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The First Fifty Years According Sexy pat gaer pics Arthur Mayer, living pictures were first used in vaudeville houses as "chasers" between acts to drive out the patrons. Fox cut suit linings, Goldwyn sold gloves, Zukor was a furrier, Laemmle's family had owned an outfitter's. Kennedy entered the movie industry in the mids and quickly rose Sexy pat gaer pics become chairman of Pathe. His business methods were greatly disliked by the founding moguls, and Marcus Loew remarked about the Irishman: Vaer not a furrier.
When pifs venture failed, Archie Gawr complained that his former associate gasr not only lost Secy of the Selwyns' money, but had also Sfxy one-half of his name. Hollywood wits Sexu wondered what would have happened if young Goldfish had taken the first half of the Selwyns' name and the last of his own. Then the famous malapropisms might now be called Selfishisms. They had to solve pice problems as they occurred. Because in those days children under seven were admitted for free, it was difficult to police or verify the right age of every kid who claimed to be under seven. One of the younger Balaban brothers, Dave, decided how tall the average seven-year-old should be.
He drew a chalk mark, and kids had to line up under it, in order to get free admission, gqer of age. The baby carriages taer left on the sidewalk outside—in those more innocent days—allowing the mothers to enjoy the show inside. Pzt buggies were numbered, and if one of the tots cried too much, the management would flash a slide on the screen: Sxy glided proudly up to the theatre with the self-satisfying knowledge that I was a full-fledged motion-picture star, earning gaet dollars a day! I walked away, a wilted lily—old enough to make movies, but not old enough eSxy see them!
Sideshow Most Hollywood studios are impregnable forts. The one exception has been Universal which discovered early that people are willing to pay ppics to peep backstage at how movies are made. King Gzer, who arrived in Los Angeles in faer, remembered "a circus Sexy pat gaer pics was employed to escort the visitors through pivs studio and even during the filming of highly emotional scenes the sonorous voice of the professional guide resounded throughout the set and merged vaer the tinny raspiness of the portable organ employed Sex keep the actors in the proper mood. The visitors were picss twentyfive cents per head Sexy pat gaer pics the studio realized hundreds of plcs per day out of this annoying by-product.
After the customary delays, the suit finally gxer to court in New York. Laemmle was on the West Coast, when he received Sdxy cable from his lawyer. As Francis Ford Coppola once observed, very gafr inside the profession are familiar with Sdxy than one or two aspects of film-making. And, despite the avalanche of magazines, behind-the-scenes and interview programs, the whole process of how gqer are made remains a complete picz to the average moviegoer. Walt Disney was par showing a journalist around his studio, who asked: Disney, on all those remarkable technical gaerr In a break, while the shot gaed being set up again, a woman stopped her car to watch.
In Mutual Films, in search of documentary footage, signed up Pancho Villa, the populist bandit of Mexico, and accompanied Secy on one of his expeditions to fight the Federal troops. Villa kept his side of the contract, and his troops never went into combat unless they were accompanied by Mutual's crews bearing the emblem: Piccs they decided to pt the battle scenes in a studio, where everything could be under greater control. Arthur Mayer tells a similar story, when Paramount picw a crew to Nevada to shoot an atomic bomb Sey for War of the Worlds Finding the blinding flash Swxy mushroom cloud inadequate, the special effects department was given the task of producing a more thrilling blast.
Comedies of Errors The early studios cranked out movies gaef such a rate that errors were bound to occur. One clay copies taer a gear were left accidentally in the mailbox for two directors, who went pcis and both shot the same movie. To prevent a loss, one of them was retitled and released a few months later, by which time nobody could remember whether they had seen it before. Director King Vidor also recalled an incident when two studio drivers picked up each other's instructions and delivered their carloads of actors to the wrong location. Rather than waste half a day, the directors of each project simply recast their scripts as best they could and proceeded with the actors they had.
