Chapter 26 Chapter Twenty Six

One Monday morning, the assistant said over the intercom: "There is a Mr. Robert Smith who would like to see you." I've never known a guy like, "What's his business?" "He's a screenwriter, and he said he wanted to talk to you." "Okay, let him in." Robert Smith was in his thirties, a small, flustered man. "Is there anything I can do for you, Mr. Smith?" "I have an idea," he said. In Hollywood, everyone has ideas in their heads, and most of them are terrible.I pretended to be very interested, "Really?" "Let's make a movie about Buster Keaton."

I got interested right away. Buster Keaton, "The Great Sneer," was one of the greatest stars of the silent film era.His trademark is a pie hat, a pair of flip-flops, and a deadpan face.He is short and thin, with a sad expression, and has served as the producer and director of many films. He is often compared with Chaplin. Buster Keaton's career was once so prosperous, and then, after entering the sound film era, his luck seemed to be gone.He made several films without success, and his opportunities to make films became less and less.He later made several insignificant short films, and finally reduced to performing stunts for other actors.I think it would be fascinating if his story was brought to the screen.

Robert Smith said, "We could co-write the script and you would direct." I held out a hand. "Wait a minute. I'll talk to Don Hartman first." I went to see Hartman that afternoon. "What's up?" "A screenwriter named Robert Smith came to me and I liked his proposal. He suggested that we do a Buster Keaton story." Hartman said without hesitation, "Great idea. Wonder why no one thought of it before." "I co-wrote the script with Robert, and I'll direct." He nodded. "I'm going to work on the rights. Who do you want to play Buster?"

"I haven't had time to think about it." Hartman said, "I'll tell you who's going to play it, Donald O'Cannon." I lifted my spirits and said, "Donald is the perfect fit. I worked with him on "Night Night". He is very talented." Hartman looked hesitant, "There is a problem. Donald has decided to shoot another film at the beginning of the year. If he is to act, the filming must start within the next two months." This is a big problem.So far we don't even have a story frame yet.But I have to get Ocannon. "Do you think you'll have time to write the script?"

"Of course." In fact, I was not so confident in my heart.In order to meet the schedule of an actor to rush to write a script, the end result is often asking for trouble.The audience doesn't care how long it took us to write the script, they just care about what they see on the screen.I set myself and Robert an almost unattainable deadline. Talking about copyright is going very well. Robert and I started writing the script right away.We had a lot of material to work through, and Buster had a very dramatic life, growing up in a very dysfunctional home, divorced several times, and struggling with alcoholism.I watched his early films "The General", "UFO Pilot", and so on.There are many dangerous stunts in these films, and Buster insists on not using doubles.

I called Don Hartman, "Robert and I would like to see Buster. Can you arrange this?" "of course can." I am looking forward to this meeting. I watched Buster Keaton walk into my office and it felt like he just stepped off the screen.He hasn't changed at all, he's still the same sad-faced little man who captivates all beings with his dry humor. After we introduced each other, I said, "Buster, I would like to ask you to serve as the technical consultant for this film. How would you like it?" He broke the tradition of cold noodles and smiled, "I think I can do it."

"Great, we're going to be doing a lot of your stunts. I'm going to get you an event studio on set and hopefully you'll be there for the entire shoot." He seems to be trying really hard not to cry, but maybe that's just my imagination, "I'll be there." "thanks." "Robert and I are writing the script. We want to be as close as possible. Can you tell us some interesting stories? We can add them to the film." "No." "Or something special that you think can be sensational?" "No." "What about your marriage or romance?"

"No." That's the whole process of the meeting. After he left, I said to Robert, "I forgot to tell you, if we want Donald O'Cannon, we have to shoot within two months." He looked at me, "Just kidding." "I've never been this serious." He sighed, "Let's see how fast we can write." Robert and I watched old Buster movies, and the special effects in them were incredible.I picked a few to use in our film, and Buster would show us how to pull off the stunts on set anyway. Donald Ocannon came to see me. "It's a great role," he said. "Buster Keaton is one of my idols."

"It's also my idol." "Great sneer. This must be a great movie." The problem is, Robert and I need more time to write the script, but we don't have that much time.The shooting date was getting closer and closer, so we had to rush to work day and night. Finally, the day to start filming finally arrived. Our script was as faithful as possible to Buster Keaton's real life, but we also made some changes to add drama.I showed Buster the script, and when he finished I said, "Do you think there's any problem?" "No." The above is the whole content of our conversation.

After the set was set up, the filming officially started. The whole shooting process went smoothly.The cast is strong, with Donald also included Peter Lorre, Rhonda Fleming, Ann Blyth, Jackie Coogan and Richard Anderson.The atmosphere on set was very good. Robert and I set up a former director in one of the scenes.The role has not yet been decided.The assistant director said to me: "Do you want to find an old man to play this role?" I was curious, "Which old man?" "Mr. DeMille." Cecil B. DeMille is recognized as one of the most important directors in Hollywood.His works include "The Overlord and the Demon Girl", "The Big Circus", "The Ten Commandments" and so on.

