Alan Arkin. An Improvised Life: A Memoir. Cambridge, Ma.: DaCapo Press, 2011.
Alan Arkin states he realized, as an actor, that he didn’t want to just “do it” when acting, but he wanted to “be it” and become the character when acting. He dedicates the book “to everyone who wants to be the music.”
Arkin knew from the age of five he wanted to be an actor. He watched plays, listened to music, saw ballets, and felt he would become a part of that entertainment process. He envisioned becoming what he saw and heard in acting and in music. He watched movies and pretended he was there, in the scene, watching the scene through a peepholde. He took acting classes at the Academy of Music.
An an actor, Arkin is attuned to the emotions in his life. He recalls reacting to emotions for his acting craft. This improves his acting abilities, but he notes it is “not so good for the human being living inside”.
Arkin took an Acting class in junior high school, which he enjoyed. In high school, he won the lead roles in school dramas. He watched films and realized he wanted to be an actor who allows the audience to experience his characters. People may applaud wonderfully articulated dialogue, he notes, but they enjoy feeling the emotions of a convincing portrayal.
Arkin discovered he could become the character and push himself and his feelings aside when acting. He would thank and respond as that character.
Arkin received a scholarship to attend Bennington College, a women’s college that allowed a few men for their plays. He married and left the college without graduating.
Arkin got a small role in an off-Broadway play. He earned more money than other actors because he had to play a lute in his role, qualifying him for higher pay as a better paid musician. He turned down a work offer in Chicago. Yet after a year of frustration in New York, he asked if the Chicago offer was still valid. It was, and Arkin went to Chicago to act with Second City.
Arkin found his first months at Second City challenging. The Second City group did improvisational theater and he learned to be spontaneous, funny, and topical. He felt he was too serious a person for a comedy group. He developed a character he felt comfortable with that made audiences laugh. He clung to that character, and then developed additional characters. He learned to fail, which was fine, as audiences expected part of such shows would fail. He learned from failing which helped him learn and grow. The group went to Broadway for a run that ended after three months. They were invited to work at a club in Greenwich Village, where they developed a following.
Arkin received the lead in a Broadway play “Enter Laughing”. After a year, he returned to Second City and then went to another Broadway play “Luv”. He then received a role in the movie “The Russians Are Coming”. He feared a backlash of a movie appearing during the Cold War showing Russians as humans, but there was no such uproar. He went on to film the movies “Popi” and “Catch-22”. He learned to enjoy work more while struggling with it less while filming “The In Laws”. He notes audiences could tell that he and costar Peter Falk enjoyed their roles in “The In Laws”. Arkin observed different actors worked from different perspectives. Tony Perkins requires critical self evaluation. Jack Lemmon felt a certain magic to his work.
Arkin never intended to become a director. He was asked to look over a play when, in doing so, he discovered it in disarray. Having no other work, he agreed to take over its direction. He discovered he was able to make sense out of chaos. The show had a one year run. More directing offers followed, and he accepted them.
Arkin discovered many actors don’t grasp how their character fits into a role. They focus on their own lines but not on the whole script, so they don’t understand their role in the story. He also found improvisational actors were easier to direct, as they tended to develop instinctual understandings how their roles relate.
Arkin urges actors to approach their roles with open minds and to consider the many directions they could go as a character. While this may confuse and frighten some actors, he urges them to embrace those opportunities.
Jean Renoir, when directing, had actors initially read their scripts together without worrying about how to act their roles. Renoir wanted his actors to avoid making decisions too soon about how their characters should be presented.
When Arkin teaches acting classes, he observes that students often compete for attention on stage. Arkin instead wants actors to learn to work together. He teaches group awareness. An actor should understand the intentions of a character, provide an emotional context to the role, give it a feeling state, and act so that something is happening.
Arkin observes “acting is nothing more than a metaphor for life, and a pretty transparent one at that”. The drama of the stage is like the drama of everyday life.
Monday, May 23, 2011
Monday, April 11, 2011
The Devil Made Me Do It by Georgina Spelvin
Georgina Spelvin. The Devil Made Me Do It. Los Angeles, Ca.: Little Red Hen Books, 2006.
The author was a star in pornographic movies. She write “Yeah, the first time was pretty awful. What was the guy’s name?” She had previously been acting and editing film when she responded to an ad for film editing at a pornography film production. She was 35 years old and had trouble paying her rent. She impressed them with her knowledge of the production end of film, such as sound, loading film, boom handling, cable, wardrobe, film location scouting, etc. She was a member of SAG, AFTRA, and Equity. The film company if she could play some of their older roles, such as a madam or high priestess, in their films. She agreed.
Prior, she had been in a Broadway play for six months in a leading role in “The Pajama Game”. She was having an affair with the stage manager who hired her. Bob Fosse was sympathetic to her because the show did not last longer. Fosse helped Spelvin obtain work as Shirley MacLaine’s dancing double in the movie “Sweet Charity.” Splevin married the stage manager and was hired to appear in and to choreograph a touring company of “The Pajama Game” that appeared in South Africa. The marriage didn’t work and they divorced, She then worked in summer stock theater.
Splevin realized her career had stalled. She learned about the porn film industry. They would make arrangements, such as feeding 17 people over three days with a $500 food and wardrobe budget (including obtaining sex devices for $200).
Splevin could act, which helped her in porn for being flat chested. She also cooked for the cast and crew, which earned her an extra $25 a day. Splevin notes it was helpful that she had a director shoe could trust.
Splevin was stunned when she was invited to a premiere of a porn movie she did, “The Devil in Miss Jones”, including TV and press interviews. She was given $500 for wardrobe for the premiere. Judith Crist of the New York Herald Tribune reviewed it, was very critical, but wrote that Splevin “touches the emotions”. The review is considered the start of the “Porn Chic” cinema. Newsweek magazine ran an article on the movie.
Splevin observed many people in the porn film industry also worked in the non-porn film industry. Working in the porn industry, though, was “the kiss of death” in getting work in the non-porn entertainment industry. She did find work directing theater in Maine.
