Chapter 21 Chapter 21
I was assigned by Kenneth McCain to write the musical "Rich, Young, Beautiful" featuring Jane Powell, Daniel Dalio, Wendell Corey and young singer Vic Dimon, all of them are brilliant.
The film tells the story of a mother who abandons her daughter and reunites after many years.
One morning, Jules Stein called, "Dorothy and I are going to your house for dinner, do you mind if we bring someone else?"
"Of course I don't mind." I said.
Of course it doesn't matter if there is one more person, our house is not big enough anyway.
That evening Jules and Dorothy brought a handsome young man to my house.
"I want you to meet Fernando Ramas, who is about to star in your film."
Fernando spoke with a South American accent, and I later discovered that he was not only charming, but also very witty.Once, when he was a guest on "The Tonight Show," host Johnny Carson made a joke about his accent, and Fernando interrupted Carson. "If a person speaks with an accent," he said to Carson solemnly, "it means that he has mastered one more language than you." The audience immediately responded with warm applause.
On the day "Rich, Young, Beautiful" started filming, I went to the set.The screenplay was co-written by me and Dorothy Cooper, who was a fantastic contract writer.Vic Damon was making a film for the first time, and he was understandably nervous.Director Norman Tiger is a veteran, but his temper is very rough. Tiger rushed to the audience and said loudly: "Okay. Take your seats." Vic Damon asked nervously: "Excuse me, Mr. Tiger, can I have a drink first?" Norman Tiger gave him a hard look, "No way. Turn on!" And so began filming on Rich, Young, and Beautiful. The film did well at the box office.In the same year, I also wrote a musical "Southern Spring", starring Ann Suchun, Jane Powell, and Barry Sullivan.It's a romantic comedy about a mother and daughter who both fall in love with a man.This type of story has to be fast-paced and light-hearted. After finishing that script, I went on to write Don't Ask Questions, starring Barry Sullivan, Arlene Dahl, and George Murphy. When a film executive encounters Pug Wells on a flight to New York, the jovial, high-spirited flight attendant intrigues him.After asking about her personal situation, the supervisor became even more interested.After returning to the company, he proposed to Dole to make a film based on Wells.That's it for my next mission. Ruth Brooks Frippen, who I was working with, was one of the best writers in the company.Producer Armand Deutsch was invited by Dole from the east, and others called him Eddie.He had never made a film, but Dole was impressed by his talent. I fell in love with Eddie the first time I met him.He's passionate about what he does, not as cautious as a lot of other producers are. I started working on the script and decided to complicate the role of Pug Wells by not having one man but three.From this I also came up with the title: Three Mr. Mikes. I showed Eddie the beginning of the script, and he was, quite literally, jumping for joy.Now that he behaved like this, I was of course encouraged and couldn't wait to write the rest.It's been a pleasure working with someone like him.When the script was written, he said, "Jane Wyman is the perfect choice for the leading lady." "What about the three men?" "Van Johnson, Howard Gill and Barry Sullivan. That's my dream team." Eddie's dream combination becomes reality.We started shooting in the spring of 1950, and everything went well. I wanted to play a part in the film for reasons I can't remember now.I ran to talk to Eddie about the idea. He said, "Okay. Which part do you want to play?" "I haven't written it yet," I said. I know very well what kind of characters can't be cut in the end.The answer is, the character that is next to the protagonist when he or she first enters the scene.It is impossible to cut out the scene where the protagonist appears for the first time, and the position of the character next to him is naturally very safe.I cast myself a very humble character of the gardener in the scene where Barry Sullivan made his debut. The next day, I saw my performance in the demo, and I regretted it all at once.I would pay any money if I could not appear in the camera.The me in the camera is really scary.
