Word: working
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Dates: during 1930-1939
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Then the family moved to Paterson, N. J. Having no idea where Paterson was, Kaufman was delighted to find it within commuting distance of New York. He was soon commuting regularly-to work in a hatband factory. He also began contributing to F.P.A.'s column in the old Evening Mail. Eventually F.P.A. invited him to lunch, disillusioned him as to what writers looked like, but found a job for him on the Washington Times. When he lost that, Adams got him another on the New York Tribune. Later he became a dramatic reporter on the Tribune, when Heywood Broun...
Kaufman's own reason for constantly collaborating is simply that he needs collaborators, that he doesn't think his plays would be very good if he worked alone. Every collaboration is an evenly shared two-man job, with long preliminary stretches for working out every detail of plot, until suddenly "a bell rings" and the collaborators start their "star-chamber sessions" of writing. Every line of dialogue is written together. From start to finish, a play takes anything from five weeks (You Can't Take It With You) to seven months (The Royal Family), depending...
Kaufman & Connelly separated, amicably, long ago. Connelly, Broadway has always intimated, was too "sot" in his ideas to work smoothly in harness. Of Hart, 15 years his junior, Kaufman says: "I have been smart enough as I grew older to attach to myself the most promising lad that came along in the theatre...
...thinking up a new play when he has a smash hit as when he has a flop. A friend has said that if Kaufman isn't a millionaire, he'll do until one comes along; but Kaufman may not be altogether fooling when he insists that constant work is something of a financial necessity. A generous man, he has never worshipped at the shrine of Compound Interest. "All I know," he once said, "is that I have earned a great deal of money and I haven...
Life with Father (adapted from Clarence Day's work by Howard Lindsay & Russel Grouse; produced by Oscar Serlin). No easy job was it to transfer to the stage the late Clarence Day's saga of his own family during Manhattan's horsecar era. Day's own chronicle has no plot, no love interest, no mighty triumphs, no major catastrophes-only crusty, rambunctious Father, who lost almost every set-to; helpless, fluttering Mother, who won; and four redheaded boys. But Playwrights Lindsay & Grouse have turned the whole thing into a spirited, likable stage comedy. They have taken...