The FBI considered pornography crossing state lines as against Federal law. They issued a nationwide fugitive arrest warrant for her. They offered her immunity for her testimony.
Splevin moved to California and film some soft porn movies. She won an AFA Award for Best Supporting Actress. She also worked as a stripper in conjunction with a showing of “The Devil in Miss Jones”. She even had two nuns asked for an autograph, telling her they agreed with the message in the movie that God would not forgive suicide.
Splevin at first did not wish to return to pornography when offered a cameo in the remake of “The Devil in Miss Jones”. The amount of money offered changed her mind.
The author was a star in pornographic movies. She write “Yeah, the first time was pretty awful. What was the guy’s name?” She had previously been acting and editing film when she responded to an ad for film editing at a pornography film production. She was 35 years old and had trouble paying her rent. She impressed them with her knowledge of the production end of film, such as sound, loading film, boom handling, cable, wardrobe, film location scouting, etc. She was a member of SAG, AFTRA, and Equity. The film company if she could play some of their older roles, such as a madam or high priestess, in their films. She agreed.
Prior, she had been in a Broadway play for six months in a leading role in “The Pajama Game”. She was having an affair with the stage manager who hired her. Bob Fosse was sympathetic to her because the show did not last longer. Fosse helped Spelvin obtain work as Shirley MacLaine’s dancing double in the movie “Sweet Charity.” Splevin married the stage manager and was hired to appear in and to choreograph a touring company of “The Pajama Game” that appeared in South Africa. The marriage didn’t work and they divorced, She then worked in summer stock theater.
Splevin realized her career had stalled. She learned about the porn film industry. They would make arrangements, such as feeding 17 people over three days with a $500 food and wardrobe budget (including obtaining sex devices for $200).
Splevin could act, which helped her in porn for being flat chested. She also cooked for the cast and crew, which earned her an extra $25 a day. Splevin notes it was helpful that she had a director shoe could trust.
Splevin was stunned when she was invited to a premiere of a porn movie she did, “The Devil in Miss Jones”, including TV and press interviews. She was given $500 for wardrobe for the premiere. Judith Crist of the New York Herald Tribune reviewed it, was very critical, but wrote that Splevin “touches the emotions”. The review is considered the start of the “Porn Chic” cinema. Newsweek magazine ran an article on the movie.
Splevin observed many people in the porn film industry also worked in the non-porn film industry. Working in the porn industry, though, was “the kiss of death” in getting work in the non-porn entertainment industry. She did find work directing theater in Maine.
The FBI considered pornography crossing state lines as against Federal law. They issued a nationwide fugitive arrest warrant for her. They offered her immunity for her testimony.
Splevin moved to California and film some soft porn movies. She won an AFA Award for Best Supporting Actress. She also worked as a stripper in conjunction with a showing of “The Devil in Miss Jones”. She even had two nuns asked for an autograph, telling her they agreed with the message in the movie that God would not forgive suicide.
Splevin at first did not wish to return to pornography when offered a cameo in the remake of “The Devil in Miss Jones”. The amount of money offered changed her mind.
Monday, March 28, 2011
Lessons From the Mountain by Mary McDonough
Mary McDonough. Lessons From the Mountain. New York: Kensington Books, 2011.
The author, who had the role of Erin on “The Waltons” for its entire nine seasons, states the cast were all close. She was 10 years old when the show began. She later was Mrs. Wilhoite on “The New Adventures of Old Christine”. It was costar Blair Underwood who convicted her to write this book.
As a girl, McDonough wanted to be a dancer. She studied dance, practiced hard, and learned how to dedicate herself towards her goals. She begged her mother to let her go to auditions. Her first auditor was for a TV special “The Homecoming: A Christmas Story”. She received several callbacks and then won the role of Erin. She did not realize when she did her first reading with the rest of the cast that she had the role. The special had a 39 share.
McDonough was going to audition for “The Exorcist”. Her Catholic mother refused to let her audition when she read the book. Today, she is friends with Linda Blair, who got the part.
McDonough’s role as Erin continued when CBS decided to turn the TV special into a series “The Waltons”. She, with as many as 14 textbooks, attended studio school while also filming the series.
McDonough enjoyed filming. She enjoyed seeing the propos and the costumers, so as the actor in a bear suit. She learned a valuable lesson of not eating antique props. She learned to focus on her acting and not to look at the camera.
The author was scared when she to cry.
Costar Will Geer had been blacklisted in the 1950s. Geer taught McDonough to appreciate working on the show. Being on the show was something she’ll cherish.
Costar Ellen Corby taught her to visualize. This helped her acting.
McDonough went on a cruise with costar Judy Norton. She was surprised that people became upset when they learned they were on “The Waltons” and they hadn’t told them. She and Judy Norton never thought they were obligated to tell people that.
The author, at age 10, leared from her 6 year old costar Kami Cotler where babies come from. Cotler had already read a book on the subject and knew the facts.
A wardrobe woman asked McDonough if she had gained weight. This caused her to become worried about weight and to try several diets.
McDonough had good comedic timing. The writers began writing funny scenes for her.
McDonough took Drama as an elective course. Although she was in a TV series, the acting exercises were new to her. She felt insecure acting in front of the class. She came to overcome her fear of failing when acting.
After “The Waltons” was cancelled, McDonough had numerous guest appearances. NBC did three Walton’s Movies of the Week. She had a role on the soap operate “One Life to Live”.
The author, who had the role of Erin on “The Waltons” for its entire nine seasons, states the cast were all close. She was 10 years old when the show began. She later was Mrs. Wilhoite on “The New Adventures of Old Christine”. It was costar Blair Underwood who convicted her to write this book.
As a girl, McDonough wanted to be a dancer. She studied dance, practiced hard, and learned how to dedicate herself towards her goals. She begged her mother to let her go to auditions. Her first auditor was for a TV special “The Homecoming: A Christmas Story”. She received several callbacks and then won the role of Erin. She did not realize when she did her first reading with the rest of the cast that she had the role. The special had a 39 share.