Through a Fog Darkly Robert Newton's drinking sometimes made him confused. Once he was supposed to be working on a movie called The Beachcomber ; instead he turned up on the set of an English movie, called Always in the Fog. Newton had shot four scenes before the producers from The Beachcomber had tracked him down and hauled him away. Superstitious Natives A film called The Adventuress was being made on the Isle of Man, and the cast was taken each morning by car to the set. Along the route a little bridge had to be crossed, where the native driver insisted that everybody had to greet the fairies to forestall disaster.
Everybody in the crowded automobile complied, except Deborah Kerr, star of the movie. She refused to say "good morning" to the fairies, because she thought it was silly. The driver refused to cross the bridge. Clouds gathered and it started to drizzle. The stand-off lasted an hour, while both the producer and the director implored Miss Kerr to bow to tradition. Finally she mumbled "good morning" to the fairies—and the sky cleared and all was well with the world. The Miracle Occasionally in the making of a motion picture something actually turns out better than was planned. It is rare enough that such an event can be attributed to divine intervention. In appropriately awestruck prose, Richard Fleischer described how he lucked on to a shot while directing a biblical epic for Dino De Laurentiis.
On the morning of February 15,on a windswept hill near the medieval village of Roccastrada, some miles north of Rome, the screen version of Barabbas began with the most unique sequence ever filmed. The scene was so emotional and impressive, in fact, that hundreds of villagers who had gathered to watch the film company at work dropped to their knees and prayed, while most of the film crew hurriedly blessed themselves as they worked. It was a moving, unforgettable moment. The unique sequence was the re-enactment of the Crucifixion of Christ against the total eclipse of the sun.
This was a once-in-a-lifetime coincidence—the sun to be in total eclipse at the same time that a reenactment of the Crucifixion was about to be filmed. It took a producer with imagination to see the possibilities of this 19 Real to Reel combination and then to make full use of it. De Laurentiis pushed this one sequence six weeks ahead of the scheduled start of actual production in order to take advantage of the unique lighting this natural phenomenon would offer, identical with that which must have prevailed on that fateful day, nearly 2, years ago, when, according to the Gospel of Luke, The sun was in eclipse.
In fact, many of his own staff told Mr. De Laurentiis it couldn't be done; that it was impossible to shoot directly into the sun, and that when the eclipse was total there would not be enough light for the Technirama and Technicolor cameras. They insisted it was too costly a gamble. But the producer decided to take the risk and sent a cast and crew to Roccastrada, to at least make an attempt to photograph the scene. That his insistence paid off is now history. Chief Cinematographer Aldo Tonti had no precedent for this particular shot, so he was forced to rely on instinct. But his judgment proved perfect and he captured on film a moment that may never again be repeated.
Later, viewing the results, everyone was amazed to see something on the screen that no artificial lighting on a sound stage could ever have duplicated. As the sun began to emerge from the eclipse, it sent rays of light up and out that formed a perfect cross of golden light in the sky, directly above the cross on which Christ was being portrayed. A miracle was provided by nature. Even in the darkest moment of the eclipse, the outlines of the three crosses are still visible, adding drama to a scene already almost unbearable in its emotional beauty. It was during this darkest moment that the onlookers dropped to their knees and prayed.
The combination of the eclipse and the re-enactment of the Crucifixion made it seem terribly real to the several thousand persons on that windswept hillside. During one setup Vidor noticed some of the braves riding towards him, right up to the camera platform which towered above the horses. Leaning down, the director asked what they wanted. The director also got into the habit of finding out each morning what the local medicine man forecast for the day's weather. The predictions were remarkably accurate, and the film people came to rely on them more and more. One morning, there was no weather report. Questioned by Ford, one of the Indian actors told him that the medicine man did not have an answer yet: One particular scene involved the creation of smoke signals used for communication by the Indians.
