Merv by Michael Druxman

Michael Druxman. Merv. New York: Leisure Books, 1980.

Every guest on “The Merv Griffin Show”, a 90 minute talk show hosted by Merv Griffin, received the same scale salary as determined by the American Federation of Television / Radio Artists which (in the last 1970s) wa $337.50. Many large stars appeared for exposure, to increased demands for booking their performances, or to publication a work product.

Miss Miller was a fan who was in the audiences of the show as well as in the audience of other shows. Merv often recognized her. She was asked to give a review of a Broadway show for Merv’s show.

Merv Griffin was the late night talk show host on CBS-TV in 1969-72 against NBC’s Johnny Carson and ABC’s Joey Bishop and then Dick Cavett. Merv usually came in second in the ratings with Carson first.

Johnny Carson’s style was his quick wit and taking command of his show. Merv was better at letting guests have their say and Merv was better at making guests feel more comfortable.

Merv’s uncle Peter Griffin was a three time U.S. tennis doubles champion and Marv’’s father Mervyn Griffin was a California and Pacific Coast singles tennis champion.

Merv learned playing classical piano as a child and performed in backyard shows.

Merv spent some time with his Uncle Elmer who was rooming with actor Errol Flynn. Merv was stunned that Flynn was totally naked when he arrived. As Merv related, “but what really threw me is wen these beautiful ladies would come over and he still wouldn’t put any clothes on.” Merv enjoyed that he was constantly being sent to go see movies.

On Merv’s 18th birthday, he felt on inner voice that made him feel that the entertainment  business was his future. At 19, he went into radio station KFRC while driving by and asked for a staff musician job. There were no job available. A friend mentioned that Merv could sing. He was asked to sign and he was hired. Merv had a 25 minute daily “San Francisco Sketchbook” slot on a Thursday for $100. The next Monday, the show’s name was changed to “The Merv

Merv created Panda Records to release an album. His income was $1,100 a week and then $1,500 a week. Merv would make local San Francisco appearance with the orchestra on weekends.

As Merv was overweight with acne, no photos were sent to fans. Nor were there any studio audiences at his radio show.

Merv dieted and lost 80 pounds in four months.

Art Hickman in 1913 was among the first to have a band with an organized dance group.

Orchestra leader Freddy Martin needed a new lead singer when Stuart Wade left his band to try acting. Martin’s secretary listened to records of two singers and chose Merv. Martin auditioned Merv and offered him $175 per week with $25 raises ever 13 weeks. Martin wanted Merv to his vocalist and second piano player. Merv realized this was less than his $1,5000 weekly radio salary yet decided that touring would bring more exposure.

Merv recorded several hit records with Freddy Martin. Merv was paid a flat fee of $50

RCA Victor gave Merv a solo recording contract.

Merv appeared on a 1950 Universal 15 minute short film “Music by Martin” which was a Freddy Marti concert film. It took a day to film.

Merv did live commercials. He once did a commercial for a non-smear lipstick where a women kissed him. He wiped his lips with a handkerchief to show there was no smear, only to have his facial makeup appear.

Merv roomed in New York with Robert Clary. Clary would later appear in “Hogan’s Heroes”.

After four years of singing with Freddy Martin, Merv took a screen test that got him hired at Warner Brothers. He was requested to change his name to Mark yet refused.

Merv had a bit part in his first movie. Gossip columnists claimed that Merv feuded with Gordon MacRae. Merv states that was not true and was based on a Sammy Cahn joke that Merv was seeking to replace MacRae. Merc had one line in his second movie which starred MacRae. Merv was not in the billing.

Merv received second billing in his third film “So This is Love”.

Merv used to appear at premiers with a studio arranged fake date, Delores Dorn-Heft. They would speak to the press, go into the theater, separate, and leave. They wouldn’t stay to watch the film yet went only for publicity’s sake.

Merv and his date Marily Erskine went on a double date with Tony Curtis and Janet Leigh. They all cross dressed as movie characters for a Jerry Lewis party. They were pulled over by a motorcycle police officer leading to much explanations.

Merv did voiceover work in a couple of films. He also re-dubbed an actor’s voice. He did background work while standing behind Jack E. Leonard. As Merv put it, “all through the movie it looked like Jack had a wart on his head-me!” He also recalled that Leonard was so heavy he had it written into his contract that a limo would drive him 50 feet to the commissary.