McDonough was going to audition for “The Exorcist”. Her Catholic mother refused to let her audition when she read the book. Today, she is friends with Linda Blair, who got the part.
McDonough’s role as Erin continued when CBS decided to turn the TV special into a series “The Waltons”. She, with as many as 14 textbooks, attended studio school while also filming the series.
McDonough enjoyed filming. She enjoyed seeing the propos and the costumers, so as the actor in a bear suit. She learned a valuable lesson of not eating antique props. She learned to focus on her acting and not to look at the camera.
The author was scared when she to cry.
Costar Will Geer had been blacklisted in the 1950s. Geer taught McDonough to appreciate working on the show. Being on the show was something she’ll cherish.
Costar Ellen Corby taught her to visualize. This helped her acting.
McDonough went on a cruise with costar Judy Norton. She was surprised that people became upset when they learned they were on “The Waltons” and they hadn’t told them. She and Judy Norton never thought they were obligated to tell people that.
The author, at age 10, leared from her 6 year old costar Kami Cotler where babies come from. Cotler had already read a book on the subject and knew the facts.
A wardrobe woman asked McDonough if she had gained weight. This caused her to become worried about weight and to try several diets.
McDonough had good comedic timing. The writers began writing funny scenes for her.
McDonough took Drama as an elective course. Although she was in a TV series, the acting exercises were new to her. She felt insecure acting in front of the class. She came to overcome her fear of failing when acting.
After “The Waltons” was cancelled, McDonough had numerous guest appearances. NBC did three Walton’s Movies of the Week. She had a role on the soap operate “One Life to Live”.
Saturday, March 19, 2011
The Knight Rider Companion by Nick Nugent
Nick Nugent. The Knight Rider Companion. Los Angeles: Will Garris Publishing, 2008.
“Knight Rider” was created by Glen Larson, who had it is disputed had one remaining project for Universal after Universal allowed Larson to develop shows at 20th Century Fox. He created “Knight Rider” for Universal. The show featured a talking robotic car.
“Knight Rider” faced challenges. It’s Executive Producer had a heart attack and died while working. A new Executive Producer, Robert Foster, admits he wasn’t thrilled with the project and had to be asked three times before agreeing to take the position only through the first season. Working on the show made Foster desire to continue working n it. Ratings improved and the show lasted four years.
Tom Greene, a writer for the show, learned that Foster was very involved with the show. Foster provided him with 27 pages of notes to his first story idea. Greene notes the NBC TV network made more notes on “Knight Rider” than on any other show of which Greene is aware.
Among the NBC memos was concern that the male character and the car’s relationship had homosexual undertones. The bond between the driver and the care was key to the show’s success, according to Greene. He found it amusing that worried executives read more into that bond. In reply, the writers did write in some subtle gay references.
David Hasselhoff, the lead actor, felt so good about his audition that he was convinced he would get the role of Michael Knight. He immersed himself in the role.
William Daniels, the car’s voice, recorded his lines in a recording studio separately from the rest of the cast. He only saw David Hasselhoff at the Christmas parties. He did not take credit for the role because he wanted the car to have its own identity without a human attached to it. He also didn’t want people to connect his voice to his work on another TV series he was doing “St. Elsewhere”.
Robert Foster did not like the acting of Patricia McPherson. She claims Foster wanted his girlfriend in the role and then another actress. She was not asked back for the second season. Strong fan support brought her back in season three.
McPherson was replaced by Rebecca Holden as the car mechanic. She wanted to remain on the show yet she followed management’s advice to do other work and left at the end of the second season.
The show initially had three cars, one hero car and two stunt cars. The use of the cars was limited due to fear of ruining one. Eventually, Pontiac sold damaged cars to the show. The show had 18 cars. Polyurethane shells were placed over car frames to reduce denting. A driver viewing was drilled through the grills so it could be driven with the appearance of there being no driver. A $10,000 ramp allowed pushing air to increase the jump of a car while turbo boosting. A car was thus able to jump 140 feet at times where other car jumps were 90 feet or less.
Jack Gill, who did stunts, created a special harness with bungee cords that allowed him to make jumps while the cords prevent back injuries. Back injuries happened to other stunt people making similar jumps. Jack Gill has a titanium plate in his neck from all the whiplash from spine compressions from all his jumps.
12 cars were ruined by flooding when parking in a garage three floors before the street.
An underwater motorized platform allowed the appearance of a car floating on water.
Title music on TV shows usually lasts 30 seconds to one minute. The idea is that hearing the familiar music lets listeners realize a TV show they recognize and like is airing. The time of this music has changed in recent years. A theme has to be 15 seconds or less to be considered for an Emmy award.
Don Peake, the composer, would view an episode and write the background music in one week. The next morning (which was on Fridays) he would conduct an orchestra of 25 to 40 people. The music was recorded mono with no overdubs.
“Knight Rider” was created by Glen Larson, who had it is disputed had one remaining project for Universal after Universal allowed Larson to develop shows at 20th Century Fox. He created “Knight Rider” for Universal. The show featured a talking robotic car.
“Knight Rider” faced challenges. It’s Executive Producer had a heart attack and died while working. A new Executive Producer, Robert Foster, admits he wasn’t thrilled with the project and had to be asked three times before agreeing to take the position only through the first season. Working on the show made Foster desire to continue working n it. Ratings improved and the show lasted four years.
Tom Greene, a writer for the show, learned that Foster was very involved with the show. Foster provided him with 27 pages of notes to his first story idea. Greene notes the NBC TV network made more notes on “Knight Rider” than on any other show of which Greene is aware.
Among the NBC memos was concern that the male character and the car’s relationship had homosexual undertones. The bond between the driver and the care was key to the show’s success, according to Greene. He found it amusing that worried executives read more into that bond. In reply, the writers did write in some subtle gay references.
David Hasselhoff, the lead actor, felt so good about his audition that he was convinced he would get the role of Michael Knight. He immersed himself in the role.