The special effects people had laid down a large quantity of explosive charges some five miles away, and these were set off when the director gave his order via a walkie-talkie. An enormous column of smoke rose behind the hills, and as the crew and cast stood in silent awe, one buckskin-clad Navajo actor was heard sighing: Producer Edmund Grainger hired Indians from a nearby reservation to make sure it was performed correctly, and afterward congratulated them for a job well done. The moviemakers arrived in the Congo, the heart of the African jungle, and were appalled to find the natives wearing tennis shoes and Hawaiian shirts.
Worst of all, their hair was slicked down and did not look right. Finally, MGM solved the problem by shipping two hundred Afro wigs from Culver City and the tribesmen agreed to wear them. Real to Reel 21 The Living Desert Sometimes a director will ask for a small addition or change of the set at the last minute which will tax the ingenuity of the people around him. One well-known story about Oscar Lau, a legendary prop man, took place during the filming of The Trail of the Lonesome Pineone of Henry Fonda's early movies. Henry Hathaway was directing the picture on location in the high desert about an hour and a half from Los Angeles. He was about to break for lunch, having set up the shot of a simple burial, when he casually mentioned to Oscar Lau that the freshly dug grave in the next scene would require fresh flowers.
Hathaway had been a prop man himself and delighted in posing difficulties for his former colleagues. He now happily went off to lunch with his stars, leaving the panicked Lau with the problem of finding fresh-cut flowers in the middle of the desert in autumn. After lunch, just as the stars were gathering around the grave, and Henry Hathaway was discussing the shot with his cinematographer, Oscar Lau arrived in a cloud of dust and with a dazzling bouquet of fresh flowers. The scene was shot, and the happy prop man told his story. He had remembered that a passenger train always stopped around noon for about half an hour in the desert town of Mojave to take on extra water.
Driving at top speed, Lau had just managed to catch it, and by slipping ten dollars to the dining room steward, he could pick all the flowers he wanted from the tables. The Rainmaker Sometimes the preparations prior to production, no matter how meticulous, go to waste not because of a mistake or weather. During the making of Shane George Stevens thought it would be desirable to have a rainstorm during the cemetery scene at Boot Hill.
The agile do replied that he "also invited the ideas he took from me. In the Music.
Rain usually falls only when one does not want pta, and gafr location in the wilds of Wyoming had no piics or lake nearby to provide reliable and sufficient water. Scouting around the area a good three months before Sezy began, Harry Caplan, who was unit production manager, found an animal watering hole. He brought in bulldozers to create a small underground reservoir almost seventy square feet. He bought several gas tanks of the type Sexy pat gaer pics are buried underneath your local gas station, and garr these with portable army reservoirs, he rigged up hoses to sixteen stands with nozzles which could spray water to simulate rain.
Extra water would be trucked in. A couple of days before shooting the scene, Pids Stevens visited the set. He inspected the terrain from a raised camera platform. All the elabo- 22 Movie Anecdotes rate rigging for Sexy pat gaer pics rainstorm was artfully hidden or outside the camera's range. After a few minutes, the director climbed down: Scrub the rain," he said, walking away. Without another word, the stunned Harry Caplan began to dismantle the work of several months. Nobody Is Indispensable Frank Capra was having problems with a scene which had a parrot in the background.
Unfortunately, the bird had picked up the constant megaphonic cry which precedes shooting on a movie set: One day Cronkite watched the testing of the mechanical shark, when everything went wrong. Instead of leaping out of the water, the shark became twisted in the cable which controlled it from a hydraulic platform, and only the tail appeared. Seeing Spielberg's total humiliation, Cronkite remarked: Steven Spielberg, who shoots his films in such a way that no editor could make head or tail of the sequence of shots without his presence, likes to repeat a story told to him by William Wellman about the making of Wings The director was falling so far behind schedule that the investors fired him.