My next assignment is to write the screenplay for Once Upon A Time, a lovely story from the brainchild of Max Trier.The executor, disturbed by a profligate son living a life of extravagance on his ancestral inheritance, hires an overseer to keep his expenses in check, and the overseer happens to be a young and beautiful woman . After the script was written, I thought Cary Grant was the best choice for the lead actor.The company showed the script to Gary, who declined. It ended up starring Peter Lawford, Janet Leigh and Lewis Stone, who played Judge Hardy in the famous "Andy Harry" series. A year later, when the film came out, Gary called me: "Sidney, I just wanted to tell you that you were right. I should play that part." To this day, "Once Upon a Time" remains one of my favorite films.
In February 1952, Kenneth McCain called me over. "We just bought the rights to the Broadway musical Suspicion." I've seen reviews of this musical.The blockbuster show was written by the talented duo of Howard Lindsay and Russell Crews.The story is about a New York band girl who moves into the apartment building where her wealthy uncle was murdered.As the girl got closer to the truth, the murderer decided to kill her too. "I decided to let you write the script," McCain said. I nodded, "Okay, Kenneth." There's nothing negotiable about what he says. "We'll put you on a plane to New York, see the show there, and meet the producer, Leland Heywood." Leland Heywood.My mind started racing.I can still vividly see the list of clients I saw while working for Leland Haywood: Ben Hurt, Charles MacArthur, Nannelly Johnson. Heywood later made some prestigious films: , "Lin Baizheng", "Mr. Roberts", etc., etc. The next day, I flew to New York.I watched the stage play of "Midnight Suspect Cloud" on the plane, and I felt very happy. On my second day in New York, I had lunch with Leland Heywood at the Plaza Hotel.This man is known to enjoy life.Famous beauties such as Pamela Churchill, Margaret Sullivan, and Nancy Hawks were all his wives.The charismatic gentleman is always well-groomed and his gray hair is combed back. Leland stood up and greeted me, "Nice to meet you." I didn't feel the need to remind him that twelve years ago, I was a client in his firm, earning seventeen dollars a week.We started our meal and he was very chatty, funny and quips. We talked about that musical. "I've read the script and thought it was brilliant." "Great. I'm glad you're writing the screenplay." He arranged for me to see the musical that night.The cast is very strong: Jackie Cooper, Harry Shaw Lowe, Madeleine Moka, Janice Paigle.There are also two relatively unknown actors, Frank Campanella and Ossie Davis-of course, both of them later became big stars.The evening was as pleasant as I had expected. I went back to Hollywood to write scripts.Three months later it was done.I showed the script to Arthur Hornblower, the producer.He said: "The script is very good, we will cast it immediately." "Do you have a role candidate?" "Company signed Joan Arison and Van Johnson." "very good." A few days later, Dole called me into his office. "Louis Calhern was the perfect choice for Benjamin Goodman." I said, "I agree. He's very talented." "there is a question." "What's the problem?" "He said no. He said the role was too small." I thought, he was right. Dole went on to say, "Are you a good friend of Louis's?" "That's right." "I want you to talk him through. He's going to be a big selling point for this movie." That's when I made a decision: Dole was right. The next night, I invited Calhern to dinner at a restaurant.He looked around and said, "Hope no one sees us together. It would discredit me. I should have put on a mask and come back." "You turned down the role of Benjamin Goodman, and I understand that." "You call that a character?" He snorted. "By the way, I really like your script." I started lobbying him, "Louis, this movie is going to be a hit, and I want you to be a part of it. Your role is vital to the plot. Your participation makes this movie, and this movie will push your career to the top. And, for you, there is an obvious benefit to it..." For the next half an hour, I was second to Otto.When my tirade was over, Calhern said, "You're right. I can play the part." The film was a mediocre, mediocre box-office hit and failed to push Calhern's career to the top.