William Daniels, the car’s voice, recorded his lines in a recording studio separately from the rest of the cast. He only saw David Hasselhoff at the Christmas parties. He did not take credit for the role because he wanted the car to have its own identity without a human attached to it. He also didn’t want people to connect his voice to his work on another TV series he was doing “St. Elsewhere”.
Robert Foster did not like the acting of Patricia McPherson. She claims Foster wanted his girlfriend in the role and then another actress. She was not asked back for the second season. Strong fan support brought her back in season three.
McPherson was replaced by Rebecca Holden as the car mechanic. She wanted to remain on the show yet she followed management’s advice to do other work and left at the end of the second season.
The show initially had three cars, one hero car and two stunt cars. The use of the cars was limited due to fear of ruining one. Eventually, Pontiac sold damaged cars to the show. The show had 18 cars. Polyurethane shells were placed over car frames to reduce denting. A driver viewing was drilled through the grills so it could be driven with the appearance of there being no driver. A $10,000 ramp allowed pushing air to increase the jump of a car while turbo boosting. A car was thus able to jump 140 feet at times where other car jumps were 90 feet or less.
Jack Gill, who did stunts, created a special harness with bungee cords that allowed him to make jumps while the cords prevent back injuries. Back injuries happened to other stunt people making similar jumps. Jack Gill has a titanium plate in his neck from all the whiplash from spine compressions from all his jumps.
12 cars were ruined by flooding when parking in a garage three floors before the street.
An underwater motorized platform allowed the appearance of a car floating on water.
Title music on TV shows usually lasts 30 seconds to one minute. The idea is that hearing the familiar music lets listeners realize a TV show they recognize and like is airing. The time of this music has changed in recent years. A theme has to be 15 seconds or less to be considered for an Emmy award.
Don Peake, the composer, would view an episode and write the background music in one week. The next morning (which was on Fridays) he would conduct an orchestra of 25 to 40 people. The music was recorded mono with no overdubs.
Thursday, February 24, 2011
The Unsung Heroes by Neil Summers
Neil Summers. The Unsung Heroes. Vienna, WV.: The Old West Shop Publishing, 1996.
The author, himself a professional stuntman for over three decades (as of 1996) notes that stunt people are not to be confused with daredevils. While both make dangerous moves, stunt people make their actions appear as a normal flawless part of a movie scene. The stunt work itself is dangerous. Professionals have died and many more injured performing movie stunts.
There are no classes for teaching stunt skills. Stunt people are taught by other stunt people who then pass along this knowledge. Among the lessons stunt people need to learn include not just how to perform the stunts but to perform them in a the correction direction as needed for a camera to film the stunt according to what is needed for an audience to see. In the fast paced world of filming, stunt people need to retain proper caution with the need for quick arrangements of stunts. This requires much skill.
Stunt people makes actors look good. The character (and the actor playing that character) not only gets the public recognition, but this is the goal of a stunt person. The audience has to believe that character, not a stunt person, performed the stunt. A good stunt person does not get the limelight. Yet, they know they are a special elite within Hollywood,
The book presents numerous photographic examples of stunt people in action. It includes some dangerous stunts since prohibited.
The author, himself a professional stuntman for over three decades (as of 1996) notes that stunt people are not to be confused with daredevils. While both make dangerous moves, stunt people make their actions appear as a normal flawless part of a movie scene. The stunt work itself is dangerous. Professionals have died and many more injured performing movie stunts.
There are no classes for teaching stunt skills. Stunt people are taught by other stunt people who then pass along this knowledge. Among the lessons stunt people need to learn include not just how to perform the stunts but to perform them in a the correction direction as needed for a camera to film the stunt according to what is needed for an audience to see. In the fast paced world of filming, stunt people need to retain proper caution with the need for quick arrangements of stunts. This requires much skill.
Stunt people makes actors look good. The character (and the actor playing that character) not only gets the public recognition, but this is the goal of a stunt person. The audience has to believe that character, not a stunt person, performed the stunt. A good stunt person does not get the limelight. Yet, they know they are a special elite within Hollywood,
The book presents numerous photographic examples of stunt people in action. It includes some dangerous stunts since prohibited.
Sunday, January 23, 2011
Unbearable Lightness by Portia de Rossi
Portia de Rossi. Unberable Lightness: A Story of Loss and Gain. New York: Atria Books, 2010.
This autobiography tells of an entertainer’s career, life, and her struggles with anorexia that left her with lupus. She describes her fears that her homosexuality could hurt her career, and how, after being exposed, her career continued and she now is married to Ellen DeGeneres.
While anorexic, de Rossi fixated on counting calories and exercising to lose weight. De Rossi also smoked cigarettes, beginning at age 14, to suppress her appetite, as well as to impress other girls.
The author started modeling at age 12. She was told her butt was too big and she needed to exercise. This message drove her towards over-exercising and under-eating. She later stopped exercising because she felt muscles made her look too fat.
The author quit law school to try acting. She met and married her husband Mel while filming a movie “The Woman in the Moon”. They married, even though she told Mel was she gay.
DeRossi was cast on the TV series “Ally McBeal”. She was worried about hiding her sexuality. She noted there had never been a lesbian leading lady in Hollywood. She felt insecure while filming “Ally McBeal”, as the cast did not mingle and social much. She felt isolated.
The author would cry with wailing sounds driving how after working on “Ally McBeal”. She didn’t understand why she was crying, as she cried even when she thought her performances had gone well. She feared being fired even though no one suggested she might lose her job. Her insecurities dug tightly into her.
Her self-doubt reemerged while a second character similar to her character was added to the series. She wondered if this had been done because her acting wasn’t good enough, or because they thought she looked too heavy. She was uplifted when L’Oreal hired her for shampoo commercials and when she appeared on the cover of “Vogue”. She returned to self doubt when L’Oreal personnel expressed surprise she was a size 8. She felt she had to become thinner. She began limiting her calories as she went from 130 pounds to 82 pounds.