He is a legendary figure, and dozens of stories about him are widely circulated.He is notoriously cold and harsh, and he is a bully for actors.There is such a story: Before shooting a scene of a certain epic masterpiece, he stood on a high platform and explained his conception to hundreds of extras.Seeing the two girls talking at the bottom, he stopped and said loudly, "You two, go forward." The two girls looked at each other, terrified. "Us?" "Yeah, just you two. Go ahead." The two girls took a few steps forward nervously. DeMille snarled at them both: "Obviously you think what you have to say is more important than mine, so it should be said for all to hear." The two girls were embarrassed and frightened, "Mr. DeMille—we didn't say anything." "You said it. I want everyone to hear what you said." One girl went all out and said in a defiant tone, "Okay. I was just saying, 'When is this bastard going to let everyone go to lunch?'" The entire studio was silent, and everyone was stunned. Dai Mier stared at her for a long time, and then said, "It's lunch." "Your idea is crazy." I said to the assistant director. "Demir won't play this role, there are only four lines in total." "Do you want me to ask?" "Go and ask." But I know it's impossible. In the evening, the assistant director came to me, "We will shoot that scene tomorrow, and he will be there on time." I was very surprised, "He agreed to act?" "yes." The next day, after I had shot an important scene with Donald and Ann Blyth, I was about to do a close-up when the assistant director came over. "Mr. DeMille will be here in a minute. Let's go to the other side of the stage, where we're going to do his scene." I said: "I can't go there yet, I have to take a close-up shot first." He stared at me for a moment and said, "Mr. DeMille is coming. I suggest we go over there and prepare for his scene." I finally came to my senses, and announced loudly: "Shift." A few minutes later, Cecil B. DeMille walked into the set with his entourage.He came up to me and held out a hand. "I'm Cecil B. DeMille." He was taller and more attractive than I thought he was. "I'm Sidney Sheldon." "You tell me what to do..." I told Cecil B. DeMille what to do? "Yes, sir. To..." "I see," he said, "I've got my lines by heart." "Great." When everything was ready, I said, "Everyone is in position. Cameras are in place... and filming..." But after shooting, I think it can be improved.But how could I tell Cecil B. DeMille that he wasn't shooting well enough? He turned to me and said, "Do you want me to do it again?" I nodded gratefully, "That would be the best." "I'll take off my coat." "good idea." "I'm going to come out a little bit more aggressive." "good idea." Then we did it again, and it was perfect this time.But there's one more thing I'm not sure about: Am I the director of Cecil B. DeMille, or is he my director?
The special effects that Buster Keaton created in his silent films were astonishing.One of the stunts, in particular, seemed completely impossible: The shot opens with Buster running along a wooden fence, with a cop chasing him from behind, and on the other side of the fence, a fat woman wearing a skirt with a wide hem. , standing with his back to the fence.Then Buster stopped in front of her, and seeing the policeman running closer, he slipped between the woman's legs and got behind the fence.The woman ran away immediately, but the fence remained intact. The effect is really amazing.I asked him, "How on earth did you do that?" Buster seemed to have a little smile, "I'll show you." After reading it, you will find that the trick is actually very simple.The three wooden bars behind the woman are hinged so that they can swing back at a forty-five-degree angle, away from the viewer.When Buster ran to the woman, the two staff members hiding behind the fence quickly lifted up the wooden plank—the audience couldn’t see this action because the woman’s skirt was blocking it—so that there was someone behind the woman. a gap.Buster just got into the woman's skirt and slipped through the gap.After he passed through, the two workers quickly put the wooden planks back in place, so that the fence behind the woman was restored, and then the woman walked away quickly, and what the audience saw was the intact fence, and Baston had disappeared no trace.This series of actions is completed in an instant, as long as each action is coordinated perfectly, the final effect will be very magical. Donald performed the stunt to perfection. There is also a scene later that is another Buster Keaton classic.The filming location was a shipyard, and we went to the beach to shoot.A small boat sinks and Donald stands proudly at the bow as the boat begins to list slowly.The front half of the boat slid slowly into the water, and the draft was getting deeper and deeper. Donald stood there expressionlessly, and was gradually submerged in the water, leaving only a hat on the surface of the water.
During the filming of this film, I saw Buster's shyness.Once Joia and I invited him and his wife, Eleanor, to our home for dinner.Among the guests were a film company executive, several directors and several well-known actors. I know Buster has arrived, but I don't see anyone else.I walked into the study, and he was reading the newspaper alone. "Are you all right, Buster?" He looked up, "I'm fine." Then he lowered his head and continued to read the newspaper.