Once a year, MGM invites distributors and broadcasters from all over the world to come to Covent City to learn about the company's recent developments.This is an exciting time for the company.Representatives from more than a dozen countries around the world will gather in a large studio to listen to the introduction of new films. It was Dole who spoke.He gave everyone a guarantee: "Next year will be one of the most fruitful years." After a short speech, he began to read the list of new films and the actors, directors and screenwriters of each film.Later someone told me that after talking about several films, he read one of my films. "Rich, Young, Beautiful, screenwriter, Sidney Shelton." Next, he listed several other films. ""Southland", screenwriter, Sidney Shelton." "'Don't Ask,' by Sidney Shelton." "Three Mister Mikes, written by Sidney Shelton." The audience started laughing. Dole reviewed the list in his hand, "It looks like most of our films this year are written by Sheldon!" That afternoon, Dole called me into his office. "How about you become a producer?" he asked me. I was taken aback, "I never thought of that." "Well, think about it. Because starting today, you're a producer." "I don't know what to say, Dole." "It's the result of your own hard work," he said. "good luck!" "thanks!" I went back to my office, thinking: I'm only thirty-four years old, but I've already won an Oscar and become a producer for the largest film company in the world. It should have been a moment of joy, but instead I was filled with dread.I don't know anything about filmmaking, Dole must be mistaken, I can't do this.I should call Dole and tell him I can't accept this arrangement.He'll probably fire me, and I'll have to find another job soon. That night, I tried to get myself to sleep, but to no avail.At midnight, I put on my clothes and got up and went outside.For a while, I thought about my various encounters.I remembered the night Otto asked me to go out with him.Every day is a new page, Sidney, and it can be full of surprises.There is no way you can know what's next until you turn that page...not wanting to see you close the book too soon and miss the next page - the one you're about to write - It could be wonderful. When I woke up the next morning, I made a decision: at least, I could try to make a film.If it doesn't work, I can always go back and be my screenwriter.
When I arrived at the company that morning, I found that I had been transferred to a large office.I also learned that being a producer at MGM was a piece of cake.The editorial department is connected to each publishing house, and they will send each producer a synopsis of all new books, as well as those scripts and original stories that the authors have submitted directly to the company.The producer's job is simply to pick out the material he wants to shoot from it. After that, the producer can choose one of the available screenwriters to write the script.After the script is written, the casting department begins work.They'd show the producers a list of actors and directors, "Which ones do you want?" The last link is Benny Shaw, who is responsible for signing contracts with the screenwriters, actors, and director's agents.The MGM producer's job is really to sit in an office and press buttons.Being a producer couldn't be easier.
I still enjoy entertaining guests at home.Friends from all walks of life, as well as actors and directors who have worked with me have filled my small dwelling to the brim. Once, I decided to have a musicians dinner, so I invited a group of people from the music industry.The guests are among Hollywood's most talented musicians and composers - all accomplished for their time and with more to come.These include: Alfred Newman, we all called him "Dad."He was small in stature, but a giant in musical ability.He has been nominated for more Academy Awards than any film composer, and has won nine times.He has composed music for more than 200 films, including "Alexander's Jazz Band," "The Great Lady," and "The King and I." Victor Young, who has been nominated for twenty-two Oscars, has composed music for many films including, "The Door Is Opening for You" and "Wild Man". Dimitri Diomkin, composer of "Lost Horizon", "It's a Wonderful Life", "In the Sun" and many other films. Johnny Green, who has written more than a dozen hit songs such as "Seven Deadly Sins", "Let It Go", and "You Are Mine", has also composed music for all the major film companies. Broniszlo Kepa, composer of The Three Michaels.Since then, he has composed music for films such as "Scent of the Green Valley", "Prostitutes in the Brothel", and "Aunt Mami". André Previn, a famous conductor, is also the music director of such films as "Glass Stockings", "Crazy Princess", "My Fair Lady", "The Beggar and the Slut", and "The World of Gold". Such a lineup is really impressive.My girlfriend that night was a young actor who lived in a motel across the street.After dinner, everyone gathered in the living room.Deciding to have some fun for them, I sat down in front of the little upright piano and announced, "I'm taking correspondence piano lessons. It's a new way of teaching—teaching students to play the piano by command. " I started bouncing up.The room became very quiet, and I felt that the group behind me was in awe of me. In the middle of playing, my girlfriend whispered, "Sidney, I don't want to interrupt you, but I have an audition in the morning." I got up and said, "I'll take you back to the hotel, Janet." Then I said to the guests, "I'll be right back." It took me about five minutes to send my girlfriend back to the hotel.When I came back, I wanted to finish playing the song just now, but the piano was gone.The guests moved the piano into the small study. Looking at their happy faces, I think they are all very sad. Jealousy is a really bad thing.