The author panicked when she learned her contract with L’Oreal had a morality clause. Violating the clause would require her to return the money they had paid her. She feared if it became known she was gay, the morality clause would be invoked.
Her brother was worried about her weight loss. He told he felt she was killing herself. Her doctor told her she had osteoporosis. She realized she wanted to live. She overcame her anorexia, yet did so by swinging into an opposite obsession. Her weight increased to 168 pounds. At that point, she noted she “had no sense of myself”. She was further troubled by a photographer who constantly followed her, in the hopes of outing her sexuality.
The author had a role in the TV series “Arrested Development”. She told the show’s producers she is gay and was glad to know it did not matter to them. A photographer finally outed her homosexuality to the public. She found it uplifting to no longer hide her secret. She was able to then obtain a constant 130 pound.
She is now married to Ellen DeGeneres. They met when de Rossi weighed 168 pounds.
This autobiography tells of an entertainer’s career, life, and her struggles with anorexia that left her with lupus. She describes her fears that her homosexuality could hurt her career, and how, after being exposed, her career continued and she now is married to Ellen DeGeneres.
While anorexic, de Rossi fixated on counting calories and exercising to lose weight. De Rossi also smoked cigarettes, beginning at age 14, to suppress her appetite, as well as to impress other girls.
The author started modeling at age 12. She was told her butt was too big and she needed to exercise. This message drove her towards over-exercising and under-eating. She later stopped exercising because she felt muscles made her look too fat.
The author quit law school to try acting. She met and married her husband Mel while filming a movie “The Woman in the Moon”. They married, even though she told Mel was she gay.
DeRossi was cast on the TV series “Ally McBeal”. She was worried about hiding her sexuality. She noted there had never been a lesbian leading lady in Hollywood. She felt insecure while filming “Ally McBeal”, as the cast did not mingle and social much. She felt isolated.
The author would cry with wailing sounds driving how after working on “Ally McBeal”. She didn’t understand why she was crying, as she cried even when she thought her performances had gone well. She feared being fired even though no one suggested she might lose her job. Her insecurities dug tightly into her.
Her self-doubt reemerged while a second character similar to her character was added to the series. She wondered if this had been done because her acting wasn’t good enough, or because they thought she looked too heavy. She was uplifted when L’Oreal hired her for shampoo commercials and when she appeared on the cover of “Vogue”. She returned to self doubt when L’Oreal personnel expressed surprise she was a size 8. She felt she had to become thinner. She began limiting her calories as she went from 130 pounds to 82 pounds.
The author panicked when she learned her contract with L’Oreal had a morality clause. Violating the clause would require her to return the money they had paid her. She feared if it became known she was gay, the morality clause would be invoked.
Her brother was worried about her weight loss. He told he felt she was killing herself. Her doctor told her she had osteoporosis. She realized she wanted to live. She overcame her anorexia, yet did so by swinging into an opposite obsession. Her weight increased to 168 pounds. At that point, she noted she “had no sense of myself”. She was further troubled by a photographer who constantly followed her, in the hopes of outing her sexuality.
The author had a role in the TV series “Arrested Development”. She told the show’s producers she is gay and was glad to know it did not matter to them. A photographer finally outed her homosexuality to the public. She found it uplifting to no longer hide her secret. She was able to then obtain a constant 130 pound.
She is now married to Ellen DeGeneres. They met when de Rossi weighed 168 pounds.
Wednesday, December 29, 2010
Humphrey Bogart by Darwin Porter
Darwin Porter. Humphrey Bogart: The Making of a Legend. (Staten Island, N.Y.): Blood Moon Productions, Ltd., 2010.
Researching diaries and interviews, the author has fashioned a biography of actor Humphrey Bogart. This book relies heavily on stories and speculations on people’s sex lives.
Bogart was born in 1899 to morphine addicted parents. Among his earlier jobs included working as a nude model for an art class. He acted in a Navy theater where he befriended James Cagney. Bogart portrayed a showfaly in drag in an all male Navy cast.
Bogart won a job directing a movie. His miscalculation of a car driving into a wall scene led to two people being hospitalized. Bogart was fired.
Bogart became a screenwriter for the movie “Blood and Death”. He showed the script, hesitantly since he’d been fired, and learned the script was accepted. The script though was literally thrown out by a producer. Bogart, though, was hired as a stage manager for a touring company. A set change mistake caused a wall to fall on an actor, Helen Meneken, who was unhurt. Meneken was irate. Yet, they later dated. Meneken also was dating Tallulah Bankhead.
Cagney’s acting career faced early difficulties. He went a year without getting any roles. He finally got a part in the movie “Meet the Wife”. Bogart was engaged to Meneken when he cheated on her with Louise Brooks. Bogart and Meneken wed.
Bogart tried to emulate Rudolph Valentino while acting. He did this even though their physical appearances were very different.
Bogart performed on Broadway with Fanny Arbuckle. Earlier Arbuckle had been acquitted on charges of raping and killing Virginia Rappe. A prevalent rumor was that Arbuckle had sexually inserted a milk bottle into Rappe and that broken glass tore her bladder, leading to her death. Bogart sent an empty bottle to Arbuckle. Arbuckle never spoke to Bogart except when on stage.
Bogart became upset with Meneken’s continuing relationship with Bankhead. Boart and Meneken fought physically. They divorced.
Mary Phillips was Bogart’s second wife. Bogart received a role in a movie with then movie sensation Charles Farrell. Farrell told Bogart he spoke effeminately. They fought, with Farrell burning Bogart’s hand with a cigar.
Bogart received his first major film role in A Devil With Women”. Bogart later worked with Spencer Tracy. He discovered Tracy drank heavily enough to have problems during shoots.
The book claims Louis B. Mayer had frequent sexual relations with actresses, in particular Joan Crawford. It also states the “casting couch” stories were true, claiming Bette Davis had to audition with 15 men taking turns kissing her in a romantic scene, with only Gilbert Roland being sensitive to her shock but explaining this was a rite of passage. Bette Davis later confided to Bogart she was a virgin and had never seen a naked man. Bogart arranged for a baby diaper change scene for Davis and hired a baby with a large sized penis to embarrass Davis. Davis conducted the scene fine, although she did look embarrassed.
