'VE GOT ONE FUNNY
DARRYL ZANUCK STORY.
WE USED TO HAVE A
PRODUCER-DIRECTOR
OUT HERE NAMED
SAMMY FULLER.
SAMMY HAD BEEN IN THE ARMY
AND LANDED AT D-DAY
AT NORMANDY, AND HE WAS
A HELLFIRE FOR LEATHER
KIND OF PRODUCER.
AND MOST DIRECTORS
WOULD SAY “ROLL IT!”
WHEN THEY ARE
READY TO GO.
SAMMY WOULD FIRE A .45
CALIBRE GUN INTO THE AIR.
SHAKE EVERYBODY.
HE WAS DOING A PICTURE
CALLED “FIXED BAYONETS.”
RIGHT OVER THERE,
AS A MATTER OF FACT.
SO JESUS, HE'D DRIVE THE
ACTORS NUTS WITH THIS GUN.
BUT HE'D NEVER SAY ROLL
IT, HE'D FIRE THE GUN.
SO ZANUCK WAS GOING TO
SHOW HIM THE PICTURE
AFTER IT WAS
PUT TOGETHER.
AND THEY WERE DOING IT
OVER IN MISTER ZANUCK'S
PRIVATE PROJECTION ROOM.
NOW, NORMALLY, WHEN
YOU ARE READY TO GO,
MISTER ZANUCK WOULD PICK UP
THE PHONE AND TELL
THE PROJECTIONIST,
ALL RIGHT, ROLL IT.
AS THEY'RE READY,
HE PULLED OUT
A .45 CALIBER
AND FIRED IT.
SAMMY HIT THE DECK AND TRIED
TO CRAWL UNDER HIS SEAT.
IT WAS A VERY
TERRIFYING THING.

The caption changes to “Lionel Newman. Musical Director.”

Lionel is in his early sixties, clean-shaven and with short slightly wavy gray hair. He wears a gingham shirt and a powder blue sweater.

Elwy says DURING EARLIER HALCYON
YEARS BECAUSE YOU ARE SURE
ENJOYING HALCYON YEARS
NOW WITH “STAR WARS.”

Lionel says YES, YES.

Elwy says EARLIER ONES WHEN
DARRYL F. ZANUCK,
WHEN HE WAS IN CHARGE.
LOVE TO KNOW YOUR
RELATIONSHIP TO HIM,
YOUR BROTHER'S, AND HOW
THE MUSIC DEPARTMENT
WORKED WITH DARRYL.

Lionel says HE GAVE A BIT MORE AUTONOMY
TO THE MUSIC DEPARTMENT
BECAUSE THINGS
HAVE CHANGED.
THERE ARE MORE PARTNERS
TODAY THAN THERE USED TO BE.
AND HE WAS A VERY
INSPIRATIONAL MAN.
HE WAS A
FABULOUS BRAIN.
HE WAS A MARVELLOUS
EDITOR.
HE WOULD TRANSPOSE
SEQUENCES.
HE WOULD NOT ONLY EDIT,
AND HE HAD THE HABIT OF,
AFTER YOU GOT THROUGH
RUNNING A PIECE OF CRAP,
YOU COULDN'T WAIT TO
GET TO WORK ON IT.
HE WAS A VERY
INSPIRATIONAL GUY.
HE WAS VERY DEMANDING,
OH, MY LORD,
YOU'D WORK UNTIL 2:00,
3:00 IN THE MORNING,
AND YOU'D HAVE TO BE
IN AGAIN AT 7:00
THE NEXT MORNING.

Elwy says YOU'RE NOT SERIOUS.
2:00 OR 3:00 AND
BACK IN AT 7:00?

Lionel says OH YEAH.
WE DID THAT MANY,
MANY, TIMES.

Elwy says SEVEN DAYS A
WEEK SOMETIMES?

Lionel says WELL, SIX ANYWAY.

Elwy says SIX ANYWAY.

The caption changes to “Raymond Klune. Production manager.”

Raymond is in his mid-seventies, with short receding white hair and a moustache. He wears light gray trousers and a short-sleeved white shirt.

Raymond says DARRYL ZANUCK
WAS, IN MY VIEW,
ONE OF THE MOST CAPABLE
HEADS OF A STUDIO
THAT I THINK
I'VE EVER MET.
I'VE MET QUITE
A FEW OF THEM.
I'VE NEVER WORKED FOR
MANY OTHERS, BUT HE WAS,
WITHOUT A DOUBT, THE FINEST
EXECUTIVE HEAD OF A STUDIO.

Elwy says WHAT WAS THERE ABOUT
THAT THAT MADE HIM?
WAS IT HIS ABILITY
TO ORGANIZE?
OR WAS HE ALSO CREATIVE?

Raymond says HE WAS VERY CREATIVE.
HE STARTED AS
A WRITER.
AT WARNER BROTHERS, HE DID
THE “RIN TIN TIN” SERIES
OF PICTURES AS A WRITER.
AND THEN ULTIMATELY BECAME
THE EXECUTIVE PRODUCER
IN CHARGE OF WARNER
BROTHERS' STUDIO.

Elwy says THOSE EARLY GANGSTER
PICTURES, I GUESS,
CAME OUT OF HIS AGES.

