Tuesday, May 7, 2013

Ben Mankiewicz interviews Walter Mirisch at the screening of The Great Escape (1963)



A 50th anniversary restoration of The Great Escape (1963) was premiered at the Grauman's Chinese Theatre (TCL Chinese) on Friday April 26th, 2013. Before the screening even started, I headed to the bathroom and saw a bunch of TCM staffers surrounding this older gentleman and heard one of them refer to him as "Walter". It was cool that I got to see Walter Mirisch before the event even started.

I'll do my best to transcribe the interview. It's not all word-for-word and I use a lot of paraphrasing.

Ben Mankiewicz hosted and noted that James Garner and Steve McQueen were the stars of the film but were not the stars Mirisch wanted. Walter Mirisch won an Oscar for In the Heat of the Night (1967) and Mankiewicz introduced him as one of the best film producers in Hollywood.

Mankiewicz - Holy crap you have produced a lot of great movies. (Ben actually did say that!) . Ben starts with the biggest hit Mirisch had before The Great Escape which was The Magnificent Seven (1960). How did The Magnificent Seven getting The Great Escape done? Did it have a big impact on casting?

Mirisch - John Sturges and Mirisch had met before The Magnificent Seven and became friendly and decided they wanted to work together. Mirisch always had in mind trying to find a property they could do together. The availability of The Seven Samurai seemed to present a good opportunity. Mirisch thought it would be perfect for Sturges. They watched The Seven Samurai in a projection room and spitballed how it would work as a Western.

Mankiewicz - Mankiewicz sarcastically joked that none of us wished we'd been in that room. It sounds like a dull conversation. He then asks when Mirisch thought of Steve McQueen for that movie.

Mirisch - Steve McQueen was a star on the TV show Wanted: Dead or Alive prior to the film The Magnificent Seven. He was well received in that film but hadn't received star status yet even after the film released. After The Magnificent Seven, Mirisch and Sturges looked around for another project they could do together. The idea for The Great Escape came up. The story had been on the screen before possibly by the British. But no one could understand those accents so it didn't matter. There was a little resistance (possibly to it being previously released) but both Mirisch and Sturges eventually got very excited about doing the movie. The book written by Paul Brickhill. Brickill was a flyer in the British Airforce and a prisoner and the book is about his own experience. Unfortunately, the book is a factual one and not a novel. All the personal stories were made up for the movie and this presented a lot of writing difficulties.



Mankiewicz - Who was Mirisch looking at for those two principal characters played by James Garner and Steve McQueen?

Mirisch - A decision was made that they would tailor the film so that there were two principal characters to carry the story. A few years before, Sturges had made Gunfight at the O.K. Corrall (1957) with Kirk Douglas and Burt Lancaster. So when Sturges and Mirisch were working on developing the script, they had Douglas and Lancaster in mind for the two title roles. It got to the point where they realized that Douglas and Lancaster would cost a lot for the picture. They were having problems getting the budget for the picture approved.

Mankiewicz - Mankiewicz mentioned that he read that the budget was $4 Million

Mirisch - Mirisch says it was somewhat more than that. Anyone who has ever made a movie has heard "you gotta cut the budget if you want to get this made". Back then, Mirisch suggested that two relatively inexpensive younger, up-and-coming actors, James Garner and Steve McQueen, might be possible for those two parts. They saved $2 million with that one decision.

Mankiewicz - Mankiewicz says , "do you realize when you say that that you are a genius?" and notes that it would have been a very different movie with Douglas and Lancaster.

Mirisch - Mirisch had gotten to know McQueen while filming The Magnificent Seven, was very fond of him and thought he had an incredible on-screen personality. He also liked the idea of a younger actor for that part. Prior to The Great Escape, Mirisch had made the film The Children's Hour (1961) with James Garner. Mirisch notes he was more comfortable with the idea of making a film with Garner and McQueen than with Douglas and Lancaster.

Mankiewicz - Mankiewicz mentions that McQueen wasn't a star yet when he made The Great Escape.

Mirisch - Mirisch says it's because he hadn't jumped over that fence with that motorcycle yet!

Mankiewicz - We all cherish McQueen because he had that fierce independence along with an enormous chip on his shoulder but was still filled with self-doubt that so many of us are plagued with. This all made him Steve McQueen the star but also made him a bit of a handful for the folks who worked with him.

Mirisch - McQueen had that quality, je ne sais quoi. I don't know what but he's got it and radiated it on screen.

Mankiewicz - McQueen left the set for sometime after some disagreements and some competition with James Garner. As a producer, how did you deal with a great but difficult star and still manage the picture?