Merv’s personal manager then was George “Bullets” Durgom, who also represented Jackie Gleason. Durgom helped get Merv appearances on “The Jackie Gleason Show”.

Merv was in “The Boy from Oklahoma”. His character rode a horse, something Merv had never done. Merv was promised to be given two weeks of horse riding lessons. Yet he was called to ride a horse on his first day. He constantly fell off the horse. Merv ad-libbed Jackie Gleason’s expression “away we go” which was kept in the movie that was set in the 19th century,

Merv drove cross country when his engine block cracked in Harrisburg, Pa. The Ford dealer was not helpful until Merv called his friend Edsel Ford who told the dealer to give Merv a new motor.

Merv was dropped from appearing in a Kate Smith TV show which was sponsored by Esquire Boot Polish because of his name Griffin. A competitor to Esquire Boot Polish was Griffin Shoe Polish.

In 1955, Merv hosted the CBS Sunday morning program “Look Up and Live”. He was paid $119 per week. He would introduce singers and Protestant pastors plus provide background before drama skits. Merv lasted 13 weeks, The next 13 weeks had Catholics on. Merv was replaced rven though Merv was Catholic,

Merv hosted the CBS “The Morning Show” for six months until he was replaced by Will Rogers, Jr.

Merv was offered to replace Bob Smith, who had a heart attack, and appear as Hoody Doody. Merv declined.

In 1957, Merv hosted the ABC-TV weekend show “Going Places”. It began as a 45 minute program. Two months later it was increased to 1 hour, 45 minutes.

Merv parted company amicably with his manager Bullets Durgom. He hired Marty Kummer of MCA who would pay more attention to Merv’s career.

Merv had a CBS game show “Play Your Hunch”. ABC picked it up after CBS canceled it. After eight months it move to NBC/

In 1959, Merv had two records in the top 20.

Merv replaced Carl Reiner as a moderator on ABC-TV’s “Keep Talking” for $1,500 per show. He was also appearing regularly on “The Arthur Murray Party”. Merv substitued for Bud Collyer when vacationing as the host of “To Tell the Truth”. He also was a singer on the TV series “Music for a Summer Night”.

Merv in 1960 hosted NBCs “Saturday Prom” with a live orchestra led by Bobby Vinton and 500 teenagers dancing. A friend told Merv the show “looked like an auto accident”.

Merv hosted a game show “Play Your Hunch”. Jack Parr used to make a short cut through the studio where “Play Your Hunch” aired. Paar made an unscheduled appeared on “Play Your Hunch” while taking his short cut unaware the studio was in use. Paar was impressed with how Merv ad libbed. Paar used Merv to substitute for him in his interview show. Paar then left the show. Merv lasted for two weeks while a new host was sought. Merv enjoyed chatting with guest Arthur Treacher. Merv offered to make Treacher his side kick if Merv ever got his own show. Johnny Carson was selected as the new host.

Merv was replaced by Gene Rayburn in “Play That Hunch” in July 1962 as Merv begin his own 45 minute daytime chat show.

Merv had his show appeal to men and women. He also hired Bob Shanks to produce the show for $1,000 a week. Merv admits he could have hired Shanks for less yet he wanted to pay his producer more than Johnny Carson paid his.

Merv’s show lost to “Password” which had four times the number of viewers. Merv’s show was canceled April 1, 1963. Hundreds of letters were sent to NBC upset by the cancellation. It was the os tletters then ever received regarding a cancellation.

CBS hired Merv to host the summer show “Talent Scouts”.

Merv created his own TV company. He created the game show “Word for Word”. Merv then developed the idea for a game show “Jeopardy”. NBC bought the idea in 1964. “Jeopardy” was hosted by Art Fleming. It ran until 1974. In 1968, Merv’s company had four more game shows aired, although most did not last long.

Merv was approached to do an evening CBS talk show to compete against Johnny Carson Merv asked for double what Carson was paid, creative control, and he wanted to keep his same team of producer Bob Shaksn, band leader Mort Lindsey, director Kirk Alexander, and chief writer Bob Howard. There was a quick 20 negotiation and the deal was made. CBS then spent $2 million to make the Cort Theatre in New York City into a TV studio.