Raymond says OH, YES, YES.
MANY OF THE EARLY MUSICALS
THAT WARNER BROTHERS DID,
LIKE “42ND STREET,” IS
DONE AT WARNER BROTHERS.
THEN ZANUCK CAME IN AS A
VICE PRESIDENT IN CHARGE
OF PRODUCTION OF 20TH CENTURY
FILMS WHEN JOSEPH SCHENCK
ORGANIZED THAT SEPARATELY,
AND THEN LATER THEY
SORT OF MERGED WITH
20TH CENTURY.
AND IT BECAME ONE OF
THE REAL MAJOR FACTORS
IN THE INDUSTRY.

Elwy says RAY, DID HE HAVE
AN ACHILLES HEEL
LIKE GRIFFITH AND
LIKE SELZNICK?
WAS IT WOMEN?
WAS THERE A PROBLEM
IN HIS LIFE THAT WAY?
YOU DON'T HAVE TO
COMMENT ON THIS.

Raymond says WELL, SINCE DARRYL
AND HIS WIFE,
VIRGINIA ARE STILL
ALIVE, AND THEIR SON,
RICHARD IS VERY MUCH ALIVE,
I'D RATHER NOT COMMENT,
BUT EVERYONE HAS AN
ACHILLES HEEL TO ANSWER
YOUR QUESTION
RATHER ABRUPTLY.

Elwy says I DON'T MIND, SIR.
I DON'T MIND.

Raymond says HE SORT OF SEEMS TO
LIVE ON IN HIS SON,
WHO IS EXTRAORDINARILY
SUCCESSFUL.
AND I'M HAPPY TO SEE
THAT, BECAUSE HE'S
A NICE YOUNG MAN.

Elwy says WANT TO CHAT TO YOU A BIT
ABOUT HOW FOX WAS RUN,
THE ORGANIZATION OF THE
STUDIO, MILTON SPERLING.
WHAT WAS THE RELATION
BETWEEN WILLIAM GOETZ
TO ZANUCK, AND SOL
WURTZEL TO ZANUCK?
THIS IS GOING BACK NOW.

Milton says I'D SAY THIS IS NOT THE
PROPER WAY TO PUT IT,
IF ZANUCK WERE HITLER, THEN
GOETZ WOULD BE GOERING,
AND WURTZEL
WOULD BE STRIKER.
SO THEY WERE GAL
LIGHTERS.
THE OTHERS WERE GAL LIGHTERS
UNDER THE SUPREME LEADER.
GOETZ HAD STOCK
IN THE COMPANY,
SO HE GAVE A LITTLE MORE
UPMANSHIP THAN WURTZEL.
BUT WURTZEL WAS
BRIONY FOY.
HE DID THE B
PICTURES OVER THERE.
AND GOETZ WAS IN
CHARGE OF FINANCES
AND IN CHARGE OF THE
OPERATION OF THE STUDIO.

Elwy says ONE POINT, I GUESS,
ABOUT THE WHOLE SYSTEM
WAS THE ENCOURAGEMENT,
I GUESS, AND USE OF
COLLABORATIONS OF WRITERS.
THIS WASN'T SPECIFIC TO FOX,
I'M SURE, UNIQUE TO FOX,
THEY ALL DID THIS.

Milton says OH, YES.

Elwy says BUT THE COLLABORATIONS
BECAUSE YOU WORKED,
AND I THINK EVEN
ADDITIONAL DIALOGUE
YOU GOT FOR “FOUR SONS.”

Milton says YES.
THE CHAIN OF
WRITERS, YOU KNOW,
THE CONTRIBUTIONS OF
WRITERS TO SCRIPTS,
BEFORE THE CREATION OF
THE SCREEN WRITERS' GUILD
WAS JUST A MATTER OF
TOSSING A COIN.
THEY WERE JUST
IGNORED COMPLETELY.

Elwy says DID YOU WORK IN A
SUCCESSIVE LINE,
OR WERE YOU
TOGETHER IN A ROOM?
HOW DID THE
COLLABORATION WORKS?

Milton says SOMETIMES COLLABORATORS
WERE PUT TOGETHER IN A ROOM,
AS I WAS WITH BORIS INGSTER
FOR SEVERAL FILMS,
AND ANOTHER TIME WITH HARRY
TUGAN FOR SEVERAL FILMS.
BUT IN MOST CASES, UNLESS A
TEAM WAS CREATED BECAUSE
OF THE UNIQUE QUALITIES OF
EACH OF THE INDIVIDUALS,
A SCRIPT WOULD BE
WRITTEN BY ONE WRITER,
THEN CHANGES WOULD BE
MADE BY ANOTHER WRITER,
AND THEN ADDITIONAL
DIALOGUE WOULD BE ADDED
BY EVEN A THIRD WRITER.
IT WAS PART OF A
MECHANICAL OPERATION.
IT WAS A MANUFACTURING
PROCESS MORE THAN
A CREATIVE ONE.

Elwy says MELVILLE CROSSMAN.

Milton says MELVILLE CROSSMAN U.S.A.
THAT WAS SOMETHING
AT WARNER BROTHERS.
THAT WAS A FILM
I DID AT WARNERS.
“TOP SECRET.”
IT WAS CALLED “TOP
SECRET AFFAIR.”

Elwy says BUT THERE'S A NAME
CROSSMAN THAT CROPS UP.

Milton says OH, MELVILLE CROSSMAN
WAS ZANUCK'S PSEUDONYM.

Elwy says I DIDN'T KNOW THIS.

