Screenland (Nov 1950-Oct 1951)

tress needs the backing and the buildup an interested studio can give her. I was under contract for many years to RKO before I started freelancing. If I were a newcomer here now, I'd try to look at the entire business more objectively than I did when I arrived. I was miserably lonely when I was first here, for, although my mother was with me, my husband had to remain in New York. So, perhaps as a compensation, I became too engrossed in unimportant details. I made sure I saw the daily "rushes" — the screening of the film taken the day before — even if it meant breaking a leg to see them. I'd be elated by good scenes, depressed if I thought they were inferior. That was so much wasted emotion, for in many cases those scenes ended on the cutting room floor. I would drive miles to see sneak previews. I remember one time going all the way to San Bernardino and back, another time to Santa Barbara. The latter trip I recall very vividly, for the preview was "Back Street." There were some sailors sitting behind me and they ridiculed the picture from start to fade out. I was so depressed by their comments that I wept all the hundred miles home. More wasted worry, for that turned out to be one of my greatest successes! I wish now that I had sought the companionship and friendship of informed people more than I did, for they could have set me straight on some of those things. In the final analysis, one must always make one's own decisions, but it certainly helps to have the counsel of people who know the score! A newcomer can be shunted around into unimportant or even mediocre roles, unless one is given good advice. I don't imply that one should use one's friends flagrantly; I do mean that it's wise to cultivate the friendship of some people who can be helpful. On the other hand, I feel very strongly that one should definitely have other friends who have nothing at all to do with picture business. Constant "shop talk" not only is boring but makes one a bore! For added balance, I would suggest that any newcomer get out of town whenever possible into a completely different atmosphere, for comparison and for greater objectivity about our town. We're inclined to become quite one-track-minded here. If I arrived in Hollywood today, I would keep reminding myself not to try to make a big impression. This town isn't impressionable! It has seen mountains rise and fall; the people here can size up a newcomer very, very quickly and are not awed by mink coats and expensive cars which a newcomer cannot afford. It's much, much wiser to start in a small way and begin a savings program. When I was first here, although I could have afforded a better car, I bought a small Ford convertible. I didn't splurge on expensive clothes. And I am convinced that no one thought any the less of me. Anyone tackling Hollywood, now or any time, should remember that it pays dividends to be courteous to the people with whom one works and to be appreciative of their efforts. I don't know how all the executives I've worked for feel about me, but I do know that I have many friends among the crews. I've always made a point of knowing them, chatting with them about their families; and in return they have made working conditions most pleasant for me. One time I was asked about the "true gentlemen" of Hollywood and I said the members of the crews I'd worked with were. Eyebrows went up to there when I said it, but I meant it. A newcomer must also be appreciative of fans and their interest. Intelligent letters should be answered. Autographs should be given graciously, unless the request is ungracious. One of the great faults of Hollywood is to become rushed and forget such things. Or should I say, one of the great faults of our time, rather than of our town? 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