Merv’s first week ratings were close to Carson’s. Merv then lost about 30% of his audience as he slid into second place. Merv’s show was on CBS for 30 months.

CBS censored Abbie Hoffman, refusing to show him wearing his American flag shirt during his 40 minute interview. Ironically, a Ford commercial with Roy Rogers and Dale Evans that aired during the interview showed Rogers and Evans wearing the exact same shirt.

Merv’s show appeared on 150 CBS stations compared to Carson being on 210 NBC stations. Some CBS stations began showing Merv’s show in the afternoon instead.

Merv decided to move the show to Hollywood. Arthur Treacher ad Bob Shanks opted not to move with him The others did. The show was taped. Two tapes flew in two different airplanes to the east coast. The show aired two days after it was taped.

CBS network programmer Fred Silverman began suggesting a different type of show replace Merv. Merv asked to be released form his contract.

Merv left CBS knowing Metromedia would offer to take him.

CBS erased all their tapes of Merv’s shows.

Merv’s new show was directed by Dick Carso, brother of Johnny Carson. The show had guests centered around a theme.

I 1973, Carson moved his show from New York to Burbank.

Merv’s show, which was syndicated, had its highest ratings during its last half hour. THis was the opposite of late nights that lost viewers from 11:30 pm to 1 am.

Life, Liberty, & the Pursuit of Hollywood by Michael B. Druxman

Michael B. Druxman. Life, Liberty & The Pursuit of Hollywood: More of My Wacky Adventures in Tinseltown. Albany, Ga.: Bear Manor Media, 2013.

Druxman advises that the most important quality required in the film industry is tenacity. It took him ten years before he sold his first screenplay. Once that happened, more offers were extended.

Druxman was an agent. Druxman collected movie press kits. He discovered a bookstore that was selling press kits that had been stolen from the Warner Brothers library. Warner Brothers got their press kits back. From then on, Warner Brothers was more apt to listen to Druxman when representing his clients.

Druxman began as a Drama major (he lated switched to Sociology) at the University of Washington. He learned, when wondering why a humorous line was not getting a laugh, was that an actor should never anticipate the laugh. Stating it naturally allowed the humor to come forth.

Druxman went into stage directing in Seattle theater. Druxman observed Seattle did not present edgier plays. He successfully challenged their perceptions and fought over censorship with the theater board. He then cast and directed the plays that he wanted to present.

Druxman found there was not much money to be made in community theater. He moved to Los Angeles. He opened a low cost publicity service for the film industry. It was called Michael B. Druxman and Associates, although there were’t really associates. The standard deal was Druxman received 5% of an actor’s income during the time he handled publicity.

Druxman had three clients who stayed with him when they receive larger incomes. He considers them “men of principles”. THey are Steve Kanaly, Michael Ansara and Henry Darrow.

One client whose career he tried to resurrect was Reed Hadley. Yet there was a demand for new talet at a time when Hadley was a familiar face yet lacked a memorable name as a box office draw.

Druxman was hired to add dialogue to the movie “She Freak”. His name does not appear in the credits. He earned not to let that happen again.

Druxman observed that, in a comedy duo, the straight person’s reaction to a comic’s joke is what causes laughter.

Druxman can confrim from steam club membership that on of the most endowed actors was Rock Hudson. As several frustrated actresses stated, “what a waste.”

Druxman handled publicity for several composers including John Williams and Johnny Mandel.

Gale Gordon was a Druxman client. A published once asked Druxman to write a biography of Gordon as none existed. Druxman explain there was no book, as he did his work, went home to his wife, and was never involved in any scandals.

Edward Dmyrtryk, a director, was a client. Drmtryk once told an actor, who questioned his motive for a scene walking through a door, that “your motivation for walking through the goddman door is that’s the only way you can get into the goddamn roo Now, shut up and let’s shoot the scene.”

Druxman similarly recalls when he was directing and a addressing an actor on his motivation, telling him “Your motivation is that that’s where I want you to be.”

A director Gerald Mayr once told Druxman that, when directing animals, there is “nothing to it. I just tell the trained that I want the chimpanzee to do this or that, and the trainer makes the chimp do this or that.”

Druxma did publicity for Stanley Myron Handleman. He became popular and did several TV appearances as a comic. Handleman fired Druxman. Handleman found peopel began to ire of him and his career dwindled to a few appearances.