Milton says ZANUCK'S PSEUDONYM,
OF COURSE.
MELVILLE GOODWIN WAS
THE NAME OF THE-

Elwy says MELVILLE GOODWIN, THAT'S WHAT
YOU WERE THINKING OF THERE.
BUT THIS IS THE
PSEUDONYM ZANUCK USED,
AND INDEED DID THROUGH
THE YEARS, DIDN'T HE?

Milton says YES, FOR MANY YEARS.
AT 20TH AND
WARNER BROTHERS.

Elwy says YOU DID A LOT OF
SCREENPLAYS THERE.
I KNOW HENRY KING WAS
TELLING US ABOUT
THE COUNTRY DOCTOR,
ON THE QUINTUPLETS,
WHERE YOU LOOKED
AT NEWS EVENTS,
AND THEN YOU DEVELOPED, I
THINK, “SING, BABY, SING.”

Milton says THAT WAS ONE.

Elwy says WAS BASED ON A TRUE
EVENT IN NEW YORK.

Milton says YES, IT WAS.

Elwy says CAN YOU TELL US
ABOUT THAT?

Milton says “SING, BABY, SING” WAS
AGAIN THE BARRYMORE STORY.
IT WAS THE BARRYMORE STORY
THIS TIME FICTIONALIZED.
ADOLPHE MENJOU
PLAYED BARRYMORE,
AND ALICE FAYE PLAYED THE
GIRL WHO PURSUED HIM,
IF I'M NOT MISTAKEN.
AND JOHN PAYNE
WAS HER TRUE LOVE.
BUT IT WAS A MUSICAL WHICH
OPENED ASTONISHINGLY
TO ME WITH THE RITZ BROTHERS,
WHOM I HAD NEVER SEEN
BEFORE AND HADN'T
WRITTEN INTO THE SCRIPT.
AND I WENT TO THE
PREVIEW AND IT SAID,
“SING, BABY, SING.”
AND ALL THE FAMILIAR NAMES
OF THE PEOPLE CONTRIBUTED,
MY OWN AND THE
DIRECTOR AND SO FORTH,
THEN A WHOLE NEW
PICTURE STARTED.
I'D NEVER HEARD
IT BEFORE.
A REEL OF RITZ BROTHERS
DOING A FANTASTIC ACT.
AND THEN A MUSICAL NUMBER,
AND THEN SOME PLACE DEEP INTO
THE FILM, I HEARD THE
FIRST LINE OF DIALOGUE,
WHICH I DIDN'T HAVE
ANYTHING TO DO WITH.
SO THAT WAS THE PROCESS
OF MANUFACTURING
WHICH LEFT ME BEWILDERED.
I WAS A YOUNG WRITER
AND THIS WAS
MY FIRST EXPERIENCE
AS A WRITER,
SO I REALLY DIDN'T
KNOW HOW THIS
WAS ALL DONE IN
THOSE DAYS.

Elwy says RAY, WERE YOU
INVOLVED FOR ZANUCK
IN ANY OF THE BIG
FOX WESTERNS?
I'M THINKING OF
“BUFFALO BILL.”
AND “MY DARLING
CLEMENTINE.”

Raymond says “MY DARLING CLEMENTINE,”
BUT “BUFFALO BILL.”
CAME BEFORE THAT.

Elwy says AND “THE GUNFIGHTER,”
TOO, WOULD HAVE COME UNDER?
AND “YELLOW SKY”?

Raymond says OH, YES, ALL OF THAT.

Elwy says CAN YOU TELL US
ANYTHING ABOUT THOSE?

Raymond says WELL, I WAS EXECUTIVE
PRODUCTION MANAGER
AT 20TH CENTURY FOX.
NOW, THAT MEANT I HAD A LOT
OF UNIT PRODUCTION MANAGERS
WORKING UNDER ME.
AND IT WAS MORE OR LESS,
NOT THE PUSH BUTTON,
I HATE THAT WORD WHEN THEY
SAY YOU'VE GOT A PUSH-BUTTON
JOB BECAUSE, AGAIN, IT
INVOLVED A LOT OF HARD WORK
AND LONG HOURS AND
SOME WORRISOME TIMES.
BUT I WAS ASSOCIATED WITH
MAKING ALL OF THOSE MOVIES
FROM THE TIME I GOT THERE
'TIL THE TIME I LEFT.
AND IN THOSE DAYS,
WE WERE MAKING
50 TO 60 FEATURES
A YEAR.

Elwy says MORE THAN ONE A WEEK.

Raymond says THAT'S CORRECT.
AND ALSO DURING THOSE WAR
YEARS, WE WERE DOING,
SOMETIMES, AS MANY AS 15
OR 20 MILITARY TRAINING
FILMS SIMULTANEOUSLY.
ALL OF THE PRODUCTION
OPERATIONS CAME UNDER
MY JURISDICTION.
THAT IS THE PHYSICAL
PRODUCTION OPERATIONS.
AND ZANUCK WOULD
HAVE NOTHING TO DO
WITH THE
TRAINING FILMS.
HE HAD NOTHING TO
DO WITH THE B FILMS.
HE SAID, THAT'S
YOUR PROBLEM.
AND HE DIDN'T EVEN WANT
TO HEAR ABOUT THEM.

Elwy says HE MADE YOU
EXECUTIVE PRODUCER.
SOME OF THE OLD ANDREW AND
VIRGINIA STONE THRILLERS
WERE YOU MENTIONING
JUST BEFORE THIS.