Mirisch - McQueen always felt there were too many words. Mirisch came to trust that because he learned that McQueen was able to convey a great deal by his very expression. Mirisch was open to cutting down McQueen's dialogue and to allow him to convey things with his eyes. Sturges was also well aware of that and they both collaborated on that particular issue. McQueen had a good sense of story and when something bothered him, Mirisch took McQueen's thoughts into consideration as there might be something that was missing that could be worked on. There is a famous incident in which McQueen got upset and left the set for a while but that was overcome by re-writing. Mirisch showed McQueen the rewrites and McQueen said "I'll be back to work tomorrow."

Mankiewicz - Mankiewicz interjects and tells the audience that those rewrites include the famous motorcycle sequences and the baseball scenes.

Mirisch - McQueen conveys more about the independence of spirit and courage just by throwing that baseball against that wall than some do with long speeches. Mirisch calls McQueen brilliant and says to the audience that you'll see it all again when you watch the film in case you don't remember.

Mankiewicz - Mankiewicz throws out a trivia bit that McQueen plays one of the Nazi officers chasing McQueen during the motorcycle chase while also playing his own character.

Mirisch - Mirisch interjects and says "you know, you are not supposed to tell all the secrets!"). He also notes that the restoration will be available on Blu-Ray on May 7th. This is funny because Mankiewicz had promised to bring it up and forgot. Ha!

Monday, May 6, 2013

The Genius of the System by Thomas Schatz

The Genius of the System: Hollywood Filmmaking in the Studio Era
by Thomas Schatz
University of Minnesota Press
Edition: March 2010
Paperback
528 pages

Find the book on
Barnes and Noble
Powell's
IndieBound
Amazon

 Some of us are satisfied with enjoying films for what they are, entertainment and we are perfectly happy to leave it at that. But when we start asking questions, especially the hows and the whys, we need to evolve from being just an observer of movies to become well-versed and knowledgable film buffs.

The Genius of the System was originally published in 1988 and has since been revised with the latest edition released in 2010. Thomas Schatz takes a look at film history with two major constraints. First Schtaz focuses on the business of the studio system as it existed from 1920s through to the beginning of its demise in the early 1950s. Secondly, Schatz narrows his study to some of the major studios including Universal, MGM, Warner Bros. and Selznick's various collaborations with studios plus his own Selznick International Pictures.

The book is organized in chronological order, each section is devoted to one time period and each chapter within each section is devoted to one studio in particular. Schatz delivers an overwhelming amount of information about the studio system, an important time in film history .and I think it's crucial that the book be well-organized, orderly and clearly written. That structure and clarity helps keep the book tidy and makes it a lot easier to follow.

In this book, you'll learn about budgets, business decisions, the roles different people had in the script development, casting, filming, production and distribution. Different studios had different ways of doing things. For example, Warner Bros. was strict about typecasting and were reluctant to loan out their stars which proved stifling for many including Bette Davis and Humphrey Bogart.  Other studios and independent contractors depended highly on loan outs from big studios in order to boost their films with big names. Sometimes the movie business worked like a well-oiled machine: efficient and fast. Other times it dragged along and was plagued by excess and poor decisions. Deals, contracts and economic shifts changed how studios utilized their big stars and their small players as well. The Great Depression, World War II, the advent of TV and the HUAC all affected how the studios worked.

I learned a lot of interesting things about the business of filmmaking during the studio era. I learned that Universal focused on making horror pictures because they could be made with low budgets, partial sets, they could hide things with smoke and fog and they didn't need major stars. The focus of these movies were the monsters and in the end these films were cheap to make and proved to be both profitable and popular. That wasn't to say that Universal didn't have any big names. Deanna Durbin provided Universal with one box office hit after another and helped keep them afloat during a difficult time in American history. MGM's early history could be divided into Thalberg and post-Thalberg years. There are a couple chapters in the book devoted to the collaboration between Selznick and Hitchcock and it's very interesting to see how it evolved and how it came to an end.

While Schatz tries to keep the focus on the studio during a particular era, he sometimes stops to focus on a film in particular especially if it's story is a complex or important one and demonstrates the workings of that studio. Films spotlighted include Gone with the Wind (1939), Wizard of Oz (1939), Rebecca (1940), Notorious (1946), Key Largo (1948) and others.There are some plot spoilers but not many because the real focus is on the business side of filmmaking and not about the stories themselves.

It took me quite a long time to read this book because I really wanted to take in and reflect on the information I was acquiring by reading it. I highly suggest not reading this from cover to cover but taking it one section or one chapter at a time.

The Genius of the System  is a wealth of information and an absolute must-have for any film buff who wants to know more about the mechanics of the studio system and how that business influenced how and why certain movies were made. This book can prove to be a challenging read but if you are committed to learning about the history of film then this books is not to be missed.

Thank you to the University of Minnesota Press for sending me a copy of The Genius of the System to review.

Friday, May 3, 2013

Who I met, Who I saw and My Thoughts on the TCM Classic Film Festival

One of the best things about the TCM Classic Film Festival was getting to meet so many of the great classic film bloggers who I talk to on a regular basis online but hadn't met in real life. Here are some I subjected to my iPhone selfies.