Druxman represented Jack Carter. They had a falling out yet ears later had friendly reunions.

Druxman represented Nicholas Hammond, the actor who was the first life action Spiderman on the 1977 TV series “The Amazing Spider-Man.” Hammond though, ever wore the Spider-man costume as that was a stuntman.

Druxman notes it is not just talent that gets parts. Often an actor fits a conception that the director has for how the character should be. More talented people are often rejected in favor of an actor who fits the part.

Richard Castallano was one of the most difficult clients Druxman represented. He was demanding. He threatened creative people with threats suggesting he had mob connections.

Charles Nelson Reilly was a client. Druxman found him as “scatterbrained” in real life as his acting persona. Reilly was on “The Dean Martin Show” where Marin and guests read their lines from cue cards with little or no rehearsals. Reilly learned his lines until once his script blew out of his convertible car. He decided from then on to also read cue cards as the others did.

George Raft was actor Druxman knew although they didn’t work together. Druxman observe how Raft, a big star, turned down roles in what became big hit movies such as “The Maltese Falcon” and “High Sierra”. Raft [aod $10,000 to get out of his contract. Raft ended up hosting at a restaurant in return for meals and little pay.

Druxman had a client who wanted an expensive trade ad celebrating that the actor had one line on a TV show.

When an actor has a poor performance, the truth can hurt and lying may be bad. Keenan Wynn once advised, when seeing an actor after a bad performance, to smile, shake the actor’s hand, punch the actor on the shoulder, and say “son of a bitch.”

Barbara Hershey, a Druxman client, changed her name to Barbara Seagull. She then changed it back.

A writer once wanted to create a TV series based on a character he wrote for a “Get Smart” episode. The writer later realized the “Get Smart” owners had the rights to his character.

Druxman writers how powerful the film industry is. A major star, unnamed, once killed a woman in a drunken hit and run. The studio was able to keep the story from the press.

Druxman doubts author’s Charles Higham’s ethics in printing gossip without finding facts. Highman wrote Errol Flynn was a Nazi spy while those who knew Flynn find without any merit. The Flynn estate sued yet couldn’t since the law states a deceased person can’t be libeled.

Basil Rathbone by Michael B. Druxman

Michael B. Druxman. Basil Rathbone: His Life and His Films. Duncan, Ok.: Bear Manor Media, 2011 (originally published in 1975).

Basil Rathbone, an actor, was liked by all he knew.  Interviews find no one stating they disliked him.  Rathborn was itially typecast as a “heavy” after his role of a sadistic character in “David Copperfield”.  Rathbone could portray a wider range of characters, yet was often cast as a dark character.  He was then typecast as Sherlock Holmes, his most famous role.

Rathbone portrayed Sherlock Holmes in 14 movies, a radio series, in TV, and on stage.  Fans called him “Mr. Holmes”.  Rathbone never received another major role after his role as Holmes.

Rathbone was noted for his kindness to others.  There are many remembered instances of his quietly doing favors for people without being asked.  Despite Rathbone’s series of portraying serious characters, he was personally had a strong sense of humor.

Rathbone started in the entertainment field on the British stage.  He served in World War I where he received a medal for crossing to the German lines to gather intelligence.  He claimed he pretended to be a tree and “I have not since been called upon to play a tree.”

Rathbone had numerous movie roles. His first role was in “The Fruitful Vine” in 1921.  He then appeared on Broadway while continuing staring in more movies.  His first American movie was “Trouping with Ellen” in 1924.

Rathbone appeared in the play “La Prisonniere” that concerned lesbianism.  It ran for 17 weeks until a few weeks before city elections.  New York officials arrested Rathbone for offending public morals for starring in a play about lesbians.  The charges were dropped but the play was closed.

Rathbone received the lead role in several talking movies.  He was nominated for a Best Supporting Actor Academy Award for “Romeo and Juliet”.  He was nominated again for a Best Supporting Actor Award for “If I Were a King”.  He lost both times to Walter Brennan.

Rathbone starred in a movie version of William Gillette’s play “The Adventures of Sherlock Holmes” with co-star Nigel Bruce.  Rathbone went on to do other movies.  NBC decided to have a “Sherlock Holmes” radio series.  Rathborn and Nigel Bruce voiced their movie roles.  The radio series moved to the Mutual network with Rathbone and Bruce staying with the series.  They did 275 episodes over seven years.  Rathbone once misspoke the line “horde of bees” as “board of whores”.

