Screenland Plus TV-Land (Jul 1957 - May 1959)

most valuable commodity/' one that John always strives to perfect one's tastes must follow the accepted pattern, but someone like Cassavetes comes along to represent the individualists. As a child there was nothing that would have especially singled him out. No meteors flashed across the sky when he was born in Polyclinic Hospital, New York City. His older brother, Nicholas, grew up to be a successful Wall Street broker. His father, Nicholas, Sr., does very well with his export business, and for a sideline is an expert on immigration. The family is of Greek extraction. "We lived in the city until I was about twelve, then moved to Port Washington, Long Island. After I graduated from Port Washington High School, I entered Colgate as an English Literature major. At that time, I really had no ambition to speak of. All college meant to me was a place to go and be secure for a while longer." While sopping up security, an interesting thing happened at Colgate. Cassavetes started reading plays and decided acting had possibilities. He quit school after two and a half years and headed back for New York where he enrolled in the New York Academy of Dramatic Arts. A stint in a Providence, R. I., stock company followed, then a small part in a Gregory Ratoff movie called, "Taxi." Ratoff was impressed with Cassavetes and hired him as assistant stage manager for the play, "The Fifth Season." WITH a live wire as charged as Cassavetes, you'd expect short circuits at times when the sparks would fly, but according to him, disruptive temperament has no place in the theatre. Somewhere he got the idea that much of the talk about prima donna shenanigans in the movies and on the stage are nasty stories circulated by press agents. Thorough as usual, Cassavetes didn't rule out another brand of temperament. That's something else entirely, he excused. This difference of opinion, or whatever you choose to call it, appears in people who, for years, had had nothing and still remember the hard struggle to achieve their goals. They know their craft and in this strength lies their weakness. MEETING of John and Gena took place when both were studying dramatics. Now signed by MGM, John's set to make "Three Guns." "OUT-OF-WORK actors become bitter," says John, who knows. His actors' workshop, Shadows, Inc., encourages new, untried talent. "It works this way," Cassavetes started to explain, "they come to know what they know at great personal expense. If someone contradicts what they are doing, or how they do it, this can make you feel very insecure and afraid someone is trying to take away all you've worked for. "That's why I think people should be helped so that they don't have to claw every inch of the way alone. They'd be more anxious for the success of the entire production and not only their own ambitions." Outside the young actors were stirring. A girl with a pony tail and blue jeans came in to riffle through the filing cabinet. Cassavetes seemed to be slipping further and further away from the interview. "Remind me to give those actors money for haircuts before we start shooting on Monday," he advised McEndree. "And what are we going to do about that fight scene in the alley? We'll need two guys to jump him." McEndree and Lane for all their professional sang jroid, looked downright surprised. "He can't handle two men!" "Sure he can," Cassavetes waved aside all doubts. "He's a powerful guy. You just wait and see." We weren't sticking around to see. But it's a cinch that a few days later, there were two actors sorely in need of First Aid, lying in some cinematographically picturesque New York City alley. And realist Cassavetes had again made his point. He's the kind that always does. END 23