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cry, and call for suggestions. His writers would get busy, and others would come forward with ideas — Miss Lombard, or Mr. Powell, or perhaps Eugene Pallette or Mischa Auer, who were in the cast. Again, it might be a prop boy, or a watchman. Once something was worked up, they would shoot it leisurely, attempting, meanwhile, to maintain the party spirit, and then start drawing corks for the next scene.
The picture was by no means made possible by liquor, but La Cava believes that his keen analysis of the causes and cures of scenario tension was much appreciated by the company.
Fields spent a lot of time with La Cava and Gene Fowler in Hollywood, though neither of the latter, by that stage, would have anything to do with him professionally. Once in a while, when they were together, Fields would become animated over the possibility of his starring in a picture which La Cava would direct and Fowler would write. Both La Cava and Fowler would laugh loudly. "We don't want any truck with such a mean, cantankerous old man," they'd tell him. "I wouldn't direct you if you were the last actor alive," La Cava would add, and Fowler would chip in with, "Bill, if I ever get an urge to write for you, I'll know it's time to go back to the newspapers."
Fowler nearly slipped up on this resolve one time. Fields had indicated that he was wildly enthusiastic over Fowler's new book, Salute to Yesterday. He sent a telegram to Fowler, who had made a trip to New York in connection with the book's publication, which read as follows: "Had to go to four shops to buy eleven copies of Salute to Yesterday. This gives you some idea of how it is selling here. I am half through the book. It is the meatiest and fruitiest tale I have ever read. Dickens or Twain never drew finer or funnier characters. Two belly laughs in every line. I hope it is my good fortune to play Captain Trolley. Your loving uncle —Bill Fields."
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