Raymond says YES.
IN THE EARLY DAYS,
WE HAD SOL WURTZEL
DOWN AT WESTERN AVENUE
MAKING B PICTURES.
ZANUCK WANTED NOTHING TO
DO WITH THAT, SO HE SAYS,
YOUR RESPONSIBILITY THERE
IS JUST TO MAKE DAMN SURE
THEY DON'T GO
OVER THE BUDGET.

Elwy says WHY DID YOU
LEAVE ZANUCK?

Raymond says I DIDN'T LEAVE ZANUCK SO
MUCH AS I LEFT SPYROS SKOURAS.
SPYROS SKOURAS WAS THE
PRESIDENT OF THE COMPANY,
AND I KEPT URGING THEM
WE OUGHT TO CONSIDER
GETTING INTO TELEVISION.
WE HAD THE WESTERN
AVENUE STUDIO,
AND AS A MATTER OF
FACT AT THE TIME, DESILU,
WHO WERE INDEPENDENT AND
DIDN'T HAVE THEIR OWN STUDIO
THEY WANTED TO
MAKE A DEAL WITH US.
AND IT WOULD HAVE BEEN
A GOOD DEAL FOR US.
IT WOULD HAVE
UTILIZED OUR STUDIO,
WESTERN AVENUE STUDIO
WHICH WAS AT THIS TIME
I SPEAK OF WAS NOT BEING
FULLY UTILIZED AT ALL.
AND WE WOULD HAVE
LEARNED SOMETHING ABOUT
THE BUSINESS OF
TELEVISION.
AND IT WOULD HAVE GIVEN US
SORT OF THE INSIDE TRACK
TOWARD GETTING INTO THE
BUSINESS IF THIS WAS
WHAT WE WANTED TO DO.
SKOURAS HAD ABSOLUTELY NO
PATIENCE WITH ANY OF THIS
KIND OF THINKING AT ALL.
SO IT ENDED UP WITH OUR
GETTING INTO SOME RATHER
BITTER ARGUMENTS AND
EXCHANGING SOME RATHER
MEMORANDUMS THAT HE WOULD
NOT HAVE RATHER BEEN WRITTEN
BECAUSE IT SUBSEQUENTLY PROVED
HE WAS COMPLETELY WRONG
ABOUT THE WHOLE SITUATION.
BUT IT REACHED THE
POINT, FINALLY,
WHERE HE ALMOST
INVITED ME TO RESIGN.
I HAD A CONTRACT,
AND I DID.

The caption changes to “Vincent Price.”

Vincent is in his mid-sixties, clean-shaven and with short wavy gray hair. He wears a short-sleeved white shirt.

Elwy says YOU PLAYED THESE ROLES, AND
THERE ARE SO MANY OF THEM.
SO MANY OF THEM ARE
DONE IN WHAT WE CALL
OLD CONTRACT SYSTEMS.
AND I'M WONDERING FOR OUR
VIEWERS OF THIS SERIES,
VINCENT, IF YOU COULD TALK
ABOUT WHAT IT WAS LIKE
TO BE A CONTRACT PLAYER FOR
FOX BACK IN THOSE DAYS?
WHAT DID THAT MEAN
TO YOU IN YOUR LIFE?

Vincent says WELL, IT REALLY WAS VERY
EXCITING, BECAUSE IT WAS
KIND OF LIKE A TEAM.
I WOULD DO FILMS, MAYBE
FIVE OR SIX FILMS
WITH EXACTLY THE SAME CREW,
YOU KNOW, THE DIRECTOR,
THE CAMERAMAN, THE
SOUNDMAN, ALL THESE PEOPLE,
WHO BECAME INTIMATE FRIENDS,
AND WERE MORE A PART
OF MY LIFE, REALLY, THAN MY
OWN FAMILY, UNFORTUNATELY,
AT THAT TIME.
AND ALSO, THE ACTORS.
I KNEW THEM VERY WELL.
AND THEY WERE
WONDERFUL ACTORS,
THE PEOPLE WHO WERE
UNDER CONTRACT THERE.
AND WE WORKED AS SORT
OF A TEAM OF PEOPLE.
IT WAS VERY EXCITING.
I DON'T THINK THERE WAS
ANY MAD KIND OF COLLEGE
LOYALTY ABOUT IT, BUT
WE WORKED AS A TEAM.
IT WAS LIKE A GREAT
REPERTORY COMPANY.

Elwy says DID YOU OFTEN HAVE TO DO
ROLES THAT YOU DIDN'T LIKE,
AND DID THAT EVER
BOTHER YOU MUCH?

Vincent says SELDOM.
THEY REALLY TRIED VERY
HARD NOT TO PUT YOU
INTO THINGS YOU
DIDN'T LIKE.
YOU KNOW, THEY
TRIED TO BUILD PEOPLE.
MY FIRST FILM WHEN
I WENT TO FOX
WAS “THE SONG OF
BERNADETTE.”

Elwy says ONE OF THEIR BEST,
I THINK.

Vincent says YES, I DO TOO.
AND THEN THEY GAVE ME A
MARVELLOUS COMEDY PART
IN “THE EVE OF ST. MARK.”
THEN I PLAYED A HEAVY.
THEY REALLY SORT OF LET ME
DO ALL KINDS OF THINGS.

Elwy says YOU DON'T REALLY
HAVE ANY COMPLAINTS
ABOUT CONTRACT DAYS?

Vincent says NO, I DON'T.
NOT AT ALL.

