The Motion Picture Studio Insider (1935)

motion Picture Studio Insider 45 Ap.il, 1937 [HE BIOGRAPHY OF Continued promotion of a beauty contest at Mad¬ ison Square Garden. He induced the great screen lover to act as a judge, filmed the proceedings, thus obtaining the services of one of the screen’s high¬ est salaried stars for next to nothing. Th is short subject returned a profit of $5000, thus increasing the original bor¬ rowed capital by 1000 per cent. Now Selznick felt himself ready for the assault upon Hollywood’s gates. He traveled across the continent and pre¬ sented himself at various studios, ask¬ ing only a chance to prove his worth. He discovered, however, that while be was ready for Hollywood, Hollywood wasn’t ready for him. Despite the rep¬ utation enjoyed by his father, produc¬ ers told him to “go out. son, and get a reputation for yourself, then come back.” There was nothing to do hut turn to the production of “quickies,” those in¬ expensive films made along Holly¬ wood’s poverty row in the least possible time and with the smallest possible out¬ lay for capital. For two years Selznick made them, earnestly working toward the reputation he had been told to go out and get. At the end of this initial period, dur¬ ing which time Selznick learned the many phases of the business, he landed a job with Metro-Goldwyn-Mayer, then, as now, one of the world’s outstanding studios. He lasted just one day, for there seemed to be no place for him as a producer, and a producer’s position is what he wanted — no less. Selznick felt within himself that he had demon¬ strated his ability on his own. A last-minute appeal to the highest court, Louis B. Mayer, won for Selznick a two-week’s stay of execution. He was told that in those fourteen days he would be given a chance to show what he could do for M-G-M. Buckling down to meet the test, Selznick fairlv bom¬ barded Mayer’s office with memoranda, containing a steady stream of sugges¬ tions concerning production, talent and film material. Whether Selznick final¬ ly was made a producer of “westerns” or “horse operas” because of his sug¬ gestions or because Mayer wanted to escape the memos has never been de¬ termined. The important thing is the fact that Selznick survived the trial period. Although Selznick knew nothing about horses or drawling he-men from “way out yonder,” he quickly made the most of his opportunity with a major studio. One afternoon he returned from location with two pictures of his sched¬ ule completed instead of one. Mayer, quite pleased, wanted to know how it DAVID O. SELZNICK 'rom page 6) was done. Selznick, he learned, had gone out on location with two scripts, two sets of stars, and one supporting cast. He had made two pictures for the price of one and a half, ft was hailed as a brilliant idea, and proved Selznick’s ability to handle every phase of film production. Thus having gained favor in execu¬ tive eyes, Selznick moved another step upward, from M G-M to a more impor¬ tant post at Paramount, and there he remained for six years, climbing steadi¬ ly. During his first year he was an as¬ sistant producer. In the second, in charge of the story department. In the third, assistant to the general manager. The fourth, a producer on his own. The fifth, second in command of the studio, and finally in charge of the entire stu¬ dio during the long absence on vacation of the chief, B. P. Schulberg. Among the outstanding pictures he made as a producer at Paramount were “Four Feathers” and “Street of Chance,” the latter bringing Kay Francis to promin¬ ence and making William Powell a fullfledged star. It was at this time that Selznick con¬ ceived the idea of unit production, an idea now standard throughout the film world. He decided that quality pictures could not be made in quantity. Pic¬ tures, he was convinced, should he made by separate units, each with its own producer, instead of having a sin¬ gle executive oversee all pictures at the same time. The soundness of the idea since has been proven by the test of time, but at the moment mentioned, it was received with doubts. The scene next changes to RKO, where Selznick became executive vicepresident in charge of production. There he turned out such pictures as “Symphony of Six Million,” “Bird of Paradise,” What Price Hollywood,” “State’s Attorney,” “Topaze” and “The Animal Kingdom.” Selznick continued to develop and place into execution new motion picture ideas, and there was, of course, opposition along the line. After almost two years, Selznick moved from RKO back to M-G M. which had marked his starting point among major producing companies. In rapid succession he produced “Viva Villa,” “Dinner at Eight.” “A Tale of Two Cities,” “Anna Karenina” and “David Copperfield.” “Copperfield” proved of vital impor¬ tance to the industry. It introduced to the screen Selznick’s child discovery, Freddie Bartholomew, and proved for all time the value of classic literature, properly handled, as film material. Far more important, however, it was pro¬ duced during those days, trying to the entire industry, when Hollywood was under fire, and charges of indecency threatened a complete boycott. The Le¬ gion of Decency, among numerous or¬ ganizations, was quick to hail “Copperfield” as an example of Hollywood at its very best. The boycott was no longer considered, a crisis had been averted. Yet with all his success, Selznick was not to be satisfied until he had achieved his fixed goal — the Selznick name again at the head of a film company. In 1935 he consummated a deal with John Hay Whitney whereby Selznick International Pictures, Inc., a company organized for the purpose of making Class A pic¬ tures, and only the finest, came into be¬ ing. President of the new company was David 0. Selznick, a man in his early thirties. His father before him had made a household byword of the slo¬ gan, “Selznick Pictures Make Happy Hours,” had introduced the first elec¬ trically lighted theater marquee, had created new production and showman¬ ship methods, and showed Hollywood the way for many years. Now his son was carrying on a tradition, turning out quality pictures, pioneering in new fields. Today a Selznick is again showing the way. "SPLENDID -UNIQUE" exclaims each guest when the Premiere cake creation adorns the table. 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