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ON LOCATION, EUROPE
He said, "I think Viertel is a fine writer ... a good friend of mine too. ..."
"Still?" I asked.
"Oh yes. I don't mind what people write about me." (This is not absolutely true, because I infuriated him at a later date with something I wrote about him.)
Huston told me that Viertel had sent him a manuscript of the novel with a note saying that he would not publish it if Huston did not want him to.
"I sent him back a signed undertaking," said Huston, "that I would not sue for libel — before I even read the book. I've read it now — and I think it is a good piece of writing. I'm hoping to use Viertel on one of my other films."
"Are you really like the character in the book," I asked Huston, "or was Mr. Viertel allowing himself a lot of artistic licence? " I should explain that the director John in the book has quite a few unpleasant characteristics.
" I don't know," said Huston. " Maybe that was how I struck Viertel. I can't say what I'm like, can I?"
I tried to judge for myself what he is like. It was not easy. Obviously he is a man with so many personalities that they could get together and form a football team. The gentle, courteous, soft-spoken man who sat opposite me seemed to have little in common with the aggressive and cruel-minded character in the book.
I took a count of the Hustons I knew about.
There is the man who rents a thirty-room house in Ireland, with a domestic staff of six so he can live the life of a country squire when he feels inclined. There is the man who goes fox-hunting three days a week and, refurbished by this activity, spends the other four days writing scripts. There is the playboy who commutes between the best bars and restaurants of New York, Paris and London. There is the financier who has invested in a film company and will, as a result, get 25 per
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