Elwy says ALSO, THE WAY THE STUDIOS
WERE RUN IN THOSE DAYS,
I GATHER YOU'VE GOT A FAIR
RESPECT FOR THE OLD MOGULS?

Vincent says I SURE DID.

Elwy says HOW TOUGH AND
TIGHT-FISTED THEY WERE.

Vincent says WHEN I WAS THERE,
IT WAS BILL GOETZ
WHO WAS HEAD OF FOX.

Elwy says NOT ZANUCK.

Vincent says NOT ZANUCK.
HE WAS AWAY
AT THE WARS.
THEN ZANUCK CAME BACK,
AND I HAD GREAT
ADMIRATION FOR HIM.

Elwy says SOME OF THE STARS YOU KNEW,
YOU HAVE MEMORIES OF.
I MENTION JENNIFER JONES.
WHAT POPS INTO YOUR HEAD?

Vincent says WELL, SHE REALLY WAS
AN EXTRAORDINARY GIRL
BECAUSE THAT WAS HER
FIRST GREAT PART.
AND I THINK MAYBE
HER FIRST MOVIE.
BUT SHE WAS A SERIOUS
ACTRESS WITH A BACKGROUND.
AND SHE WAS ABSOLUTELY
WONDERFUL IN THAT PICTURE,
ABSOLUTELY WONDERFUL.
AND THEN SHE DECIDED
TO CHANGE HER IMAGE.
AND SHE BECAME THE SORT
OF JAZZY, HOT-TYPE GAL.
AND SHE WAS VERY RIGHT
TO DO IT BECAUSE
SHE COULD HAVE BEEN STUCK
IN THAT OTHER THING.

Elwy says I GUESS.

Vincent says JENNIFER,
INTERESTING LADY.

Elwy says EASY, FAIRLY EASY
GOING, OR FAIRLY SET-

Vincent says THAT WAS A VERY DIFFICULT
PICTURE TO MAKE BECAUSE
OF THE FACT IT WAS ABOUT
A SAINT, AND THE CHURCH
WAS VERY INVOLVED IN
IT, AND VERY STRICT
ABOUT WHAT WAS DONE.
IT WASN'T AN EASY
PICTURE TO MAKE.
IT TOOK NINE MONTHS.
AND IT ISN'T EASY TO
SUSTAIN A PART, ALL OF US,
LEE COBB, MYSELF, AND
CHARLIE DINGLE, ALL OF US,
WE REALLY HAD A
VERY HARD TIME.

Elwy says THERE'S A NAME, LEE COBB.

Vincent says BRILLIANT ACTOR.

Elwy says “DEATH OF A SALESMAN.”
ON THE STAGE.

Vincent says YES.
BRILLIANT ACTOR.

Elwy says HE'S A GOOD FRIEND?

Vincent says YES.
HE WAS A VERY
EARNEST MAN.
VERY EARNEST MAN.
NOT EASY TO KNOW.
BUT I LIKED HIM.

Elwy says FLYNN?

Vincent says YES, I LIKED
ERROL A LOT.

Elwy says WAS HE AS FUNNY AS ONE
IMAGINES HE MIGHT HAVE BEEN?

Vincent says HE WAS AS WILD AS ONE
WOULD IMAGINE, YES, YES.
EXTRAORDINARY MAN.

Elwy says OF COURSE WITH
THE SWORD FENCING.
AND RATHBONE WE'VE
ALREADY TALKED ABOUT.

Vincent says YES.
SOME OF THE WOMEN I THINK
I ENJOYED WORKING WITH.
I'VE ALWAYS ENJOYED
THE LADIES WHO WERE
SORT OF THE SEX OBJECTS.
THEY WERE GREAT FUN.

Elwy says GOOD SHOW.

Vincent says THEY WERE REALLY
GREAT FUN.
JANE RUSSELL, SHE
WAS A GREAT FRIEND.
I DID TWO PICTURES
WITH HER.
LANA TURNER.

Elwy says WHAT WAS LANA LIKE?

Vincent says SHE'S A KIND OF
WONDERFUL LADY.
SHE'S REALLY A
WONDERFUL LADY.
NONE OF THEM REALLY TAKE
THEMSELVES TOO SERIOUSLY.

Elwy says IS THAT RIGHT?

Vincent says MAUREEN O'HARA, ONE OF THE
REALLY MOST BEAUTIFUL WOMEN
I'VE EVER KNOWN IN MY LIFE.
AND ONE OF THE FUNNIEST.

Elwy says SHE WAS IN SO MANY JOHN
FORD FILMS, WASN'T SHE?

Vincent says OH, SHE WAS WONDERFUL.

Elwy says BUT SHE DIDN'T TAKE HERSELF…
THAT'S A VERY GOOD POINT.
NOW YOU'VE GIVEN ME A
POINT TO RAISE A QUESTION,
VINCENT, ABOUT HOW SERIOUSLY
THE BIG STARS TOOK
THEMSELVES, OR HOW
NON-SERIOUSLY?
I GUESS SOME VERY
SERIOUSLY.

Vincent says SOME VERY SERIOUSLY.
BUT THE PEOPLE LIKE
RONNIE COLMAN,
HE TOOK HIS WORK
TERRIBLY SERIOUSLY,
BUT HE DIDN'T TAKE HIMSELF
TERRIBLY SERIOUSLY.
HE WAS A VERY OUTGOING,
VERY JOLLY MAN.
CARY GRANT, BETTY
DAVIS, MARVELLOUS.