Dr. Harry Martin was famous for being the person actors went to for treatment for sexually transmitted diseases. Studios hired him to a “technical advisor” on shots.
When Bogart worked for Fox, he received $750 a week circa 1930.
When Winfield Sheehan headed Fox Studios, he conducted a study of their films. It was concluded that many leading men were effeminate. As this was during the time of morality insisted upon by the Hays Commission, Sheehan concluded that Fox would be more profitable making family oriented films. Sheehan also believed Bogart acted effeminate in his roles. Sheehan saw Clark Gable, Gary Cooper, and John Wayne as the future.
Jack Warner was not happy with Bogart in the movie “Two Against the World”. Yet, since Bogart was under contract, he cast Bogart in “Bullets or Ballots”, but with fourth billing. Bogart again received fourth billing in “China Clipper”. Bogart had third billing under Ross Alexander, who was then being heavily promoted for stardom by Warner Brothers. Alexander, it is claimed, was a homosexual lover of influential directors and actors. His marriage ended tragically when his wife Aleta Friele commited suicide. Alexander was later blackmailed for $10,000 by a gay lover. Not having the money to pay the blackmail, the studio paid the blackmail and deducted it from his salary. In 1937, Alexander killed himself with the same pistol his wife had used to kill herself. To replace Alexander as their next rising star, Warner Brothers several weeks later signed Ronald Reagan to a seven year contract.
Bogart starred in a succession of Warner Brothers films from the mid-1930s through the late 1940s. Bogart formed his own production company, Santana, yet many of those films were released through Warner Brothers with some others released through Columbia Studios. Bogart notes “I went from one film to another so fast, I forgot what character I was playing. I figured the best way to deal with that was to play Humphrey Bogart, meaning play myself.” Bogart played tough guy parts yet reportedly softened his imaged with a hobby of painting flower designs onto tea cups.
Bogart filmed a movie “Isle of Fury” that was so bad, Bogart later refused to admit he was in it. The director, Frank McDonald. Commented to Bogart “Let’s face it. Both you and me are hacks turning out shit.” Bogart responded “Don’t say that word around me. Why say shit when crap will do?” Jack Warner agreed and the movie was held for release for four years. Evelyn Keys said of director McDonald, “I’ve never seen anyone as terrified of directing as Frank McDonald. “ McDonald, though, directed over 100 movies, many of which were Republic Westerns.
Bogart’s career was elevated in 1937 when “Black Legion” a successful A level movie he was in was released. Jack Warner, though, continued to be disappointed in Bogart. The Ku Klux Klan sued Warner Brothers for copyright infringement for using their symbol in the movie. They lost the suit.
Jane Bryan dated Ronald Reagan. Reagan left her for Jane Wyman. Bryan and her ultimate husband, Justin Dart, remained friends with Reagan. Dart made a fortune selling prescription whiskey during Prohibition and had continued success with Rexall drugs. Dart would help Reagan get elected Governor and then President.
Bogart appeared in the movie “Dead End” with A list director William Wyler. Wyler was known for demanding retakes and script changes. Wyler fought with Samuel Goldwyn. Once when spotting Goldwyn arriving on his set, Wyler announced “here he comes clanking balls he doesn’t have.”
Bogart appeared in the movie “Saving Your Land”. It made less than $25,000 and was removed from theaters after two days. Still Warner increased Bogart’s weekly salary to $1,100.
Bogart appeared in “Crime School” with the Dead End Kids. The Dead End Kids were more popular and received billing over Bogart.
Actor Ward Bond once made a drunken pact with Bogart that each would die before becoming 60 years old. As it turned out, Bond died at 57 and Bogart at 58.
Bogart starred with Gloria Dickson in “Racket Busters”, based on Thomas Dewey’s prosecution of gangsters. Dickson would perform in “Crime Doctor’s Strangest Case” about death by a cigarette starting a fire. Ironically, Dickson died in that manner.
In “Racket Busters”, Bogart had to throw sulfuric acid onto a passing truck to create smoke. Bogart fell and the acid burned his clothes. Fortunately, he was not physically harmed. Shooting continued that same day, with Bogart instead throwing dry ice.
Barbara Stanwyck was the highest paid female movie actor during the World War II period. Bogart received top billing over the 1947 movie
The Two Mrs. Carrolls”.
Kay Francis was the highest paid female movie star in the late 1930s. She appeared in a number of movies that were financial failures. Her husband left her to return to Germany because he wanted to support Hitler. Francis later did low budget films for Monogram.
George Raft’s line at the end of “The Roaring Twenties” of “He used to be a big shot” was added as something to say during fade out. It would later be recognized by the American Film Institute as the most famous gangster movie line.
James Cagney eared $368,333 one year. This was one of the highest salaries in all of wartime USA.
John Leech, who a previous court dubbed a liar, accused Humphrey Bogart of being a member of the Communist Party. Leech testified to this before a Congressional committee. Bogart denied this. The Congressional committee later determined there was no evidence that Bogart was a communist.
George Raft turned down appearing in a movie to be title “Manpower”. A year later, Raft agreed to appear in “Danger Zone” without realizing it was the same script as “Manpower”.
In 1941, Warner Brothers was preparing a film “Aloha Means Goodbye”. The plot involved a Japanese plan to bomb Hawaii and Bogart was to star. The story location was changed to the Panama Canal when that actually happened. It was renamed “Across the Pacific” and starred Bogart. As critics noted, the characters never reached the Pacific nor were they across it.