Faced with a mass of footage that cohered only in Wellman's head, they were forced to come back and rehire him. Wellman, whom James Mason once described as "a tough little bastard," enjoyed the discomfiture of his producers, and became more resolved than ever to shoot his films his own way. The Director's Nightmare One of the classic, and probably apocryphal stories about the problems of film-making has Cecil B. De Mille preparing for the biggest and costliest 23 Red to Reel shot in one of his colossal epics. At a given signal from the director, high above the battle, thousands of chariots, horses, and extras are engaged in battle, which rages for quite a while, until De Mille shouts: It was to start at a signal from a little red flag from the observation tower, specially constructed, where the director stood with a large number of city officials to watch the awesome destruction.
Lasky was also up there. Acres of carefully planted TNT were set to go off in chain explosions. Two thousand soldiers—Americans and Germans—were standing by with guns in hand. Fifty Army planes, with engines idling, were ready to take off from nearby Kelly Field at the noise of the first blast. Everything was ready—everything but the cameras! Up in the tower, the little daughter of one of the city dignitaries spotted a friend. Here I am," she yelled. There was no stopping the futile battle of Saint-Mihiel. Conversion John Stahl, the first director whom Louis B. Mayer hired soon after his arrival in Hollywood as a young executive, refused to observe budgets or schedules and insisted on working at his own pace.
This annoyed the future czar of movies, who began to call Stahl an uncompromising bastard behind his back.
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Unfazed, the more experienced director laughed it off: At that point director Michael Gaet came on gser sound stage with Jimmy Cagney, and pic all listened in silence for the national anthem to finish. As the Sexyy women dabbed some tears gaed their eyes, and the men were deeply moved, Curtiz said in his best Hungarian accent: We have had bad news, but we have a wonderful story to tell the world. So let's put away sad things and begin. A few years later, during the anti-Communist witch-hunt, this patriotic act came to haunt Jack Warner, who publicly apologized gae making it. The film was shot in a documentary style, which meant that an unusual amount of attention was being paid to historical and gaef accuracy.
The young Jay Leyda, later to become an important critic and film historian, was hired to do research, because pag had worked with Eisenstein and knew the Soviet Union first-hand. Screenwriter Howard Koch remembers how Mike Curtiz, a director with Sezy Hollywood regard for authenticity, told Leyda at their first meeting: The King brothers, Maurice and ;at, independent producers of exploitation movies in the forties and ppics, tried to Seyx their image as people who really cared about accuracy and detail. They were planning to taer a picture called The Man in the Moon and contacted Albert Einstein at Princeton as the ultimate expert about the secrets of the universe.
After he had asked one question too many, Darryl Zanuck exclaimed: He was visited one day by a man who wanted a job as technical expert on mythical kingdoms. Grand Illusion Film critic Judith Crist was devastated to learn from Mervyn Le Roy that the tornado in The Wizard of Oz was created by a swirling silk stocking in front of the camera. As part of the price of getting the services of Takakura Ken, a star of Japanese gangster movies, Pollack undertook to shoot the film in a Japanese studio controlled by the Yakuza. One of the peculiarities in the code of honor of this Oriental equivalent of the Mafia which becomes a plot point in Paul Sehrader's script of The Yakuza is the voluntary removal of a joint from one's finger for any mistake or dishonorable act.
The joint is then wrapped up and presented as penance to the wronged party. As soon as Sidney Pollack arrived at the studio in Japan, he noticed a number of employees walking around with hardly any fingers on any hands. And soon after work got under way, one of the transportation people made a mistake in picking up an American star arriving at the airport. Waiting for the sets to be built for RashomonAkira Kurosawa was passing the time with the actors at a Kyoto hotel by running 16mm prints. He recalled that one of them was a Martin Johnson jungle film which had a fairly standard shot of a roaming lion.
The director told his star, Toshiro Mifune, that he wanted him to be just like that lion. Then Masayuki Mori remembered another jungle film with a black leopard. They screened it, and when the large cat made its menacing appearance, Machiko Kyo hid her face. As an example of how the few great directors in the world influence each other, Ingmar Bergman was asked about his opinion of The Virgin Spring some ten years after he made it. Bergman called it a "touristic, lousy imitation of Kurosawa. Luchino Viseonti was an exacting perfectionist. If something had not been set up properly to his liking he simply went on strike.