Elwy says HOW ABOUT CARY GRANT?

Vincent says I'VE NEVER WORKED WITH HIM,
BUT I KNOW HIM FAIRLY WELL.
AND I HAD A GAG WITH HIM.
I'VE ALWAYS VOTED FOR HIM
FOR THE ACADEMY AWARD, STILL.
WHETHER HE MAKES
A PICTURE OR NOT,
IT DOESN'T MATTER TO ME
BECAUSE HE NEVER GOT IT.
AND I STILL THINK HE'S
THE BEST MOVIE ACTOR
WHO EVER WAS.

Elwy says DO YOU?

Vincent says OH, YES.
YOU ASK PEOPLE LIKE
KATHARINE HEPBURN.
YOU ASK PEOPLE WHO
HAVE WORKED WITH HIM.
THEY ADMIT HE IS REALLY
THE MOST CONSUMMATE
MOTION PICTURE ACTOR
WHO EVER LIVED.

Elwy says OF THEM ALL.

Vincent says OF THEM ALL.

Elwy says WELL, BOY, THAT'S
SOMETHING.
I'M NOT GOING
TO DEBATE THAT.

Vincent says REALLY SUPERB.

Elwy says “AWFUL TRUTH.”
“I WAS A MALE
WAR BRIDE.”
“HIS GIRL FRIDAY,”
AND ALL OF THOSE.

Vincent says WONDERFUL.
AND HIS INVENTION IN THE
WAY HE BECAME, YOU KNOW,
DIFFERENT CHARACTERS
WITHIN THE LIMITATIONS
OF HIS OWN PERSONALITY.

Elwy says VINCENT PRICE, HAVE STAR
ROLES, THE IMAGE OF STARS,
CHANGED MUCH IN 50 YEARS?

Vincent says NOT REALLY, NO.
EXCEPT I THINK THE CONTEMPORARY
STARS ARE VERY LAZY.
THEY OUGHT TO GET
OUT AND WORK A LOT
AND MAKE MISTAKES.
THAT TERRIBLE PROTECTION OF
SAYING I WANT 3 MILLION DOLLARS
FOR A PICTURE, AND
THEN DOING A DOG; BOY,
IF YOU ASK FOR 3 MILLION DOLLARS,
YOU BETTER DO A GOOD ONE.
BUT REALLY SHOULD GET OUT
AND WORK AND DO ALL THE
THINGS AND MAKE THE
MISTAKES AND DO GOOD
PICTURES AND BAD PICTURES.
DOESN'T MATTER, REALLY.

Elwy says WE HEARD A WONDERFUL
MARTIN BALSAM STORY
AFTER HE GOT HIS, I THINK
IT WAS MAYBE FOR “PSYCHO,”
OR I MAY BE WRONG HERE.
BUT APPARENTLY HIS AGENT
PHONED EVERYBODY THE NEXT
DAY SAYING, SAME MAN,
SAME ACTOR, SAME PRICE.
HE WASN'T CHANGING.

Vincent says NO, ABSOLUTELY NOT.
IT'S RIDICULOUS.
THEY'RE LAZY.
THEY'RE LAZY.

Elwy says TELL US ABOUT THE
BACK LOT WITH THE SETS
THEY USED TO HAVE
OUT HERE.
BECAUSE IT'S SHRUNK
A GREAT DEAL.
YOU'VE DIVESTED YOURSELF
OF A LOT OF REAL ESTATE
IN THE '50s.

Jet says WHEN I FIRST CAME
HERE, WE HAD 365 ACRES.
NOW, WE HAVE 65.
THEY SOLD ALL THAT BACK LOT
OFF TO ALCOA IN ABOUT 1963.
BUT WE HAD A
STREET WE USED
IN “THE SONG OF
BERNADETTE.”
WE HAD LOURDES,
FRANCE.
WE HAD A SCENE FROM “THE
GUNFIGHTER” WITH GREGORY PECK.
WE HAD ALL OF THOSE - THE
BEAUTIFUL NEW ENGLAND
SET WE USED IN THE
MISTER BELVEDERE SERIES,
“CHEAPER BY THE DOZEN.”
HAD A WESTERN
STREET WE USED.
VIC MATURE AND HENRY
FONDA DID A THING CALLED...
JOHN FORD PRODUCED IT.
I CAN'T THINK
OF THE NAME NOW.

Elwy says “MY DARLING CLEMENTINE.”

Jet says “MY DARLING CLEMENTINE,”
THEY HAD THAT.
AND WE HAD PROBABLY
25 LITTLE STREETS
OUT THERE IN THE
BACK LOT.
JUST MARVELLOUS.

Elwy says NOW, THE STUFF IS
MADE OUT OF A KIND OF
A HYDROCAL OR PLASTER?

Jet says YEAH, THEY WOULD MAKE
IT OUT OF A PLASTER.
THE BRICK WAS
ALL PLASTER.
JUST PHONY FRONT
LIKE HOLLYWOOD.

Elwy says THE ROCKS ARE PLASTER?

Jet says YEAH, EVERYTHING
WAS PHONY.

Elwy says DID YOU HAVE A
JUNGLE SET?

Jet says NO, WE DIDN'T DO
THE TARZAN PICTURES.
WE DIDN'T HAVE
ANY JUNGLE SETS.