After the filming was over, Buster said, "I want to thank you." "why?" "This movie bought me a house." Everyone in the company is happy. Buster Keaton was the last film under my contract with Paramount, but they were already in talks with my agent to renew it. I discussed with Don Hartman the idea of ​​a suspense film called Fright Zone, to be shot in Europe. In April 1957, such an article was published in Variety Daily: I knew very well where I was going to spend the month of April.I'm taking Joa and Mary to Europe to celebrate my success. Donald O'Cannon, Ann Blyth, Peter Lowe and the rest of the cast received critical acclaim when Buster Keaton was released, but the script wasn't as lucky.Most critics were critical of the script, saying there should be more Buster repertoire and less anecdotes. "This film repeats too much of old Hollywood films." They were right.The script was rushed.The movie got off to a good start because people were drawn to the name Buster Keaton.Then, bad reviews started getting around, and the film quickly disappeared from theaters. My agent called: "I just spoke to Don Hartman. The company isn't going to renew your contract." Now I know where the reporter from Variety in April can find me, on the unemployed list. I reluctantly canceled our trip to Europe.I call my agent once a week and try to sound cheerful. "What's going on at the front?" "No," he said, "Sidney, there's not much to do lately." This is a white lie.There is always work, but no one is looking for me.People judged me hastily because of The Housewives, and now they judge me for the failure of Buster Keaton.Once again, I pessimistically decided that I would never get a job again.Friends came and went while I was out of work, but Groucho was always by my side, always encouraging me. Weeks passed, months passed as I waited for the call that never came, and soon I was facing a severe financial crisis. I like a life of abundance, but I've never had much interest in money itself.My view of money is a combination of Natalie's frugality and Otto's profligacy.I find it hard to spend money on yourself, but it's a waste of money to help others.As a result, I was never able to save money. The Bel-Air house was bought with a loan, and besides, I couldn't pay the gardener, the pool man, and Laura.Our economic situation is deteriorating dramatically. Joya began to worry, "What should we do?" I said, "We've got to start saving money." I took a deep breath. "We've got to let Laura go. We can't afford servants now." It was a bad decision for both of us. "Tell her," said Joya, "I can't speak." Laura was a good servant.She was cheerful all day long and was a great help to us.She liked Mary very much, and Mary liked her very much. "It's too difficult." I called Laura into the library. "Laura, I have some bad news." She looked at me worriedly, "What's wrong? Who is sick?" "We're all fine. Just—I've got to let you go." "what did you say?" "I can't afford you, Laura." She was shocked, "You mean you don't want me anymore?" "I'm afraid so. I'm very sorry." She shook her head, "You can't do that." "You don't understand. I can't pay my wages..." "I want to stay." "Laura." "I'm staying." Then she left.
Joya and I were forced to reduce our social activities and hardly ever went out.Sometimes we really want to go to the theater, but it's too expensive.Laura listened to my conversation with Joa. One night when we were discussing going out, Laura said, "Take this." And she handed me twenty dollars. I said, "I can't take it." "Give it back to me later." I'm almost on the verge of tears.She worked hard and got no wages, and now she has to pay me back. Finally the day came when I couldn't pay the mortgage on my house. I told Joya, "We lost the house." She saw my pain and said, "Don't worry. We're going to be okay. You've written so many blockbusters, you'll still be able to." She doesn't understand my situation. I said, "Not anymore. It's all over." I am reminded of the first detached house our family rented on Marion Avenue in Denver.I'm getting married here, my kids are going to grow up here... I've moved thirteen times now, counting houses, apartments, hotels. The following week we moved out of the house with the swimming pool and nice garden and I rented us an apartment.I'm living Otto's life now, a roller coaster that has thrown me from the top of wealth to the bottom of poverty with seemingly endless ups and downs.I thought about suicide again.I had life insurance, and it was enough to cover Joa and Mary.I think they would be better off without me.Then I started working on implementing my idea. I know I will never be able to return to the life I once had.No more trips to Europe, no more great parties, no more success.I miss it all, and it would be better if I succeeded and lost everything, or never succeeded—then I would have nothing to miss.I was in a deep despair and suicide was the only way I could think of to get out of it all.What you have is manic depression... About one in five people with manic depression end up committing suicide. I'm living in a seemingly never-ending nightmare.Am I really going to kill myself? I tried to think about my past successes and not think about my disappointments, but it didn't work.That mysterious black chemistry in my brain won't allow me to.I can't control my emotions. But the more I thought about it, the more I realized that I couldn't bear to part from Joa and Mary.I thought, I have to write something.The studio obviously didn't want me anymore, so what about TV? One of my favorite TV shows is I Love Lucy, a fantastic weekly comedy with Lucille Paul and her producer husband, Desi Arnaz, one of the most popular TV shows on the network. Welcome comedy show.Maybe I can write something that interests Desi.I came up with an idea, the title is "The Adventures of Models".It's a romantic comedy about the encounters of a beautiful model. I wrote a sample in a week and then I made an appointment with Desi Arnaz. "Nice to meet you," he said, "I've known you for a long time." "I have a sample script here, Mr. Arnaz." I pulled out the script and handed it to him. He looked at the title, and his expression cheered up, ""The Adventures of a Model", this title is not bad." I got up, "I would appreciate it if you could call me after you've seen it." "Don't be busy just yet. Sit down, please," he said. "I'll watch it now." When he was reading the script, I kept paying attention to his face.He keeps laughing.I thought, that's a good sign.I hold my breath. He read the last page and looked up."I love it. We're going to shoot it," he said. I regained my breathing function, and a big stone fell to the ground in my heart. "Really?" "It's going to be a big hit," he said. "There's nothing like it on TV. We're still in time for this season. There's another slot on CBS, let's try it out, maybe we can get it." come down."