Read My Life with Cleopatra Online
Authors: Walter Wanger
My Life with Cleopatra (11 page)
M
AY
12, 1961
JLM cabled Skouras saying he was deeply disturbed and disheartened by his refusal to approve Richard Burton as Mark Antony. JLM pointed out that we do not have to face the problem of box-office attraction (because of Elizabeth) so it does not matter whether Burton is not considered a box-office star.
JLM pointed out Burton’s “physical attractiveness and impressive
personality” and described him as a “magnificent and experienced actor with the technical resources and dramatic power I can draw upon not only to sustain but to realize completely that all important second half” of the picture.
He closed the wire by noting that the production staff and studio administration are in complete agreement that Burton should play Mark Antony and said there is a very good chance we would lose him unless Skouras withdrew his objection quickly.
M
AY
13, 1961
Eddie’s “surprise party” for Liz.
The party was given at Au Petit John in Beverly Hills and everyone in town seemed to be there. I noticed Kurt Frings in a heated, obviously confidential discussion with Jack Warner, which I understand went on until 4
A
.
M
.
M
AY
14, 1961
Gary Cooper died. Services tomorrow. Another good friend gone. I was at Paramount when he was first signed and we have been friends ever since.
M
AY
18, 1961
JLM suggested that the studio assign a new production number to this version of
Cleopatra
and the old budget not be included with the new. A very good move on his part—to keep the English cost from being added to our budget. Our new number is “JO4.”
M
AY
19, 1961
JLM and I have finally convinced Skouras that Burton is the right man to play Mark Antony.
Now it’s a question of negotiations, which will probably be complicated, as he is a hit on Broadway in
Camelot
. JLM to leave tomorrow for Rome and Cairo to scout locations, as it is definite
we will do some location work in these places. I remain in Hollywood to organize production, get Elizabeth’s wardrobe started, and the script finished.
M
AY
21, 1961
Called Liz in Las Vegas.
The papers report she is there every night for Eddie’s show, arriving at the room where he is entertaining just before he goes on. He sings his last song,
That Face
, directly to her. The audience loves it. So does Liz.
I sent some of Irene’s costumes to Liz for fittings but her back is still bothering her. We will send the fitters to Vegas.
J
UNE
2, 1961
Talked with Eddie Fisher in Las Vegas.
Liz has laryngitis. Eddie told me Frings and Warner were working out a big deal for him and Liz. “It’s the biggest deal ever made, and if Fox doesn’t handle the rest of
Cleopatra
properly we won’t finish it.”
I told Pete Levathes, who is now in charge of the studio, about the Warner deal with Liz and Eddie. He said there is nothing to it. Fox is about to sign Liz to a four-picture deal to follow
Cleopatra
.
J
UNE
5, 1961
Talked to Jerry Wald about the Wall Street bankers who seem to be taking over the studio.
All the producers on the lot are frustrated. Wald, George Stevens, David O. Selznick have each run studios but they can’t get anybody in authority here to discuss their picture problems. They spend hours of each week being interviewed by bankers. In the big struggle for power Skouras is working skillfully to win over the minority stockholders group.
J
UNE
7, 1961
Excerpts from a letter to JLM:
Dear Joe:
I am sorry that I missed your call from Rome; however, the wire to Merman to have me stand by didn’t arrive until the day after you spoke. And I did wait as long as I could after I received the wire from Johnny, but I had a very serious dental appointment and I would have much rather talked to you than to have been in the dentist chair.
We have all missed you, but I will try to get you up to date on what has been happening, roughly, as far as I know …
Randy has been most industrious about turning out copy. I have taken him off for two days to complete the treatment, so that, in the event that you feel that we should show it to Burton, we would have something to show him, as he has been screaming for a treatment, or script, or something.