Bogart sought to be in “Casablanca” and won the role. The film had five screenwriters and the numerous script rewrites were not always liked by the stars. Some plot holes remained even in the final version. Claude Rains saw his salary increase to $4,000 a week when he was cast in “Casablanca”. Many of the actors portraying Nazis in the film were Jews who had flew Nazi Germany. S. Z. Sakall turned down being in the movie until he was offered $5,250. Bogart received $36,667. Rains received $2,333. The film had gay undertones of a relationship between Bogart’s character and Rains’s character. The ending line of Bogart’s character to Rains’s character “Louis, I think this is the beginning of a beautiful relationship” was not one 1940s audiences thought was about a gay romance although it capped underlying tones that were intentionally placed into the film. Other famous lines from the film were “round up the usual suspects”, “here’s looking at you, kid”, “we’ll always have Paris”, and :of all the gin joints in all the towns in all the world, she walks into mine”. The line “you played it for her, you can play it for Sam” has been famously misremembered as “play it again, Sam”. The movie did well in its initial release but not very well. It would become a classic later on.
The real world Casablanca Conference between Roosevelt and Churchill helped the movie’s popularity.
Actor Leslie Howard was a leading advocate of the British war effort. He may have even done intelligence work. Joseph Goebbels believed Howard was a “most dangerous propagandist” and may have ordered Howard’s plane shot down. Howard died when Nazis shot down his plane.
Bogart and Lauren Bacall fell in love with each other while filming “To Have and Have Not”. They married in 1945.
Bogart filmed “The African Queen” in the Congo. A tribal chief thought requested extras were going to killed for real, so he initially provided ten women and six children he presumably didn’t care much for. More natives were provided once they realized they weren’t being killed. Bogart won the Oscar for Best Actor for this performance in 1951.
Bogart was in a car accident where he lost three front teeth that affected his speaking while filming “Beat the Devil”. Peter Sellers mimicked Bogart in some post production dialogue, replacing Bogart’s own voice.
Bogart’s last film was “The Harder They Fall” in 1955. Bogart developed esophageal cancer. He died in 1957.
Researching diaries and interviews, the author has fashioned a biography of actor Humphrey Bogart. This book relies heavily on stories and speculations on people’s sex lives.
Bogart was born in 1899 to morphine addicted parents. Among his earlier jobs included working as a nude model for an art class. He acted in a Navy theater where he befriended James Cagney. Bogart portrayed a showfaly in drag in an all male Navy cast.
Bogart won a job directing a movie. His miscalculation of a car driving into a wall scene led to two people being hospitalized. Bogart was fired.
Bogart became a screenwriter for the movie “Blood and Death”. He showed the script, hesitantly since he’d been fired, and learned the script was accepted. The script though was literally thrown out by a producer. Bogart, though, was hired as a stage manager for a touring company. A set change mistake caused a wall to fall on an actor, Helen Meneken, who was unhurt. Meneken was irate. Yet, they later dated. Meneken also was dating Tallulah Bankhead.
Cagney’s acting career faced early difficulties. He went a year without getting any roles. He finally got a part in the movie “Meet the Wife”. Bogart was engaged to Meneken when he cheated on her with Louise Brooks. Bogart and Meneken wed.
Bogart tried to emulate Rudolph Valentino while acting. He did this even though their physical appearances were very different.
Bogart performed on Broadway with Fanny Arbuckle. Earlier Arbuckle had been acquitted on charges of raping and killing Virginia Rappe. A prevalent rumor was that Arbuckle had sexually inserted a milk bottle into Rappe and that broken glass tore her bladder, leading to her death. Bogart sent an empty bottle to Arbuckle. Arbuckle never spoke to Bogart except when on stage.
Bogart became upset with Meneken’s continuing relationship with Bankhead. Boart and Meneken fought physically. They divorced.
Mary Phillips was Bogart’s second wife. Bogart received a role in a movie with then movie sensation Charles Farrell. Farrell told Bogart he spoke effeminately. They fought, with Farrell burning Bogart’s hand with a cigar.
Bogart received his first major film role in A Devil With Women”. Bogart later worked with Spencer Tracy. He discovered Tracy drank heavily enough to have problems during shoots.
The book claims Louis B. Mayer had frequent sexual relations with actresses, in particular Joan Crawford. It also states the “casting couch” stories were true, claiming Bette Davis had to audition with 15 men taking turns kissing her in a romantic scene, with only Gilbert Roland being sensitive to her shock but explaining this was a rite of passage. Bette Davis later confided to Bogart she was a virgin and had never seen a naked man. Bogart arranged for a baby diaper change scene for Davis and hired a baby with a large sized penis to embarrass Davis. Davis conducted the scene fine, although she did look embarrassed.
Dr. Harry Martin was famous for being the person actors went to for treatment for sexually transmitted diseases. Studios hired him to a “technical advisor” on shots.
When Bogart worked for Fox, he received $750 a week circa 1930.
When Winfield Sheehan headed Fox Studios, he conducted a study of their films. It was concluded that many leading men were effeminate. As this was during the time of morality insisted upon by the Hays Commission, Sheehan concluded that Fox would be more profitable making family oriented films. Sheehan also believed Bogart acted effeminate in his roles. Sheehan saw Clark Gable, Gary Cooper, and John Wayne as the future.
Jack Warner was not happy with Bogart in the movie “Two Against the World”. Yet, since Bogart was under contract, he cast Bogart in “Bullets or Ballots”, but with fourth billing. Bogart again received fourth billing in “China Clipper”. Bogart had third billing under Ross Alexander, who was then being heavily promoted for stardom by Warner Brothers. Alexander, it is claimed, was a homosexual lover of influential directors and actors. His marriage ended tragically when his wife Aleta Friele commited suicide. Alexander was later blackmailed for $10,000 by a gay lover. Not having the money to pay the blackmail, the studio paid the blackmail and deducted it from his salary. In 1937, Alexander killed himself with the same pistol his wife had used to kill herself. To replace Alexander as their next rising star, Warner Brothers several weeks later signed Ronald Reagan to a seven year contract.
