Independent Exhibitors Film Bulletin (1963)

DFZ Intently observing, with Peter Lawford, shooting of a scene in "The Longest Day" (Continued from Page 4) tion and the concomitant shrinkage of studio-controlled production already seem like ancient history, and both phenomena are accepted almost universally as the inevitable and stable order of the industry. But here and there one begins to sense a wee bit of doubt about the validity and the permanence of this order. The lack of continuity in production, the shortage of supply to meet the market demand, the skyrocketing wages of the unshackled talent, the absence of any bona fide program for replenishing the supply of talent, and, not least, the realization that there is simply not enough proven talent around to allow every film company to operate like a United Artists — all these factors give one pause about the future form of movie business. What form will it take? A definitive answer is not yet possible, because our industry, like Stephen Leacock's horseman, is galloping off in many directions. But there are signs of change in the production current. Witness the expanding, studio-like operations of "independents" like Seven Arts and the Mirisch Brothers, which gradually are taking on the shape, except for the real estate, of major companies. Occasionally, an actor or director who has tasted the sometimes bitter fruits of independent production goes back to work for one of the established studios, exchanging his role of entrepreneur for the security of a wage for his labors. And the helter-skelter flow of production to foreign shores seems to have run its course. Some of the bills run up in places like Rome and Tahiti made Hollywood in its heyday seem like a town of penny-pinchers. Producers will continue to travel in search of appropriate locations, but the holiday abroad Page 16 Film BULLETIN March 18, 1963 for movie-makers is coming to an end. So, with the industry in this state of flux, entered Darryl Zanuck as the chief executive officer of a movie company. That 20th Century-Fox was ailing when he sat down in the president's chair is putting it mildly; it had the pallor of financial death. "Cleopatra" had bled the company white. Zanuck went to work with the air of confidence of a man who knows what he is about. He called off all unstarted production to give himself the opportunity to make an appraisal of pending properties. His own epic war film, "The Longest Day", went into release and started to pump the life-giving green stuff into the company's depleted treasury. Then he turned to "Cleopatra". In a public statement, he read the riot act to Joe Mankiewicz, who wrote the screenplay, directed it, and was the de facto boss of the $35 million-plus production. Zanuck took over the responsibility for re-editing the film and told Mankiewicz: "If you are available and willing, I will call upon you to screen the re-edited version of the film. After you have done so, I will meet with you and go over it reel by reel and debate any points of difference that may arise. I will carefully consider any and all suggestions or objections you may have." By thus "interfering" with the nowaccepted precept of autonomy for the creative element in production, DFZ brought down on his head the wrath of so eminent a talent as Billy Wilder, who reportedly was so riled by the remonstrance to Mankiewicz that he wired Zanuck that no self-respecting creative person would ever work for him, and that before long bulldozers would raze the 20th Century studio. But, despite these dire predictions, when Zanuck decided on a few additional scenes for "Cleopatra", Joe Mankiewicz, fine artist that he is, apparently suffered no anguish in responding to DFZ's call to direct. He is now collaborating on editing the final print. The point in reciting this historical incident is that it further provides a measure of Darryl Zanuck in the present scheme of the industry. His is an unparalleled range of experience and Studio Head Richard D. Zaw/ck record of achievement. Consider that he is a three-time winner of the Irving Thalberg award for outstanding production, and that his fine hand has been involved in such worthy and often provocative films as "All About Eve", "Pinky", "Anna and the King of Siam", "Viva Zapata!", "The Razor's Edge" and "Gentleman's Agreement", not to mention "The Longest Day", and his stature as a creative force cannot be questioned. He has his critics among the artistic element, but many have done their best work with him and for him. From the outset of Zanuck's accession to the presidency of 20th-Fox we have found irresistible the notion that he would move to divert the current that has carried so much film production out of the established studios in the past decade. In our issue of last Sept. 3 this item appeared: "Zanuck will return to Giving instructions to an actor before the Normandy "invasion" a basic policy of studio-sponsored production as soon as the company's affairs become stabilized." His pronouncement at the "official opening" of the studio two weeks ago confirms that prognosis. He has restored the concept of a well i ordered, centralized production organization, one that might serve as a model for other film companies. For exhibition, it means the restoration of a prolific and proficient source of product. With Richard D. Zanuck, a talented producer in his own right, supervising Hollywood production, Elmo Williams, his right hand on "The Longest Day", guiding all foreign projects, and DFZ, himself, keeping his seasoned eye on everything, the new 20th Century-Fox establishment has suddenly assumed an attitude of prominence and promise that should spark the entire industry.