I have spoken to Elizabeth several times, and Eddie, and they have apparently changed their plans again and are not going to Europe immediately, as Eddie is going to open at the Ambassador Hotel on July 25th. They sent their love to you and wanted to know where you were and where they can get in touch with you. She is naturally very excited about Burton. I explained to her that we had a very good chance of getting him, but that we hadn’t closed as yet …
John Loeb’s associate, Woodfin, is here. Also Gould, who is the head of the new committee, and Treves, whom Gould represents. There are all sorts of rumors flying, and every kind of strange scheme being evolved. The last I heard was that Skouras was going to be moved out here to help Bob Goldstein run the studio, because Skouras was so efficient in production. This was the bankers’ latest finding. My own
feeling is that Skouras will outwit the whole crowd because I saw the bankers going home last night with books under their arms, and they are now discussing scripts, and Ray Stark gave a party for them and introduced them to a lot of starlets.
Skouras was negotiating, as you know, with Liz for four pictures, but kept it very quiet. So quiet that he overplayed his hand and Liz and Eddie are supposed to be making a deal with Warner Brothers for four pictures. However, it is not an exclusive deal and I have talked to Liz and Eddie about the situation and they are in the position that, if we want her for
Justine
, I am sure that she will be available.
I have been looking at a lot of Negro actors and actresses, hoping to find a good Charmion and a good Apollodorus. So far, I have seen certain possibilities and I am going to try and see some in New York. I am sure that we will find what we want. I have seen some very striking types that I think will be very useful in other parts of the picture and especially in the Procession into Rome.
I am turning them over to Hermes Pan, whom I have been talking to, and I have had Hermes look at the designs for the procession as Novarese sees it. Hermes has some very fine ideas which I am pretty sure are going to please you tremendously.
Incidentally, I ran into an Egyptologist the other day who came up with the idea that it was a great mistake to call it “Cleopatra’s Barge,” because it should have been known as “The Royal Galley.” Personally, I don’t know whether a galley is better than a barge, but maybe it is.
I have told Rosemary to make a one-line continuity of the treatment from beginning to end, so that you can have that to compare to the script and it might be very useful when we get to editing and cutting.
Needless to say, the studio is in the height of confusion, but, so far, nobody seems to be worrying too much …
With every good wish—as always,
Walter F. Wanger
P.S. Zeus [Skouras], of course, is here. I have seen him twice today … once on the Taylor deal, which I am trying to get back on the track for Fox … and, secondly, on Burton. The price of 250 has been approved, but we are asking for thirty weeks. I doubt if we will get it, but I think that it is a fair request. I will probably be seeing him while I am in New York.
J
UNE
8, 1961
Went to see
Camelot
and Richard Burton. I thought him dynamic and forceful—a perfect Mark Antony, as JLM conceives him.
After the show I visited Burton in his dressing room. He was surrounded by fans, autograph seekers, and well-wishers. He was very affable. A young lady named Pat remained behind after the others had left, and Burton asked if she could join us at “21.” Burton entered the restaurant like a football hero at a college prom with the prettiest cheerleader at school on his arm. He exuded confidence, personality, and sex appeal.
He said he was excited about working with JLM, whom he knew well and had great respect for. When I pointed out that we were still only in the negotiation stage for him he said, “Don’t worry. I want to do this. We will work out a deal.” I hope so.
J
UNE
12, 1961
JLM back from Rome enthusiastic about locations. He does not want to shoot in Egypt if he can help it.
Skouras in town. Going through the crowded lunchroom he said to me sadly, “Look at all this talent here, and our pictures turn out bad.” He should know the answer: there’s no one at the head of the studio, no one to run things, who understands production problems of modern picture making.
During these weeks there have been many meetings with the executives, including Skouras who seemed to commute from New York. At meeting after meeting he calls JLM and by-passes me. But Joe calls me, says, “I think you ought to be at the meetings,” and insists that I go in with him.
I was in a delicate position with Joe. I knew that the studio was high on him and had given him complete authority, but I felt that since I am producer and it is my company’s project it is my duty and obligation to get the script written the way we planned it. Like most artists JLM is sensitive to criticism or being pushed, so he had to be handled with great tact and diplomacy.