In 1929, as war broke out in Europe, Rathbone become President of the British War Relief’s Los Angeles chapter.  He regularly entertained troops in the Los Angeles area.

In 1942, Universal paid $300,000 to Conan Doyle’s estate for the movie rights to 22 of Doyle’s writings on his Sherlock Holmes character.  Universal initially was going to produce a number of low budget Sherlock Holmes movies.  MGM agreed to loan Rathbone to reprise his Holmes role.  Nigel Bruce and Mary Gordon who was on the Sherlock Holmes radio series, were also signed.  Dennis Hoey was added as a semi-regular character beginning with the second Universal Holmes movie  The series was updated with Holms facing Nazis.  Each movie was filmed in 12 to 13 days for $300,000.  12 movies were produced in five years.

Rathbone was counter-cast as a Gestapo villain in “Above Suspicious”, which was released in 1943.

Universal increased in quality in three Holmes pictures released in 1944.  Yet Rathbone was tiring of portraying Holmes.  Rathbone also considered Holmes an egotist who was wrong to be so critical of Watson.  Rathbone refused to renew his 1946 contracts with Mutual and Universal/MGM.  He went back to theater work.

Rathbone was active in Actors Equity.  He served as its Third Vice President and then as Recording Secretary.

Rathbone did theater work and several TV plays for American and Canadian television.  Rathbone did a Sherlock Holmes play on Broadway that closed after three performances.  Rathbone returned to film work.  His last notable role was in “The Last Hurrah”.  He made recordings where he read classical stories. He also did readings on NBC’s “Monitor” radio show. 

In 1967, Rathbone was in the movie “Hillbillys in a Haunted House”,  It was his last film as he died a month afterwards.  His estate was valued at between $10,000 and $20,000.

My Fortyfive Years in Hollywood...and How I Escaped Alive by Michael B. Druxman

Michael B. Druxman. My Fortyfive Years in Hollywood…and How I Escaped Alive. Albany, Ga.: BearManor Media, 2010.

The author is a screenwriter and director. He wrote several screenplays for Roger Corman. He was a Sociology major at the University of Washington who graduated in 1963. He did not major in Drama, which interested him, because there was a negative stigma that Drama majors were gay. In 1963, being gay meant social isolation. The actor isn’t gay but he was interested in writing for Drama.

While in college, Druxman directed university theater presentations. He had acted in high school and college and realized he was more interested in directing. A controversy over the university not allowing “Cat on a Hot Tin Roof” be performed led the author and many cast members to form their own theater group.

The author worked as an extra for a day in “It Happened at the World’s Fair”. He received $10 and a box lunch. In the movie, he walked behind Elvis Presley when Kurt Russell kicks Elvis.

The author made a short movie for his signature card. While actors would work for free, they still had to be fed. There were also production costs. He hired Ted V. Mikels, a master of low budget movies, for acting, handling cinematography, and editing for under $700. John Carradine spent 15 minutes for $300 narrating the film. The film, though, could not find a place to be shown, as few theaters showed short movies.

The author got commitments from same name actors to be in a film he would make. He figured it would need a $150,000 budget. He tried to raise the money, only to discover he couldn’t raise any money.

While learning about acting, Druxman learned the importance of eye contact. He also learned that actors and directors must “serve the play”.

Druxman once appeared in a play as an emergency substitute without knowing his lines. His character stayed in a bunker while reading a hidden script.

Droxman were into publicity. Since he had no overhead, he advertised his services for $25. He had a few takers including Charles Nelson Reilly and Deanna Lund. He also offered his services as a screenwriter. Sal Mineo was his first client in asking a script from his storyline.

Druxman represented producer Stanley Rubin. When Rubin produced the movie “The President’s Analyst”, which co-starred Druxman publicity representee Pat Harrington, the CIA and FBI contacted him wishing to see the script. In postproduction, these agencies were redubbed the FBR and the CEA.

