Word: hollywooding
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Dates: during 1930-1939
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...productions in England, A Yank at Oxford and The Citadel, Goodbye, Mr. Chips makes economical use of local actors, notably 300 students of Repton School who acted as extras during their vacation. Besides Robert Donat, Goodbye, Mr. Chips employs only two performers who are likely to mean much in Hollywood. One is Terry Kilburn, 12-year-old son of a London bus driver, who made a hit as Tiny Tim in last season's Christmas Carol, and who functions in quadruplicate as a four-generation student of Mr. Chips. He is under long-term contract to MGM, which hopes...
Green-eyed, redheaded, Irish-born Greer Garson travelled 12,000 miles for her first cinema role. Hired by Louis B. Mayer after he saw her on the London stage, hustled to Hollywood, she was tested for a role in Dramatic School, instead spent her time in California having an appendectomy and weathering a siege of influenza. The flu proved lucky, since Dramatic School was a flop. MGM's present plans for her, barring illness, are, first, a part in Susan and God, then the lead in Myron Brinig's May Flavin...
Hotel Imperial (Paramount). Sloe-eyed Isa Miranda of Italy, who unfortunately got to Hollywood about ten years after Marlene Dietrich, going through her preliminary workout in a spy melodrama...
...last season, Hollywood had no production finger in any important Broadway pie. But unlike last season, it paid some fancy prices for hits. Abe Lincoln in Illinois was sold to Max Gordon Plays & Pictures Co. Inc. on a cash and royalty basis that may come to over $300,000, set a record. The American Way was sold to Gordon for $250,000. Setting a precedent, The Philadelphia Story was sold to Katharine Hepburn (its star) before it ever opened on Broadway...
Typically DeMille in its lavishness, Union Pacific officially cost Paramount "more than a million dollars," though it did not, despite Hollywood wags, cost more than the railroad itself. DeMille budgets are the result of an overmastering passion for detail and a policy of shooting everything in sight. Of the 205,000 feet of film exposed for Union Pacific, DeMille and his cutter, Anne Bauchens, threw away all but 12,158. On the set DeMille manipulates his mobs through a special public-address system. When unit directors go to remote locations, he stays in Hollywood, keeps in constant touch by telephone...