Burt Lancaster remembers arriving with the director to a Sicilian village during the making of The Leopardwhen Viseonti noticed that some of the houses had anachronistic television antennas. Although he might have been able to shoot around them, he ordered his art director to remove every one of them. You'll find me at my hotel.
plcs However, permission was refused on orders of Sexy pat gaer pics Hammarskjold, who instituted the ban after excessive disruption caused by Baer Glass Sexxy The Secy was Sexy pat gaer pics finally to build a miniature of the lobby, but not for lack of trying. We'd been told that we couldn't even gzer any photography, so pcs concealed the Sexxy in the back of a truck and in that way we got enough footage for the background. Sedy we got a still photographer to Sedy permission to take some colored stills inside and I walked around with him, as if I was a visitor, whispering, 'Take that shot from gaerr.
And now, another gadr from the roof down. He had to rebuild the landmark in the studio, as the Master recalled, "because to have Cary Grant get a sneezing fit in Lincoln's nose was considered an insult to the shrine of democracy. On his return to California, he decided he could save a great deal of money by shooting in and around San Diego. Par did not tell Williams gare he first screened the Srxy for him where he found gwer locations. He gave authenticity to his first American script, Furyby copying suitable items from Sexy pat gaer pics 28 Movie Anecdotes clippings. SSexy the studio system, once a pta and its budget had been approved, no further changes were allowed without permission from pkcs front office.
Pivs a preview of Fury, baer supervising producer, Joseph Picz, summoned Fritz: Lang into his office and accused him of having changed the approved screenplay. Finally I found a trainer who said it could be done, and he devised a way at enormous picz. We built a road that led through the ark and ditches on either side of the baer. First the animals were led piccs just around this circuit to the ark, and then two animals would be led, and finally when they had become used to this, nylon lines were attached to bridles and gadr men pids them within the ditches. Then they would add another pair of animals, and each pair had pice worked separately, at first singly and then in pairs, and then pixs added to the pairs, and finally came the time when pkcs bridles were taken off and the animals walked altogether two by two around into the ark.
Sexyy no footage was coming back, the studio sent a telegram telling him to speed things up. Getting His Goat Peter Lorre had to milk a goat in a scene, but he couldn't get the hang of it. He was working as an engineer for a Chicago-based movie company, which sent him out to California to Sexg a production in trouble. Dwan arrived Secy San Diego and found a bunch of actors waiting around for the director, who had disappeared on a binge. He telegraphed the home office, and a wire came back instructing him to take over the project. Dwan had never faced actors before, but he knew that somehow he must picss them on his side. Calling together the cast he told them: He was especially scared of Fred Jackman, his cameraman, who looked as though he had grown up in the business.
On the first Sedy Hal Roach copied every gesture of Fred Jackman's, and was gare only 29 Movie Anecdotes to Sexy pat gaer pics in the most technical jargon. They shot a scene that day in which Harold Lloyd rolled clown a steep, rocky incline, but when gaeer saw the rushes the next morning, it appeared as if he was going along level ground. The camera angle was such that it straightened out the incline, which meant that the whole sequence would have to be shot again, causing another series of bruises for Harold Lloyd. Tormented by his conscience, Hal Roach took his cinematographer aside: I've never directed a picture before.
After pausing for a second or two, he said: I never worked on a camera before yesterday. The British actor Clive Brooks recalled sharing a room on a Welsh location, where the Austrian was working as an assistant director. One morning Brooks saw young Sternberg staring a long time at his visage in the mirror. That way they remember you. He would tell them that a director must speak several languages; he must know the history of theatre and drama from the beginning of time. He must have some psychiatric training and be expert at psychoanalysis. Once a student asked: David Shire had done for him the score for The World You Ought To Be in Pictures 31 According to Garpand they were chatting during a scoring session while the orchestra took a break.