Druxman represented director Edward Dmyrtryk. Dmyrtyk for years researched the life of Christopher Columbus and planned an $8 million movie on Columbus, who was a poor scientist (which is why he accidentally found America), con artist, and liar. Most scientists then knew the world was round and that China was about 11,000 miles away from Europe. Columbus misfigured that China was 3,500 miles away. Dmyrtryk read Columbus’s journal and found many mistakes and lies. Word of this movie drew negative reactions from some Italian American organizations. Pennsylvania Supreme Court Justice Michael Musmanno spoke out against the movie and urged Italy to ban the movies. The movie failed to raise the money to be made.

Druxman created a campaign for a Sammy Fain song that was nominated for an Oscar. He placed ads where people could call answering machines that played the song. The song didn’t win but the campaign was noticed.

Druxman represented Steve Kanaly, who was on the TV show “Dallas”. He also represented Howard Keel, who resisted appearing on TV as he feared it would diminish his image as a movie star. When Kell was convinced to join the cast of “Dallas”, his career rebounded. Kanaly even convinced Draxman to write some episodes of “Dallas”. Draxman didn’t like the formula style of writing, yet the producers liked his scripts.

Abe Vigoda was also a client of Draxman’s. His character on “Barney Miller” attracted much press attention.

The author sold the idea of writing a biography of Paul Muni to a publisher. He researched the book and interviewed many of Muni’s associates. After that, he wrote a biography of Basil Rathbone.

Druxman learned the job of studio’s Story Department was to reject scripts. No movie had ever been produced at Columbia Pictures that came from the Story Department. The key to getting scripts produced is to get a producer sold on the script.

Druxman offers this advice based on his life experiences: “Take every reasonable opportunity that comes your way, because you never know where it leads.”

Druxman wrote a one woman play on the life of Carole Lombard. He directed Carol Lynley in presenting the play.

Producers and directors add material to scripts so, under Writer Guild rules, they can be listed as co-screenwriters and qualify for residuals. These additions often confuse the script rather than improve it.

It is hard for screenwriters older than their mid-40s to be hired. Young producers are resistant to hiring “their fathers”.

Druxman sold his screenplay “Dillinger and Capone”. He was fully paid but the movie was later made with major revisions. He sold his script “Cheyenne Warrior” which was produced. It starred Kelly Preston, Dan Haggerty, Bo Hopkins, Clint Howard, among others. It went straight to home video release yet it is one of Concorde-New Horizons three most successful movies.

Druxman was so unhappy with “Dillinger and Capone” he considered asking for his name to be removed from the screenplay credit. He learned doing so would prevent him from getting any residuals.

Roger Corman hired Druxman to write a screenplay adaptation of “Far From the Maddening Crowd”. Druxman noted this had already been done and convinced Corman to film an adaptation of the novel “The Aspern Papers”. Corman bought the script buy shelved the project. They then collaborated on “Battle Queen 2020” starring Julie Strain. Druxman was going to direct the movie in Ireland but costs required it be shot in Canada instead. Corman dealt with a Canadian company that required a Canadian director and that the script rewriter also be Canadian. Corman then had Druxman direct “The Doorway”.

Steve Kanaly gave Druxman some important advice. He advised being close the the cinematographer who will then check that no film mistakes are made. Druxman also learned the importance of editing and how it can change a film. Druxman then worked on “Raptor”.

The Art of Storytelling by Michael B. Druxman

Michael B. Druxman. The Art of Storytelling: How to Write a Story…Any Story. Westlake Vilage, Ca.: The Center Press, 1957.

The author observes it is important for a writer to effectively write a story. To do this, some essential techniques must ob observed. A story needs a beginning, a middle, and an end. A story must have a three act structure. Without that three act structure, the story will not work.

There are critical parts to a story: a set up, a catalyst, a turning point, a climax, a final confrontation, and a resolution. The set up introduces the main characters, sets the mood, and describes their purpose in the story. In screenplays, this takes the first 15 pages. The catalyst motivates the story into a direction. It should be something that allows viewers to develop empathy with the main character. Complications change the plot in the first turning point. The main character learns an important lesson in the climax. This climax leads to a final confrontation. The outcome is the resolution.

It is important to create good characters with have wants and drawbacks. Dialogue should be real. Avoid repeating information, long dialogue, and stilted language. Give all characters their own voices. Conflict makes scenes interesting. An interesting plot should be presented. Exposition provides useful background information. Plan an opening that creates an interesting tone. Foreshadowing can be useful in making an audience think. Resolutions should occur near the end or else the story then drags along.