Modern Screen (Jul-Dec 1945)

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Needless to say, the error got rectified, pronto! Joe's a stickler for punctuality on the set, although he's convinced that Hollywood's pretty silly to run an artistic business like a factory. No actor worth his salt, Joe believes, is at his best at 9 a.m. It just ain't hooman. So he proposed (and the Hollywood trade papers snapped his suggestion up for an editorial crusade) that pictures start shooting at 11 a.m. That they keep right on shooting until 7 p.m. — no lunch at all. But on the side of each set a little bar and buffet be set up, loaded with hot casseroles, coffee, sandwiches, salad and stuff — a sort of movie free lunch, where the actors can go and snatch a goodie whenever they darn well feel like it, while the show goes right on. The idea's not only more civilized Joe thinks (in Paris before the war all movie studios didn't open until 12 noon) but he's dead certain it will save thousands of dollars and — which is the important thing — brew lots better movies, unfettered by brain weary, food-bloated Thespians dragging themselves through their roles. You may be hearing about the "Cotten Plan" one of these days and wonder why nobody ever thought of it sooner. Because a big director has promised Joe to run his next production that way as a test case. Joe has made hardly a movie for his boss, David Selznick, without sparring around for weeks. It turned into a crosscountry mail order scrimmage for "I'll Be Seeing You,-' because Joe was in New York and his boss in Hollywood and the tug of war over "Duel in the Sun" kept half of Hollywood's communication systems exclusively devoted to the Cotten-Selznick tirades. Funny part is that socially and off-studio, the Cottens and the Selznicks see each other around at dinner parties and movie colony soirees all the time and are jolly and simpatico as kids at a Sunday School picnic. Joe doesn't chip his shoulder much around directors because he really feels that the director is "the inspiration," the spark plug of every picture and why foul him up? Sometimes he can't resist a snide crack as he did in "Love Letters" when the direction missed fire in one scene. The usual big resolve had been made, as it often is in Hollywood, to shoot "pictures"; that is, cut the dialogue down and let the picture tell the story as all those artistic European movies do. Well, Joe had a scene with Jennifer Jones where he carried her in his arms to a buggy down the road and it was a long walk. Joe almost yawned, himself, trudging along. He knew there ought to be some dialogue in there to break it up, but for once he kept quiet and let the camera man catch it. He did right away. "It's too long and too dull panning way down there," he said. "Yes," agreed the director. "But we've got to shoot pictures. No dialogue. Joe, can't you break it up?" "Sure," said Joe sarcastically, "Next time I'll drop her." But the idea didn't get over, especially with Jenny Jones. Dialogue crept in, as it usually does, to save the day. There's only one real pet peeve that Joe cherishes in his bosom, which you might tag as temperament, and it's one he freely admits. He doesn't like visitors on the set. When he made "Love Letters," his last picture at Paramount, Joe got ganged by rubberneckers, it seemed to him, almost daily. After weeks of it, he gave forth with a typical Cottenism. "What I want to know," he bellowed, eyeing the throng, "is just who the hell is going to see this picture when we finish it? Who's gonna be left to buy tickets?" 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