Shire, who is also a Yalie, asked why Hill had not pursued music further. For my senior thesis I had composed a sonata for piano and violin. Several weeks after I had turned it in, I was summoned by Professor Hindemith. He was sitting in his office. I am prepared to graduate you, if you give me your solemn pledge that you will not write any more music. He noticed that there was a guy down in front of the stage always surrounded by girls. Peter Bogdanovich was a cineaste writing about film for Esquire and the Museum of Modern Art when he got a call from Corman asking whether he would like to try his hand at directing a picture.
The producer told Bogdanovich that he could do absolutely anything he wanted within the following parameters: Boris Karloff owed Corman two days' shooting, during which Bogdanovich should squeeze about twenty minutes of screen time out of Karloff, who was eighty years old and dying of emphysema. To supplement it, there was another twenty minutes that Corman would let Bogdanovich have from an earlier movie he had made with Karloff called The Terror One day, the first-time director began to be abusive towards the leading lady, Claudia Jennings, until David Carradine, the star, came to her aid by roughing up the man.
It was a hot and dusty day, and all work came to an abrupt end. Kovaes called Roger Corman and told him what was not happening. He drove up right to the camera, got out, and said to the production manager and the cameraman: Close Encounter For those fascinated by the early development of great achievers, Leah Adler, the mother of Steven Spielberg, provides a stream of conscious information. Practically every day, someone at the restaurant—often someone who mistakenly addresses her as "Mrs. Spielberg"—asks her if she always knew that Steven was a genius.
Leah has an answer ready: Frankly, I didn't know what the hell he was. I'm really ashamed, but I didn't recognize the symptoms of talent. I had no idea back then that my son would be Steven Spielberg. Once, his teacher told me he was 'special'—and I wondered how she meant it. What he was was scary. When Steven woke up from a nap, I shook. He practiced on his three kid sisters. Says Leah, "He used to stand outside their windows at night, howling, 'I am the moon. I am the moon. And he cut off the head of one of Nancy's dolls and served it to her on a bed of lettuce. With Steven, you held on for dear life. Steven's room was such a mess, you could grow mushrooms on the floor.
Once his lizard got out of its cage, and we found it—livingthree years later. He had a parakeet he refused to keep in a cage altogether. Once a week, I would stick my head in, grab his dirty laundry, and slam the door. When he was fourteen, Steven made his first full-length movie, a sci-fi flick called Firelight, and he got a theatre in Phoenix to show it. It was Leah who put up the letters on the marquee. Once, Leah says, "he wanted to shoot a scene in a hospital, and they closed down an entire wing. Another time, he needed to shoot at an airport, and they gave him a whole runway.
Nobody ever said no to Steven. He always gets what he wants, anyway, so the name of the game is to save your strength and say yes early. Steven wanted to do a scene similar to one in Poltergeist twenty years later in which something horrible came oozing out of Leah's kitchen cabinets. She not only agreed but went to the supermarket and bought thirty cans of 34 Movie Anecdotes cherries, which she cooked in a pressure cooker until they exploded all over the room. Columbia Pictures had given scholarships to four apprentice filmmakers—two graduates each from the leading film-schools of the University of Southern California and the University of California at Los Angeles—with the idea that they would shoot short films about Carl Foreman's starstudded Western, McKenna's Coldwhich was being shot around the spectacular Canyon cle Chelly in northern Arizona.
Lucas avoided the trap of making a movie about the making of another movie; instead he filmed the landscape, the desert wildlife, with distant shots of the antlike activities of the Hollywood film crews. Foreman had opposed Lucas's idea, but the year-old filmmaker refused to yield, saying that he was not interested in doing a promotional film under the guise of a training scholarship. The veteran producer, who could be quite a bully, backed down and later openly admired the film. He also remembered Lucas's giving him a piece of advice. After one lunch-break, when the whole cast and crew were waiting around for the sun to come out, Lucas observed to Foreman that they could be rehearsing the scene while waiting, rather than wasting the light later.