Bogart starred in a succession of Warner Brothers films from the mid-1930s through the late 1940s. Bogart formed his own production company, Santana, yet many of those films were released through Warner Brothers with some others released through Columbia Studios. Bogart notes “I went from one film to another so fast, I forgot what character I was playing. I figured the best way to deal with that was to play Humphrey Bogart, meaning play myself.” Bogart played tough guy parts yet reportedly softened his imaged with a hobby of painting flower designs onto tea cups.
Bogart filmed a movie “Isle of Fury” that was so bad, Bogart later refused to admit he was in it. The director, Frank McDonald. Commented to Bogart “Let’s face it. Both you and me are hacks turning out shit.” Bogart responded “Don’t say that word around me. Why say shit when crap will do?” Jack Warner agreed and the movie was held for release for four years. Evelyn Keys said of director McDonald, “I’ve never seen anyone as terrified of directing as Frank McDonald. “ McDonald, though, directed over 100 movies, many of which were Republic Westerns.
Bogart’s career was elevated in 1937 when “Black Legion” a successful A level movie he was in was released. Jack Warner, though, continued to be disappointed in Bogart. The Ku Klux Klan sued Warner Brothers for copyright infringement for using their symbol in the movie. They lost the suit.
Jane Bryan dated Ronald Reagan. Reagan left her for Jane Wyman. Bryan and her ultimate husband, Justin Dart, remained friends with Reagan. Dart made a fortune selling prescription whiskey during Prohibition and had continued success with Rexall drugs. Dart would help Reagan get elected Governor and then President.
Bogart appeared in the movie “Dead End” with A list director William Wyler. Wyler was known for demanding retakes and script changes. Wyler fought with Samuel Goldwyn. Once when spotting Goldwyn arriving on his set, Wyler announced “here he comes clanking balls he doesn’t have.”
Bogart appeared in the movie “Saving Your Land”. It made less than $25,000 and was removed from theaters after two days. Still Warner increased Bogart’s weekly salary to $1,100.
Bogart appeared in “Crime School” with the Dead End Kids. The Dead End Kids were more popular and received billing over Bogart.
Actor Ward Bond once made a drunken pact with Bogart that each would die before becoming 60 years old. As it turned out, Bond died at 57 and Bogart at 58.
Bogart starred with Gloria Dickson in “Racket Busters”, based on Thomas Dewey’s prosecution of gangsters. Dickson would perform in “Crime Doctor’s Strangest Case” about death by a cigarette starting a fire. Ironically, Dickson died in that manner.
In “Racket Busters”, Bogart had to throw sulfuric acid onto a passing truck to create smoke. Bogart fell and the acid burned his clothes. Fortunately, he was not physically harmed. Shooting continued that same day, with Bogart instead throwing dry ice.
Barbara Stanwyck was the highest paid female movie actor during the World War II period. Bogart received top billing over the 1947 movie
The Two Mrs. Carrolls”.
Kay Francis was the highest paid female movie star in the late 1930s. She appeared in a number of movies that were financial failures. Her husband left her to return to Germany because he wanted to support Hitler. Francis later did low budget films for Monogram.
George Raft’s line at the end of “The Roaring Twenties” of “He used to be a big shot” was added as something to say during fade out. It would later be recognized by the American Film Institute as the most famous gangster movie line.
James Cagney eared $368,333 one year. This was one of the highest salaries in all of wartime USA.
John Leech, who a previous court dubbed a liar, accused Humphrey Bogart of being a member of the Communist Party. Leech testified to this before a Congressional committee. Bogart denied this. The Congressional committee later determined there was no evidence that Bogart was a communist.
George Raft turned down appearing in a movie to be title “Manpower”. A year later, Raft agreed to appear in “Danger Zone” without realizing it was the same script as “Manpower”.
In 1941, Warner Brothers was preparing a film “Aloha Means Goodbye”. The plot involved a Japanese plan to bomb Hawaii and Bogart was to star. The story location was changed to the Panama Canal when that actually happened. It was renamed “Across the Pacific” and starred Bogart. As critics noted, the characters never reached the Pacific nor were they across it.
Bogart sought to be in “Casablanca” and won the role. The film had five screenwriters and the numerous script rewrites were not always liked by the stars. Some plot holes remained even in the final version. Claude Rains saw his salary increase to $4,000 a week when he was cast in “Casablanca”. Many of the actors portraying Nazis in the film were Jews who had flew Nazi Germany. S. Z. Sakall turned down being in the movie until he was offered $5,250. Bogart received $36,667. Rains received $2,333. The film had gay undertones of a relationship between Bogart’s character and Rains’s character. The ending line of Bogart’s character to Rains’s character “Louis, I think this is the beginning of a beautiful relationship” was not one 1940s audiences thought was about a gay romance although it capped underlying tones that were intentionally placed into the film. Other famous lines from the film were “round up the usual suspects”, “here’s looking at you, kid”, “we’ll always have Paris”, and :of all the gin joints in all the towns in all the world, she walks into mine”. The line “you played it for her, you can play it for Sam” has been famously misremembered as “play it again, Sam”. The movie did well in its initial release but not very well. It would become a classic later on.
The real world Casablanca Conference between Roosevelt and Churchill helped the movie’s popularity.
Actor Leslie Howard was a leading advocate of the British war effort. He may have even done intelligence work. Joseph Goebbels believed Howard was a “most dangerous propagandist” and may have ordered Howard’s plane shot down. Howard died when Nazis shot down his plane.
Bogart and Lauren Bacall fell in love with each other while filming “To Have and Have Not”. They married in 1945.
Bogart filmed “The African Queen” in the Congo. A tribal chief thought requested extras were going to killed for real, so he initially provided ten women and six children he presumably didn’t care much for. More natives were provided once they realized they weren’t being killed. Bogart won the Oscar for Best Actor for this performance in 1951.
Bogart was in a car accident where he lost three front teeth that affected his speaking while filming “Beat the Devil”. Peter Sellers mimicked Bogart in some post production dialogue, replacing Bogart’s own voice.
Bogart’s last film was “The Harder They Fall” in 1955. Bogart developed esophageal cancer. He died in 1957.
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