Screenland (Nov 1945-Oct 1946)

Halo alorifiesrt . the script to his agent. Franchot liked the role, but he was afraid of it unless on«> scene was changed. I stayed up all night just to re-write that scene. I went to Franchot's house the next morning and read it to him. It was the final, big scene, and I wanted him to like it. Suddenly Franchot said, 'Okay.' I was so tired I couldn't believe it. I felt as if I'd found a million dollars. Then we were all set. Besides having casted a very difficult part, we now also had a 'name.' and that's very important." All this while, Joan was also talking to the art director about the sets. The art director always reads the script and visualizes the sets. He submits plans and blue prints of them, and models of the house. "Art directors aren't given enough credit," Joan insists. "If they are good, they can save the director a lot of trouble." The same time Joan is talking to the art director, she is also conferring with the dress designer. She tells the dress designer, "I see the characters like this . . ." For instance, in "Uncle Harry," there were two women to dress, Geraldine Fitzgerald and Ella Raines. Joan wanted to show the contrast of their types even in their clothes. So she explained this to the dress designer who designed Fitzgerald's extremely feminine wardrobe, complete with negligees and frills. Ella Raines, on the other hand, was dressed in almost mannish sports clothes — to emphasize her direct and forthright manner. The dress designer also submits sketches. Joan, in turn, submits the sketches to the star, because Joan is one producer who doesn't believe the star should wear anything that makes her uncomfortable or unhappy. If the star doesn't like the costumes, the dress designer dreams up some new ones. The star may rave and the dress designer may cuss, but the producer doesn't. It's her job to keep everyone happy. "They're all creative people, and creative people are not the easiest in the world to handle. You have to be a diplomat to bring out the best in everyone, and the only one who isn't allowed to have temperament is the producer!" By this time Joan and the director are casting the supporting players. "If you have any sense," says Joan, without ouibbling, "you usually have your own ideas of what you want. In 'Uncle Harry' I wanted Moyna Magill for the other sister. She's Angela Lansbury's mother, you know, but a wonderful actress in her own right. I saw her in 'Maya' in a littl theater, and I was so impressed by her that I had tabbed her n.s an actress I wanted to use one day. That's when pro ducing becomes fun, when you take a character and are able, through casting, to do something unusual. In 'Uncle Harry' I had that chance. The director liked Moyna, too, so we did a test of her and signed her up.. "About this time in the making of a picture the studio is telling you about the Budget. I always think of it as capitalized, because it looms so fearfully on the horizon. Usually a lump sum is allocated to a picture. Out of that you must pay for the story, cast, director, cameraman, sets, as well as your own S4 , hqIo Shampoo will Here's why your ^very « taBl.,| leave your hair aglow with .f the ThI reveals the .^S^^ i very first time you use ^ soaps leave d«g } .lorious highlights. 2. bve ins no soap. Made l0X amnew pateu^dlng^die.t j^Jg soap ffi 3. Neis no lemon or vmega a ter^ Ses away, quickly ^ «ggfU , of rich, fragrant lather m har un^htlj EEffliEE HsEH High school not necessary. No age limit. Send for FREE*'Nursing Facts" and sample lesson pages. Earn while learning. Act nowl Post Graduate Hospital School of Nursing ' Depl.10 127 No. Oearboro St. Chicago 2, Illinois *S0NG POEMS To be Set to Music •k Publishers need new songs I Submit one or more of your ■.best poems for immediate consideration. Any subject. Send *noem PHONOGRAPH RECORDS MADE. 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