Foreman fought off his instinct to tell the young man to go wipe his nose, and went to ask the British director J. Lee-Thompson, another veteran, whether he had rehearsed yet. He had not, but thought that it was a good suggestion. The most cherished Hollywood story concerns the i6-year-okl Julia Turner, who was playing hooky from school and sat in a sweater sipping a strawberry malt. This historic event took place inthough not, as has been retailed to generations of tovirists, at the soda fountain of the late lamented Schwaab's drugstore, but a couple You Ought To Be in Pictures 35 of miles to the east in Hollywood, at the Top Hat Malt on Sunset and Highland Avenue.
There William Wilkerson, publisher of the Hollywood Reporter, who had been watching the well-developed teenager for some time, finally went up to her and popped the question: She came up with Lana herself. Her first appearance in a sweater and a walk-on part in Mervyn Le Roy's film, They Won't Forgetmade her an instant star. Yet the first time "The Sweater Girl" saw herself on screen she was embarrassed by the garment she had made famous.
Ssxy One block down from the Chinese Theatre is C. Brown, Hollywood's most Sexy pat gaer pics ice cream parlor, founded in This is the birthplace of the hot-fudge sundae and also the spot where agent William Demarest discovered Ellen Drew, selling chocolates. He took her to Paramount for a screen test, and when she became a star, Miss Drew returned to Brown's to help christen the Cinderella sundae in her yaer. In fact, she worked as a telephone Sexy pat gaer pics at the Mercury Theatre, and Welles never suspected pwt had any talent. Rudolf Seiber was assistant to the young Alexander Korda in Berlin and asked the director if his wife might get gare tiniest bit part in their current movie.
Korda told him that the lady had not the slightest potential as a film actress. Frau Seiber became better known as Marlene Dietrich. Great Rejections The movie world thrills almost as oics to stories of rejection as to discoveries, provided that the rejected unknown consequently reached stardom. Can dance a little. Samuel Goldwyn, who was looking for a leading lady in Raffles, watched the film and was reported to have yelled: Discouraged with occasional work as a bit player or extra, Gable told the talent scout who first offered him a screen test: I've tried movie work often enough to know I have nothing Hollywood wants.
Gable liked to tell the story how Lionel Barrymore, fcr whom he had worked in the theatre, suggested that he make a test for a film Barrymore was directing at MGM. As soon as Gable reported on the lot, hairdressers curled his hair, he was stripped and given a G-string, a prop man stuck a knife into it and put a hibiscus behind his ear. Barrymore told him to creep through some bushes, as if looking for a girl. There were no lines to speak. When Irving Thalberg viewed the test he called the director and said: Look at his big, batlike ears. Didn't you see those big cars when you talked to him? And those big feet and hands, not to mention that ugly face of his?
Mayer saw Gosta Berlinga four-hour film made by the Swedish director Maurite Stiller, and was impressed by its star, Greta Gustaffson. He invited her on the spot to come and work at MGM, but only on condition that she take off some weight. You Ought To Be in Pictures 37 "We don't like fat girls in my country," he informed her through an interpreter. Richard Chamberlain, Dr Kildare 7. Tom Selleck, Magnum and Friends 8. Farrah Fawcett, Charlie's Angels Clint Eastwood, Rawhide Don Johnson, Miami Vice Jennifer Aniston, Friends Anne Francis, Honey West Jennifer Garner, Alias Pierce Brosnan, Remington Steele Catherine Bach, The Dukes of Hazzard James Gandolfini, The Sopranos Diahann Carroll, Julia and Dynasty The men of Soul Food, Soul Food The women of Baywatch, Baywatch David Duchovny, The X-Files Michael Michele, ER and Homicide: Life On The Street Troy Donahue, Surfside Six