On the day "Rich, Young, Beautiful" started filming, I went to the set.The screenplay was co-written by me and Dorothy Cooper, who was a fantastic contract writer.Vic Damon was making a film for the first time, and he was understandably nervous.Director Norman Tiger is a veteran, but his temper is very rough. Tiger rushed to the audience and said loudly: "Okay. Take your seats." Vic Damon asked nervously: "Excuse me, Mr. Tiger, can I have a drink first?" Norman Tiger gave him a hard look, "No way. Turn on!" And so began filming on Rich, Young, and Beautiful. The film did well at the box office.In the same year, I also wrote a musical "Southern Spring", starring Ann Suchun, Jane Powell, and Barry Sullivan.It's a romantic comedy about a mother and daughter who both fall in love with a man.This type of story has to be fast-paced and light-hearted. After finishing that script, I went on to write Don't Ask Questions, starring Barry Sullivan, Arlene Dahl, and George Murphy. When a film executive encounters Pug Wells on a flight to New York, the jovial, high-spirited flight attendant intrigues him.After asking about her personal situation, the supervisor became even more interested.After returning to the company, he proposed to Dole to make a film based on Wells.That's it for my next mission. Ruth Brooks Frippen, who I was working with, was one of the best writers in the company.Producer Armand Deutsch was invited by Dole from the east, and others called him Eddie.He had never made a film, but Dole was impressed by his talent. I fell in love with Eddie the first time I met him.He's passionate about what he does, not as cautious as a lot of other producers are. I started working on the script and decided to complicate the role of Pug Wells by not having one man but three.From this I also came up with the title: Three Mr. Mikes. I showed Eddie the beginning of the script, and he was, quite literally, jumping for joy.Now that he behaved like this, I was of course encouraged and couldn't wait to write the rest.It's been a pleasure working with someone like him.When the script was written, he said, "Jane Wyman is the perfect choice for the leading lady." "What about the three men?" "Van Johnson, Howard Gill and Barry Sullivan. That's my dream team." Eddie's dream combination becomes reality.We started shooting in the spring of 1950, and everything went well. I wanted to play a part in the film for reasons I can't remember now.I ran to talk to Eddie about the idea. He said, "Okay. Which part do you want to play?" "I haven't written it yet," I said. I know very well what kind of characters can't be cut in the end.The answer is, the character that is next to the protagonist when he or she first enters the scene.It is impossible to cut out the scene where the protagonist appears for the first time, and the position of the character next to him is naturally very safe.I cast myself a very humble character of the gardener in the scene where Barry Sullivan made his debut. The next day, I saw my performance in the demo, and I regretted it all at once.I would pay any money if I could not appear in the camera.The me in the camera is really scary.
My next assignment is to write the screenplay for Once Upon A Time, a lovely story from the brainchild of Max Trier.The executor, disturbed by a profligate son living a life of extravagance on his ancestral inheritance, hires an overseer to keep his expenses in check, and the overseer happens to be a young and beautiful woman . After the script was written, I thought Cary Grant was the best choice for the lead actor.The company showed the script to Gary, who declined. It ended up starring Peter Lawford, Janet Leigh and Lewis Stone, who played Judge Hardy in the famous "Andy Harry" series. A year later, when the film came out, Gary called me: "Sidney, I just wanted to tell you that you were right. I should play that part." To this day, "Once Upon a Time" remains one of my favorite films.