Brought Liz together with Irene Sharaff for the first time. An important meeting because I want them to like each other. Thank heavens, it came off well.
J
UNE
13, 1961
Levathes raised the roof about Burton’s contract, which is still being negotiated. He wants to reduce it to $200,000 for thirty weeks.
Levathes asked me if I would take over Skouras’ convention plans. As I understand the situation, Skouras is worried about the morale of the theater exhibitors and salesmen handling Fox films, which have not been too successful lately. He wants to have a convention and banquet here at the studio—on a
Cleopatra
set—and has given orders to rush a set into production. His plan is to put on a big show for the exhibitors and salesmen to impress them with future product and create an atmosphere of progress.
I complained about the set being built on our budget and refused to handle the convention for the studio.
J
UNE
26, 1961
The studio situation is a mess. Skouras and Levathes lost the four-picture deal they planned to make with Liz, and they are upset.
The studio is still overrun with Wall Street associates, asking all kinds of questions about picture making. As a result, Levathes has gone on an efficiency kick, but I think it’s too late.
Liz and Eddie went to the Russian Ballet in Los Angeles and gave a party for the dancers later. The dancers, in turn, invited the Fishers to visit them in Russia. Liz and Eddie accepted the invitation and plan to go next month.
J
UNE
30, 1961
We are to shoot all of
Cleopatra
in Italy!
Most of the stage space here is taken up with television, and what is left is needed for George Stevens’
Greatest Story Ever Told
, so it was suddenly decided to get us off the lot.
Called Liz to tell her the news, and she didn’t seem too happy about it. She is worried about getting a good place to live in Rome. I told her we’d start looking for her. She was also very anxious to get Roddy McDowall in the picture. I said JLM and myself want Roddy too, and we are working on it. Eddie was not enthusiastic about going to Italy. He has many deals here and I don’t think he is anxious to go away, because he is worried about Liz being so far away from her doctors.
News of the sudden change in plan was relayed instantly to Johnny Johnston and John DeCuir who were contacted at New
York’s Idlewild Airport where they were enroute to Italy to set up locations only.
J
ULY
7, 1961
JLM busy helping Liz write a speech she is going to deliver at a fund-raising banquet for Cedars of Lebanon Hospital.
J
ULY
9, 1961
Elizabeth’s speech, about how it feels to be near death, was an enormous success. It was so dramatic and vivid that the audience pledged almost seven million dollars.
J
ULY
11, 1961
My birthday! Liz and Eddie to Moscow.
J
ULY
18, 1961
Liz and Eddie back from Moscow and talking about doing a picture in Russia. They are anxious to get started on
Cleopatra
. Liz in fine health.
J
ULY
25, 1961
Still in a muddle about Burton.
Ordinarily I would close a deal like this myself, but at Fox the signing of an important actor becomes a major operation involving the casting department here and in New York, legal departments on both coasts, New York executives, etc. The studio has a lot of people who have to be kept busy.
J
ULY
26, 1961
Went to Western Costume to see Irene Sharaff’s costumes for Liz. They are marvelous—Irene really is a genius and wonderful to work with.
Liz has postponed her date for fittings. I suspect she gained weight on the Russian trip, which means she’s on a crash diet
again. She likes clothes to fit skin tight. One or two pounds can make a difference, and Liz is always concerned about looking her best, naturally.
J
ULY
27, 1961
Excerpts from a letter to JLM in Rome:
… We are still counting on a starting date of September 18th. If this is to be changed, please advise us as soon as possible, as it will affect actors’ starting dates. I am very anxious to know what date you want Liz and if there is any news on villas. I haven’t heard a thing from Rosemary or Johnny on either matter.
Eddie’s opening was not nearly as effective as Vegas because the room was so large and the whole rat pack was there and they finally got up on the stage and it became a real Hollywood evening, if you know what I mean.
With love to all.
As always,
Walter F. Wanger