Me and Aurora of Once upon a screen...


Me and Carley of The Kitty Packard Pictorial


Me and Jessica of Comet Over Hollywood


Me and Raquel of Now Watching (Two Raquels together!)


Me and Trevor of A Modern Musketeer and TCM Party


Me and Matt from Warner Archive (blogger, tweeter and podcaster extraordinaire!)


Me and Paula of Paula's Cinema Club and TCM Party 
(with Laura of Laura's Miscellaneous Musings)


Me and Ariel of Sinamatic Salve-ation 
(picture by Matt from Warner Archive)


I met a whole lot more including Kristen from Sales on Film, Diane from Classic Movie Blog, Drew from Cultural Transmogrification Magazine, Karen of Shadows and Satin, Marya of Diary of a Film History Fanatic and many more.

In addition to these wonderful bloggers, I got to see TCM hosts Robert Osborne and Ben Mankiewicz several times as well as Leonard Maltin (I got to shake his hand!). And then there were the classic film stars, directors and producers:

Theodore Bikel - TCM promo taping
Ann Blyth - TCM promo taping and Mildred Pierce screening
Barrie Chase - It's a Mad, Mad, Mad, Mad World screening and on my way to the bathroom
Jane Fonda - Handprint Footprint Ceremony (from very far away)
Mitzi Gaynor - Poolside South Pacific Screening
Tippi Hedren - On my way to the bathroom
Kathleen Hughes - River of No Return screening
Marvin Kaplan - TCM promo taping, It's a Mad, Mad, Mad, Mad World screening and The Lady Vanishes screening
Karen Sharpe Kramer - It's a Mad, Mad, Mad, Mad World screening and on my way to the bathroom
Norman Lloyd - So You Think You Know the Movies Trivia and The Lady Vanishes screening
Walter Mirisch - On my way to the bathroom and The Great Escape screening
France Nuyen - Poolside South Pacific Screening
Mickey Rooney - It's a Mad, Mad, Mad, Mad World screening and on my way to the bathroom
Stanley Rubin - River of No Return screening
Eva Marie Saint -  Eva Marie Saint: Live from the TCM Classic Film Festival
Max von Sydow - Conversation with Max von Sydow and Three Days of Condo Screening
Jane Withers - TCM promo taping

TCM Photo

Here I am at the Ann Blyth TCM Promo taping trying not to freak out because OMG Ann Blyth was right there.


Here are some of my thoughts on the festival:

What I Liked
  • The lines for events and screenings were well managed by TCM volunteers. Good job!
  • We got really close to the stars but they were protected at all times by various staff members. This made for an intimate experience while also keeping the stars safe from crazies.
  • Almost everything started on time. TCM was very punctual, there were very few delays.
  • All the lovely surprises. Seeing Ann Blyth at the TCM promo taping was by far my favorite surprise.
  • All the classic film stars I got to see!
  • Seeing Robert Osborne, Ben Mankiewicz and Leonard Maltin numerous times. 
  • Meeting people who have read my blog (woah)
  • The variety of classic films, the decades and genres covered. There was literally something for everyone. You could easily customize your schedule
  • The quality of the interviews before the screenings. They were only 15 minutes (a few were a bit longer) but they were always top notch.
  • The TCM Festival iPhone app. It was a bit buggy to start but I loved that it sent me reminders before each of the films I had chosen.
  • The Info desk was amazing! The staff there was super helpful and friendly. They gave me buttons to reward me for all my social media activity.
  • The TCM Classic Film Festival tote bag, my favorite new accessory.
  • Getting press photos after the events because some of my pictures didn't come out so good.
  • Being on TV and having my mom call me because she saw me on TCM.


What I Didn't Like

  • Not enough places to charge my iPhone
  • Crazy lady who seemed to haunt the Roosevelt Hotel bathroom
  • All the walking I had to do. I'm not against walking but I brought the wrong shoes! Next time I'll bring sneakers.
  • L.A. Cab drivers
  • Having to leave screenings to get into other ones. Can they please have shuttles for the far away venues next time?
  • Opening Night Party crowdedness 
  • Not knowing I had to RSVP to the Jane Fonda Handprint Footprint Event. I probably misread an email.
  • There was breakfast at Club TCM? How did I not know this?!
  • Not having enough access to food in general and healthy food specifically. I hope TCM will consider food trucks or some kind of concession stand for Club TCM in the future.

My favorite moments:
  • River of No Return (1954) screening with Stanley Rubin, I cried
  • Ann Blyth TCM promo taping, I cried
  • Chatting with Matt from Warner Archive, I cried (just kidding)
  • Playing a trivia game hosted by Alex Trebek
  • Shaking Leonard Maltin's hand
  • The Lady Vanishes (1938) screening with Norman Lloyd
  • Meeting classic film bloggers galore
Bear with me. Up next are some more detailed posts about some of the events I attended.

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