In February 1952, Kenneth McCain called me over. "We just bought the rights to the Broadway musical Suspicion." I've seen reviews of this musical.The blockbuster show was written by the talented duo of Howard Lindsay and Russell Crews.The story is about a New York band girl who moves into the apartment building where her wealthy uncle was murdered.As the girl got closer to the truth, the murderer decided to kill her too. "I decided to let you write the script," McCain said. I nodded, "Okay, Kenneth." There's nothing negotiable about what he says. "We'll put you on a plane to New York, see the show there, and meet the producer, Leland Heywood." Leland Heywood.My mind started racing.I can still vividly see the list of clients I saw while working for Leland Haywood: Ben Hurt, Charles MacArthur, Nannelly Johnson. Heywood later made some prestigious films: , "Lin Baizheng", "Mr. Roberts", etc., etc. The next day, I flew to New York.I watched the stage play of "Midnight Suspect Cloud" on the plane, and I felt very happy. On my second day in New York, I had lunch with Leland Heywood at the Plaza Hotel.This man is known to enjoy life.Famous beauties such as Pamela Churchill, Margaret Sullivan, and Nancy Hawks were all his wives.The charismatic gentleman is always well-groomed and his gray hair is combed back. Leland stood up and greeted me, "Nice to meet you." I didn't feel the need to remind him that twelve years ago, I was a client in his firm, earning seventeen dollars a week.We started our meal and he was very chatty, funny and quips. We talked about that musical. "I've read the script and thought it was brilliant." "Great. I'm glad you're writing the screenplay." He arranged for me to see the musical that night.The cast is very strong: Jackie Cooper, Harry Shaw Lowe, Madeleine Moka, Janice Paigle.There are also two relatively unknown actors, Frank Campanella and Ossie Davis-of course, both of them later became big stars.The evening was as pleasant as I had expected. I went back to Hollywood to write scripts.Three months later it was done.I showed the script to Arthur Hornblower, the producer.He said: "The script is very good, we will cast it immediately." "Do you have a role candidate?" "Company signed Joan Arison and Van Johnson." "very good." A few days later, Dole called me into his office. "Louis Calhern was the perfect choice for Benjamin Goodman." I said, "I agree. He's very talented." "there is a question." "What's the problem?" "He said no. He said the role was too small." I thought, he was right. Dole went on to say, "Are you a good friend of Louis's?" "That's right." "I want you to talk him through. He's going to be a big selling point for this movie." That's when I made a decision: Dole was right. The next night, I invited Calhern to dinner at a restaurant.He looked around and said, "Hope no one sees us together. It would discredit me. I should have put on a mask and come back." "You turned down the role of Benjamin Goodman, and I understand that." "You call that a character?" He snorted. "By the way, I really like your script." I started lobbying him, "Louis, this movie is going to be a hit, and I want you to be a part of it. Your role is vital to the plot. Your participation makes this movie, and this movie will push your career to the top. And, for you, there is an obvious benefit to it..." For the next half an hour, I was second to Otto.When my tirade was over, Calhern said, "You're right. I can play the part." The film was a mediocre, mediocre box-office hit and failed to push Calhern's career to the top.
