Word: scripting
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Dates: during 1950-1959
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...director's job has two main facets, he said: (1) his work on the script; and (2) his work with the people involved...
...complaint trends and of requests by such groups as the American Foundation for the Blind, e.g., don't use cliches like "blind-drunk" and "blind as a bat." But he tries to resist most demands by touchy viewers, even risks letting "damn" or "hell" stay in a script if it seems unforced. "If we don't reflect the real world around us," he says, "radio and TV are going to be awfully dull, and competitively, we'll get clobbered...
...movies on his own, announced a break with TV, and to the New York Journal-American gave two reasons: 1) "I never made any money in TV. I received $1,200 for Marty, and the most I ever got was a little more than $2,000 for a Philco script. One year I wrote nine full-hour shows and numerous half-hours, and made $12,000 altogether"; 2) "I ask a lot. I insist on veto power when it comes to casting. I ask for veto power on a director. I insist that nobody can change a line...
Take Yvonne De Carlo-a feat that is simplicity itself according to the script. Raised as a white belle amidst Kentucky's bluegrass, she learns that her mamma was a Negro, and she is hauled off to be knocked down for $5,000 at a New Orleans slave auction. Her gallant buyer: an aging Rhett Butler, again played by Clark Gable (under the assumed name of Hamish Bond...
Philip Burton has staged Parts I and V admirably. But if this show is to survive on Broadway, he will have to be more inventive in Parts III and IV to compensate for Shaw's sagging script. Marvin Reiss's sets and John Boyt's costumes are quite adequate, and Paul Leaf has achieved some handsome silhouettes and stunning lighting...