Spinout (MGM) (1966)

NORMAN TAUROG HOLDS RECORD FOR DIRECTING PRESLEY “Elvis Presley is the most remarkable young man and talent I have ever worked with,” declares Academy Award-winning director Norman Taurog. He has guided the star in six films and is preparing a seventh. “T enjoy the distinction of having been associated with Elvis more than any other director,” he continued. “From ‘G. I. Blues’ in 1969 through our latest together, MGM’s ‘Spinout,’ we’ve become good friends. “Tf you recall the beginning of the Presley legend, he appealed mainly to young people. When it was first announced that he would star in a motion picture, it was the teenagers who were his most enthusiastic fans. Now many of them are young marrieds with youngsters of their own and both children and parents are Presley enthusiasts. “Not many people realize that [vis selects every song he records. He works actively at his career. Ile senses what is best for him and feels he owes his fans the best he can deliver. And he is dedicated to his music. With no formal instruction, Elvis is an expert on all types of guitars, drums and woodwinds. He plays flamenco music beautifully.” Concludes Taurog, who started his own career in the era of silent movies, “T feel that Elvis has yet to realize his great potential. He has surprised us all with what he has accomplished. I predict he has further surprises in store. I am certain the time will come when Elvis Presley will take on a straight dramatic role, meet the challenge and score further success. Nothing would please me more than to direct him in a drama.” SHE'S IN A SPI Elvis Presley croons a love song to a star-struck Dodie Marshall in one of the lilting romantic moments of his new MGM Panavision and color attraction, **Spinout.’”’ Also adding pulchritude to the fast-moving story of an entertainer on the run from matrimony are Shelley Fabares, Deborah Walley and Diane McBain. Still 1845-42 E Spinout Mat 1-B Over-Ardent Presley Fans Cause Scare on Location! It was a frightening moment for director Norman Taurog and the company on MGM’s “Spinout” location at Dodger Stadium when a bus load of elderly women touring the stadium spotted Elvis Presley filming a race sequence for the picture. The ladies became so excited that they ran across the street toward the star just as eleven hot sports cars headed toward them at top speed. Fortunately, due to the alert drivers, no one was hurt, and after the shaking tourists were loaded back onto their bus, Elvis made up for their scare by giving each of them his autograph. BREATHTAKING AUTO RACE IN ‘“SPINOUT” Elvis Presley gets set for the exciting auto race which climaxes the story of ‘““Spinout,”’ his new MGM romantic comedy with songs. Co-starred in the big cast of the Panavision and color attraction are Shelley Fabares, Deborah Walley, Diane McBain, Jack Mullaney, Will Hutchins, Warren Berlinger, jimmy Hawkins, Dodie Marshall, Una Merkel, Cecil Kellaway and Carl Betz. The film introduces a parade of new melodies. Still 1845-59 Spinout Mat 2-C ELVIS’ HOLLYWOOD MOVIES ACTUALLY START IN STAR'S HOME IN MEMPHIS Life is suddenly altered at Graceland, Elvis Presley’s Memphis home, when a movie script arrives with notification of a start date for his next picture. An example of Presley’s special method of preparing for a motion picture role is MGM’s “Spinout.” When Presley read the screen play for the first time, two thoughts were uppermost. What music would be appropriate to sing in the film and what special skills must he acquire? Every Presley movie requires specific music. “Spinout” was set in the world of auto racing, so a number of fast-paced action songs were needed. The romantic plot also suggested several ballads. After reading the script, Presley, his assistant, Joe Esposito, and musical advisor, Red West, spent days in Graceland’s music room reviewing the hundreds of catalogued songs submitted for consideration. Simultaneously, a synopsis of “Spinout” went to a handful of song writers who had composed successfully for Presley in the past. Later, almost 50 songs were mailed to “Spinout” producer Joe Pasternak and director Norman Taurog for their comments and suggestions. Then Presley considered the special skills he had to acquire for the film. In the past he has been called on to perform judo and karate, drive like a racing pro, sword fight and deal like a river boat gambler. Since he is familiar with cars, “Spinout” did not pose a problem. However, he visited a Memphis auto racing track to “get the special feel of the atmosphere.” Then a car identical to the one he was to drive in the movie was brought to his home. On the grounds of Graceland, he mastered the special techniques of driving this particular racing machine. Presley was intrigued by a scene calling for him to repair the racer. With the assistance of a Memphis buddy who is a mechanic, he tore down and reassembled the powerful engine. When Presley ultimately was told what actors and actresses were signed by MGM to fill the “Spinout” roles, he telephoned each personally to say how much he looked forward to working with them. The film is his second with Shelley Fabares, so they had a long talk. He and Deborah Walley have mutual friends and were delighted to be working together. It was his first movie with Diane McBain, so Presley made a telephone appointment in Pasternak’s studio office and the producer formally introduced them over the wires. Through these days of increasing activity, familiar routines remained the same at Graceland. The daily touch football and basketball games continued. In addition, Presley upped the number of laps he takes around the spacious home. He wanted to be in good physical condition for the time when his exercise would be confined to a sound stage. Above all, the music continued. Whether at Graceland, his California home, or driving in his car, there is always music surrounding Elvis Presley. Old favorites were replaced by the tunes Presley sings in “Spinout.”’ The night before leaving for the West Coast, Presley’s retinue spent hours loading a bus which had been converted into an apartment on wheels. Amid the star’s 12-string and fender bass guitars, a set of drums, tins of cookies, sacks of chicken, his favorite classical and pop music albums and dozens of books, they started the 1,831 mile trek to Hollywood. Presley knew his lines, his music and every bit of action that was demanded by his “Spinout” role. As always, he was “prepared.” STILL ATT: Back in 1931, when Norman Taurog directed “Skippy,” for which he won an Academy Award, it was MGWM’s casting chief, Mel Ballerino, who rounded up the supporting players, bit-part actors and atmospheric personnel. Now, 35 years later, Taurog and Ballerino again found themselves working hand in hand for casting assignments. This time it was for Elvis Presley’s new romantic comedy, “Spinout.” When Ballerino did his initial casting for Taurog, Elvis hadn't been born! Producer Joe Pasternak, whose new Elvis Presley film, “Spinout,” marks his 94th production, is almost as famous for his culinary talent as for his talent at discovering stars. His recently published cookbook, a took-of-themonth selection, is called “Cooking with Love and Paprika.” And now Pasternak is planning another to be titled, “The Sexiest Menus in the World’! DEPICTING A TYPICAL NORMAL DAY FOR ELVIS PRESLEY ON MGM “SPINOUT” SET Around eight a.m., when birds are barely stirring, the raven-haired, serious-looking young man steps from his spacious home in Beverly Hills into a midnight-black Rolls-Royce for a chauffeured ride across town to work. Enroute, he doesn’t play the radio or elaborate stereo equipment in the car. If a companion should be along, he doesn’t engage in much conversation. Instead, he seems lost in thought as the Rolls threads through traffic beginning to swell to its rush-hour peak. This is “quiet time” for Elvis Presley. But almost the minute he arrives at the Metro-Goldwyn-Mayer studio in Culver City, his life swings into the uptempo most fans associate with him. Elvis waves hello to the guard at the East Gate, where actors, directors and producers drive onto the lot, and goes directly to Stage 27, where he greets individually and by first name the cast and crew working on his tenth anniversary motion picture, “Spinout.” It’s a daily ritual that Elvis obviously enjoys. And since it requires approximately half an hour, the star makes it a point to report to the studio earlier than his official call. Comes time for work and Elvis goes to his dressing room to change from sport jacket, slacks and sportshirt into a costume for the first scene of the day. If the sequence is a particularly demanding one, he and Director Norman ‘Taurog, who racks up his sixth Presley film with “Spinout,” may exchange ideas about it over rolls and coffee. Otherwise, Presley, always thoroughly prepared for the day’s performing, swings right into rehearsal, then repeats the action with the cameras rolling. In “Spinout,” a story of racing cars and romance, Elvis has a trio of attractive leading ladies, Shelley Fabares, Diane McBain and Deborah Walley. ‘Take a census of the group and you'll find that they constitute an Elvis Presley fan club. His innate politeness, professional courtesy and everready sense of humor endear him to the girls. Because of his versatile talent and the “Presley Method” of preparation and cooperation, work before the cameras goes smoothly and quickly, and by midmorning there’s some between-scenes time to spend guitar-playing and conversing with the “Spinout” company. A group gathers as Elvis plays his twelvestring guitar, and a favorite “Spinout” The ever-popular Elvis Presley stars in his 22nd movie hit in MGM’s ‘‘Spinout,”’ song-filled romantic comedy, in which he goes on the run from a bevy of determined, man-chasing glamour girls, climaxed by a thrilling auto race. Among the film’s gorgeous girls are Shelley Fabares, Deborah Walley, Diane McBain and Dodie Marshall. Still 1845-40 E Spinout Mat 1-A pastime called for Presley to improvise tunes while the girls provided instant lyrics. After lunching in his trailer dressing room on the set, Elvis puts in a full afternoon before the cameras, with his emoting often interspersed by visits from show business greats and other famous faces. His hospitality is always turned on full volume but it’s an ingratiating, informal kind of hosting. When Lynda Bird Johnson dropped by one day, Presley personally served the refreshments while they chatted about movies and mus‘c. Once the day’s filming is completed, the world’s highest-paid entertainer changes into his own clothes to RollsRoyce it back to Beverly Hills, followed by a quiet dinner and an evening with his friends, most of them long-time pals from hometown Memphis. Elvis never looks at “dailies” (runs of film shot the day before). Never leaves the stage in a huff over something that’s gone wrong that day. And never disappoints his fans with a performance that’s not Grade-A. He’s Elvis Presley, and that’s the way he does things—day in, day out. FINDS THE “PERFECT AMERICAN MALE” Diane McBain is one of a group of glamour girls who pursue an elusive Elvis Presley in his new MGM romantic comedy with songs, ““Spinout.’’ Co-starred in the big cast of the Panavision and color attraction are Shelley Fabares, Deborah Walley, Jack Mullaney, Will) Hutchins, Warren Berlinger, Jimmy Hawkins, Dodie Marshall, Una Merkel, Cecil Kellaway and Carl Betz. The film introduces a parade of new melodies. Still 1845-56 E Spinout Mat 2-B