Elwy says NO JUNGLE SETS HERE.
I WAS WONDERING HOW THEY
WOULD DO JUNGLE SETS, THOUGH.
I GUESS THEY'D USE A
NURSERY, WOULDN'T THEY,
AND BRING A LOT OF
THE FLOWERS?

Jet says IN THE OLD DAYS,
THE LAST THING THEY WOULD
EVER THINK OF DOING WAS
GOING TO AFRICA BECAUSE
THAT WOULD BE RIDICULOUS,
YOU KNOW, TO SHOOT THE
JUNGLE SET IN AFRICA.
THEY'D BUILD IT
ON THE BACK LOT.

Elwy says MARILYN MONROE.
ANY MEMORIES ABOUT HER?

Jet says OH, YES, YES.
I REMEMBER
MARILYN VERY WELL.
SHE WAS A LITTLE STARLET
OUT HERE IN 1946.
AND MY BOSS CALLED ME
DOWN, HARRY BRAND,
AT THAT TIME, WAS THE
PUBLICITY DIRECTOR.
AND HE SAID, JET, THIS
IS NORMA JEAN DOUGHERTY.
I WANT YOU TO WRITE
A BIOGRAPHY ON HER.
SO I WROTE THIS
BIOGRAPHY ON HER.
AND THE ERA OF THE BABYSITTER
WAS JUST COMING IN.
SO I FABRICATED A STORY
THAT MARILYN HAD GONE OVER
TO A CASTING DIRECTOR'S HOUSE
TO BABYSIT, AND HE SAID,
MY GOD, YOU'RE JUST RIGHT
FOR THE GIRL WE WANT,
WE'LL TEST YOU.
SO THE STORY SAID THEY
TESTED HER AND THEY SIGNED HER
FOR A PICTURE CALLED
“SCUDDA HOO! SCUDDA HAY!”
THEY CUT MARILYN
OUT OF THE PICTURE.
SHE WAS NEVER IN IT.

Elwy says THAT'S RIGHT.

Jet says SO SHE LEFT FOX AND
WENT OVER TO MGM
AND DID A THING CALLED
“THE ASPHALT JUNGLE,”
WHICH WAS A BIG HIT.

Elwy says JOHN HUSTON.

Jet says SO WE BRING HER BACK.
FIVE YEARS LATER, WE'RE
HAVING THE WORLD PREMIER
OF “HOW TO MARRY A MILLIONAIRE.”
AT THE WILTSHIRE THEATRE.
AND MARILYN COMES IN
WITH HUMPHREY BOGART AND
LAUREN BACALL, AND
SHE'S JUST BEAUTIFUL.
NOW, SHE'S A BIG STAR.
NOW, THE ONLY THING SHE
SHOULD HAVE HAD ON HER MIND
THAT NIGHT WAS THE
PICTURE, YOU KNOW,
AND THE ACCLAIM
SHE WAS GETTING.
AND SHE WALKS UP TO
ME, AND SHE SAYS,
CAN'T WE GET THAT CRAP
OUT OF MY BIOGRAPHY
ABOUT THE BABYSITTER?
SHE SAYS, IT'S SO
EMBARRASSING TO ME.
[laughing]
I SAID, CAN'T WE TALK ABOUT
THIS TOMORROW, MARILYN?
AND THAT'S ALL
SHE HAD TO SAY.

Elwy says OH, MY GOLLY.
SUCH A LEGEND, THOUGH.

Jet says BUT SHE WAS A GREAT GAL.

Elwy says SHE MUST HAVE BEEN.

Jet says I MEAN, IF YOU HAD A
9:00 IN THE MORNING DATE,
WE'D GET HER UP AT 5:00
SO SHE'D MAKE IT BY 9:00.

Elwy says REALLY?

Jet says YEAH, IT WAS
THAT TOUGH.

Elwy says YOUR PERSONAL WORK HERE
IN PROMOTION OBVIOUSLY
BROUGHT YOU INTO VERY
INTIMATE CONTACT
WITH A LOT OF THE STARS.

Jet says HOW DO YOU MEAN
INTIMATE?

Elwy says WELL, I MEAN IN A
VERY BRITISH WAY.
HENRY FONDA.
HOW DOES HE STACK UP?

Jet says HENRY WAS A
TREMENDOUS GUY.
WE ALL LIKED
HIM OUT THERE.
I'M NOT GOING TO BUM BEEF
ANY OF THESE PEOPLE.
I MIGHT HAVE TO WORK
WITH THEM AGAIN.

Elwy says YOU CERTAINLY MIGHT.

Jet says WHAT AM I
GOING TO SAY?
THEY'RE ALL NICE.
I FIND ACTORS LIKE TRUCK
DRIVERS AND WAITRESSES
AND PLUMBERS, SOME ARE
NICE, AND SOME ARE NOT.
BUT THEY ARE
JUST LIKE PEOPLE
IN ANY OTHER
WALK OF LIFE.

Elwy says ANY REALLY ECCENTRIC DIRECTORS,
JET, THAT YOU RAN INTO,
FLAMBOYANT, COLOURFUL
CHARACTERS, OR ANY ANECDOTES
THAT STICK
IN YOUR MIND ABOUT?

Jet says HENRY KING.
I KNOW YOU TALKED
TO HENRY KING.
HE'S A MARVELLOUS GUY.

Elwy says 89 OR SOMETHING HE IS.

