The Film Daily (1923)

THE ■e&H DAILY Sunday, May 20, 1923 Some Inside Stuff Relative to the Making of "The Covered Wagon" — How This Big Picture Happened IT IS pretty well conceded that "The Covered Wagon" is one of the greatest pictures made. Not only in this country, but in the world. One of the best posted men in production — not identified with Famous— is authority for the statement that it is the greatest picture ever made. And here, for the first time, are some interesting facts relative to the production — not furnished by the publicity department of Famous — and, in fact, rather difficult to obtain. You might not believe it, but originally "The Covered Wagon" was intended as a vehicle for Mary Miles Minter. James Cruze was scheduled to direct it. And Cruze was worried, because he could see difficulties in making the picture without spending over $100,000 — which was all that had been allotted for the production. So Charley Eyton, business manager of the Lasky studio, Hollywood, was all upset when he visited Jesse Lasky to inform him that Cruze wanted to use 25 or 30 wagons in the production and wanted other di-does that would block making the picture for the estimated cost. Now it happened that Lasky had read the Hough story and was enthused over the possibilities of the production. So when Eyton delivered his message Lasky had Cruze come to his office. He told Cruze to forget Minter and the story as a Minter story. "Get rid of her in some way," said Lasky, "and don't bother about 40 wagons. If we are going to make this picture make it as Hough intended his story. Have as many wagons as will go into the camera eye. Make it impossible to see the last one. And when you come to the river fording don't fake it — do it. Show it. In detail. Have the buffalo hunt. Have the Indian fight. Make it big. Don't try to make it for $100,000; spend $300,000, or more if you have to. But make it big; make it right." Cruze left the office wondering if he was dreaming -wondering what had happened. It was the first time, so far as he could recall, that any director had been given orders to go ahead, without regard to cost, at the plant. He was almost in a daze. But he went ahead. And then, as Lasky admits to some friends, he saw dollars fade away in a manner that he never dreamed of. The $300,000 mentioned was spent before the picture was well under way. $500,000 was crossed, then six, seven, eight, and finally the picture was completed. The editorial board of the studio sat in to see what had been done. Along it rolled, until suddenly it came to an end. "For God's sake," yelled Hector Turnbull, "how do they get that way? You can't stop as this is. We've got to take them to Oregon ; not leave them on the way. We've no finish to this. It's all wrong." Lasky agreed. But how to finish it was a problem. Few of the cast were still with Famous. Kerrigan was working on another picture; Torrence was in another studio. The locations necessary were far away. But Lasky was undeterred ; he got on the phone and explained his difficulty to each producer who had the various actors under contract. High powered racing cars were pressed into service. Lasky agreed not to keep his borrowed stars for more than two working days. And on a Friday night Kerrigan, Torrence and the rest were whisked away over the mountains, and the cameras ground all Saturday, Sunday and Monday, and late Monday night the stars were whisked back again to Hollywood, to take up their work with the various companies where they were engaged. But Cruze had developed the finish, just as it is, Oregon Trail, gold mining in California and all. And so, while Jimmy Cruze deserves tremendous credit for the great picture, in fairness to Jesse Lasky, and his organization, all this should be known. DANNY.