Once a year, MGM invites distributors and broadcasters from all over the world to come to Covent City to learn about the company's recent developments.This is an exciting time for the company.Representatives from more than a dozen countries around the world will gather in a large studio to listen to the introduction of new films. It was Dole who spoke.He gave everyone a guarantee: "Next year will be one of the most fruitful years." After a short speech, he began to read the list of new films and the actors, directors and screenwriters of each film.Later someone told me that after talking about several films, he read one of my films. "Rich, Young, Beautiful, screenwriter, Sidney Shelton." Next, he listed several other films. ""Southland", screenwriter, Sidney Shelton." "'Don't Ask,' by Sidney Shelton." "Three Mister Mikes, written by Sidney Shelton." The audience started laughing. Dole reviewed the list in his hand, "It looks like most of our films this year are written by Sheldon!" That afternoon, Dole called me into his office. "How about you become a producer?" he asked me. I was taken aback, "I never thought of that." "Well, think about it. Because starting today, you're a producer." "I don't know what to say, Dole." "It's the result of your own hard work," he said. "good luck!" "thanks!" I went back to my office, thinking: I'm only thirty-four years old, but I've already won an Oscar and become a producer for the largest film company in the world. It should have been a moment of joy, but instead I was filled with dread.I don't know anything about filmmaking, Dole must be mistaken, I can't do this.I should call Dole and tell him I can't accept this arrangement.He'll probably fire me, and I'll have to find another job soon. That night, I tried to get myself to sleep, but to no avail.At midnight, I put on my clothes and got up and went outside.For a while, I thought about my various encounters.I remembered the night Otto asked me to go out with him.Every day is a new page, Sidney, and it can be full of surprises.There is no way you can know what's next until you turn that page...not wanting to see you close the book too soon and miss the next page - the one you're about to write - It could be wonderful. When I woke up the next morning, I made a decision: at least, I could try to make a film.If it doesn't work, I can always go back and be my screenwriter.
When I arrived at the company that morning, I found that I had been transferred to a large office.I also learned that being a producer at MGM was a piece of cake.The editorial department is connected to each publishing house, and they will send each producer a synopsis of all new books, as well as those scripts and original stories that the authors have submitted directly to the company.The producer's job is simply to pick out the material he wants to shoot from it. After that, the producer can choose one of the available screenwriters to write the script.After the script is written, the casting department begins work.They'd show the producers a list of actors and directors, "Which ones do you want?" The last link is Benny Shaw, who is responsible for signing contracts with the screenwriters, actors, and director's agents.The MGM producer's job is really to sit in an office and press buttons.Being a producer couldn't be easier.
I still enjoy entertaining guests at home.Friends from all walks of life, as well as actors and directors who have worked with me have filled my small dwelling to the brim. Once, I decided to have a musicians dinner, so I invited a group of people from the music industry.The guests are among Hollywood's most talented musicians and composers - all accomplished for their time and with more to come.These include: Alfred Newman, we all called him "Dad."He was small in stature, but a giant in musical ability.He has been nominated for more Academy Awards than any film composer, and has won nine times.He has composed music for more than 200 films, including "Alexander's Jazz Band," "The Great Lady," and "The King and I." Victor Young, who has been nominated for twenty-two Oscars, has composed music for many films including, "The Door Is Opening for You" and "Wild Man". Dimitri Diomkin, composer of "Lost Horizon", "It's a Wonderful Life", "In the Sun" and many other films. Johnny Green, who has written more than a dozen hit songs such as "Seven Deadly Sins", "Let It Go", and "You Are Mine", has also composed music for all the major film companies. Broniszlo Kepa, composer of The Three Michaels.Since then, he has composed music for films such as "Scent of the Green Valley", "Prostitutes in the Brothel", and "Aunt Mami". André Previn, a famous conductor, is also the music director of such films as "Glass Stockings", "Crazy Princess", "My Fair Lady", "The Beggar and the Slut", and "The World of Gold". Such a lineup is really impressive.My girlfriend that night was a young actor who lived in a motel across the street.After dinner, everyone gathered in the living room.Deciding to have some fun for them, I sat down in front of the little upright piano and announced, "I'm taking correspondence piano lessons. It's a new way of teaching—teaching students to play the piano by command. " I started bouncing up.The room became very quiet, and I felt that the group behind me was in awe of me. In the middle of playing, my girlfriend whispered, "Sidney, I don't want to interrupt you, but I have an audition in the morning." I got up and said, "I'll take you back to the hotel, Janet." Then I said to the guests, "I'll be right back." It took me about five minutes to send my girlfriend back to the hotel.When I came back, I wanted to finish playing the song just now, but the piano was gone.The guests moved the piano into the small study. Looking at their happy faces, I think they are all very sad. Jealousy is a really bad thing.