Jet says I SAW HIM.
WE WERE PUTTING A STAR
IN HOLLYWOOD BOULEVARD
ON LEON SHAMROY, HENRY
KING'S FAMOUS CAMERAMAN.
AND MISTER KING HAD
A CAST ON HIS LEG.
NOW, HE WAS 87 THEN.
I SAID, OH, MISTER KING, YOU
FELL AND BROKE YOUR LEG?
HE SAID, YEAH, I WAS
WATER SKIING LAST MONTH
AND I BROKE MY LEG.
87 YEARS OLD.

Elwy laughs out loud.

Elwy says STILL FLYING
HIS OWN PLANES.

Jet says HE'S UNBELIEVABLE.

Elwy says I KNOW.

Jet says HE WAS A FABULOUS GUY.

Elwy says ARE THERE MANY OF THOSE
AROUND LIKE KING?
I GUESS NOT TOO MANY OF
THEM AROUND THESE DAYS.
I GUESS MOST OF THEM
HAVE PASSED ALONG.

Jet says I TELL YOU A FUNNY STORY
ABOUT VICTOR MATURE.
VICTOR WAS THE MOST
MARVELLOUS GUY IN THE WORLD.
WE ALL LOVED HIM.
AND JUST A
TREMENDOUS GUY.
HE HAD NEVER WORKED
WITH HENRY HATHAWAY.
AND HENRY HATHAWAY
WAS A TOUGH DIRECTOR.
JESUS, HE WAS
JUST TOUGH.
SO VIC WAS SIGNED TO
DO A THING CALLED
“A KISS OF DEATH.”

Elwy says YES.

Jet says AND HE GOT A CALL
FROM HENRY HATHAWAY,
AND HENRY SAID, VIC, WE'VE
NEVER WORKED TOGETHER.
WOULD YOU MIND DROPPING
OUT TO MY OFFICE,
WE COULD HAVE
A LITTLE TALK.
IT WOULD BE GOOD
IF WE GOT ACQUAINTED.
VIC SAID, OF COURSE.
SO HE GOES IN, AND
HENRY SAID, NOW, VIC,
WE'VE NEVER
WORKED TOGETHER,
BUT I'M SURE YOU'VE
HEARD MY REPUTATION.
I'M THE MEANEST, MOST
CANTANKEROUS DIRECTOR
IN THE BUSINESS.
FOR EXAMPLE, YOU'LL FLUFF
A SCENE OR SOMETHING
AND I'LL CALL YOU A DIRTY
SO AND SO AND STUPID, AND
ALL THIS; BUT, VIC, ONCE
THAT PICTURE IS OVER,
IT'LL ALL BE FORGOTTEN;
I'LL HAVE YOU OUT AT MY HOUSE.
NOTHING WILL EVER
BE SAID ABOUT IT.
AND VIC, WHO IS
SIX FEET FOUR,
AND HE WEIGHED ABOUT
220, SAID, HENRY,
I'M GLAD YOU TOLD ME
BECAUSE I'M A LITTLE BIT
THE SAME WAY.
YOU'LL CALL ME A
STUPID SO AND SO,
AND I'LL WALK OVER AND KNOCK
YOU RIGHT ONTO YOUR KEISTER.
BUT WHEN THE
PICTURE IS OVER,
I'LL HAVE YOU OUT
AT MY HOUSE, HENRY.
WELL, HENRY NEVER
LIFTED HIS VOICE TO VIC.
NEVER.

Elwy says HOW CAN YOU TOP
THAT STORY?

Jet says IT'S A TRUE STORY.

Elwy says THAT'S INCREDIBLE.

Back in the studio, Elwy says
THE BIG HOLLYWOOD STUDIOS
HAVE LONG BEEN A SOURCE
OF ARGUMENT, FASCINATION,
DISCUSSION AMONG FILM BUFFS.
WERE THEY REALLY THE CLICHE
THAT IS OFTEN SAID ABOUT THEM?
WERE THEY TYRANNICAL
DICTATORSHIPS UNDER WHICH
ACTORS, ACTRESSES, DIRECTORS
AND WRITERS ALIKE
SUFFERED IN A SAUSAGE
FACTORY ATMOSPHERE?
IF THEY WERE
SAUSAGE FACTORIES,
WHY DID SO MANY OF THE
GREAT DIRECTORS FLOURISH
AND PRODUCE THEIR FINEST
WORK UNDER THIS SYSTEM?
20TH CENTURY FOX TODAY IS
EXPERIENCING A RESURGENCE,
OF SORTS, WITH THE PHENOMENAL
SUCCESS OF “STAR WARS,”
WHICH IS THE HIGHEST
GROSSING PICTURE OF ALL TIME.
IT'S INTERESTING TO
NOTE THAT “STAR WARS.”
WAS MADE ENTIRELY IN
ENGLAND AND TUNISIA.
NOTHING OF THE FILM IS DONE
AT THE HOLLYWOOD STUDIO.
TIMES HAVE CHANGED.
EVEN WITH ITS
CURRENT SUCCESS,
IT IS CERTAIN THAT FOX
STUDIOS WILL NEVER BE THE SAME,
NOR WILL FILMS EVER AGAIN
BE MADE QUITE THE SAME
AS THEY WERE DURING THE GOLDEN
AGE OF 20TH CENTURY FOX.
IT SEEMS THAT THE TIME
HAS COME TO, PERHAPS,
CHANGE THE NAME TO
MORE APPROPRIATELY,
21ST CENTURY FOX.

Watch: Talking Film: The Big Studios Twentieth Century-Fox