Chapter 1: The Squaw Man
1. Cecil B. DeMille to George Pelton, November 10, 1913, Huntington Library, HM 50986.
2. Throughout his life Cecil usedthe family spelling of “deMille” in his personal life and thespelling of “DeMille” in his professional career.
3. “Ten, twent’, thirt’shows” was a once-common show business term for popularly priced showswith ticket prices ranging from ten to thirty cents each.
5. Jesse L. Lasky, with DonWeldon, IBlow My Own Horn, 90.
7. Unsigned agreement betweenJesse L. Lasky Feature Play Company and Dustin Farnum outlining terms ofemployment for The Virginian, May 4,1914, photocopy in author’s collection. Agreementstates that The Virginian andtwo additional pictures “shall be produced under the same terms andconditions as those now existing between us in our production of ’The Squaw Man.’ …"
8. While appearing on stage in Los Angeles in 1912, Farnum had visited the Universal studio and appeared in ascene for a short film.
9. Lease agreement between Cecil B. deMille for the Lasky Feature Play Company and L.L. Burns, December 22,1913, photocopy in author’s collection.
10. Bison was a brand name forfilms produced by the New York Motion Picture Corporation. Other N.Y.M.P.Co.brand names included Keystone, KayBee, and Domino.
11. “Lillian St. Cyr ReachesBack 22 Years in Her Memory When She Was Redwing in the First FeatureFilm,” New York World Telegram, 1935 [exact date not known], copy of clipping inauthor’s collection.
12. In early prints of The Squaw Man the actors received screencredit in an elaborate cut-out display. The style of the original subtitles for The Squaw Man can beseen in a clip used in the 1931 Paramount promotional film The House That Shadows Built.
13. DeMille’s telegrams to SamGoldfish during the editing of the picture include the following: “HAVENOT BEEN TO BED FOR SIXTY HOURS AND STILL UP,” and “JUST COMPLETINGOUR EIGHTY-SEVENTH CONSECUTIVE HOUR OF ASSEMBLING AND CUTTING. ” Photocopies of this and other Squaw Man-related telegram drafts in author’s collection.
14. Lasky, I Blow My Own Horn, 98.
15. The cost comes from the filesof Cecil B. DeMille. Surviving correspondence indicates the Lasky Company spent more than this, however. It must be assumed that the $15,450.25 is an accurate accounting ofdirect costs and that additional costs (which involved setting up the studioand other overhead charges) were shifted to later productions on a proratedbasis.
16. Apparently Lasky’s first visitto his Hollywood studio did not occur until after The Squaw Man was released. Moving Picture World reported that he left New Yorkon February 24, 1914.
17. Cecil B. DeMille, interview byArt Arthur, no date, photocopy in author’s collection.
18. Frank Paret to Alex E.Beyfuss, July 3, 1914, in author’s collection.
19. Atleast one tally of DeMille’s costs and grosses, dating from 1931, states that The Squaw Man tookin only $35,000.
Chapter 2: TlieVirgiman
1. The Catalogue ofCopyright Entries MOTION PICTURES 1912–1939 lists The Only Son as “picturized by Cecil B. DeMille,” though this may have merely meant that he wrote the scenariobased on the Winchell Smith play.
2. Bosworth, Inc., took its name from actor-directorHobart Bosworth, who joined with Frank Garbutt and Jack London to produce filmsbased on London’s novels and stories. Although Bosworth was to receive 25percent of the profits of Bosworth, Inc., he was never involved in thefinancing or business affairs of the company. Hobart Bosworth left Bosworth, Inc., in 1915 to join the Universal Film Manufacturing Company. AfterBosworth’s departure, Bosworth, Inc., remained a corporate entity until itsmerger with Famous Players-Lasky in 1916, although the later Bosworthproductions were released under the brand name Pallas Pictures.
3. Famous Players controlled the distribution rights to the Bosworth pictures for the territories that included New Jersey, Pennsylvania, Delaware, Maryland, Washington D.C., Virginia, West Virginia, Ohio, Indiana, Illinois, Wisconsin, Kentucky, and Michigan.
4. Agreement between Lasky Feature Play Company and DustinFarnum, April 2, 1914, photocopy in author’s collection.
5. Interview with Art Arthur in preparation for DeMille’sautobiography, ca. 1958, photocopy in author’s collection.
6. Cecil B. DeMille to Sam Goldfish, July 23,1914, photocopy in author’s collection.
Chapter 3: TheCall of the North
1. JesseL. Lasky to Cecil B. DeMille, May 26, 1914, photocopy in author’s collection.
2. William C. deMille, Hollywood Saga, 73.
3. Cecil B. DeMille to SamGoldfish, July 23, 1914, photocopy in author’s collection.
Chapter 4: What’s-His-Name
1. George Barr McCutcheon, What’s-His-Name (New York, 1911), as abridgedand reprinted in Photoplay Magazine, December 1914, 82.
2. Cecil B. DeMille to SamuelGoldfish, July 23, 1914, photocopy in author’s collection.
Chapter 6: TheRose of the Rancho
1. Cecil B. DeMille, The Autobiography of Cecil B. DeMille,60. Hereafter abbreviated as DeMille, Autobiography.
2. DeMille is exaggerating, of course. The averageone-reel film of the time cost between five hundred and eight hundred dollars.Ford Sterling was a former Keystone Film Co. comic who in 1914 was makingcomedies under the Sterling brand for release through the Universal Film Mfg.Co.
3. Costfigures onD.W. Griffith’s 1914 Reliance-Majesticproduction TheAvenging Conscience indicate that Griffith spent $17,543.30 on the film, afigure comparable to what DeMille spent on The Rose of the Rancho, and in keeping with averagefeature production costs of the period.
4. The “$35,000 basis” DeMille refers to is theaverage $35,000 advance the Lasky Company might expect in marketing its pictures on the states rights market, and it represents the expected incomefrom a feature release prior to percentage splits.
5. Cecil B. DeMille to Sam Goldfish, October 10, 1914, photocopy in author’s collection.
6. David Belasco to Cecil B. DeMille, quoted in DeMille, Autobiography, 111.
7. BeatricedeMille to Cecil B. DeMille, December 2,1914, photocopy in author’s collection.
Chapter 7: TheGirl of the Golden West
1. Jesse L. Lasky to Sam Goldfish, November 4, 1914, photocopy in author’s collection.
2. Fairbanks was a leading Broadway juvenile at the timeof this initial contact with the movies, but nothing came of this overture.Fairbanks signed with the Triangle Film Corporation in 1915, but later joinedthe Famous Players-Lasky subsidiary, Artcraft Pictures, in 1917. WallaceEddinger took the lead in Lasky’s A Gentleman ofLeisure, directedby George Melford and released March 1, 1915.
3. Blanche Sweet was an actress with D.W. Griffith’sReliance-Majestic stock company at the time. According to Lillian Gish in The Movies, Mr. Griffith, andMe (181) and several interviews given by Blanche Sweet herself, the actress was offered$500 a week by Lasky. A year later, Sweet’s price had increased considerably.In a November 2, 1915, letter to Sam Goldfish, Jesse Lasky wrote:
As I wired you, we signed Blanche Sweet for one year at$750. She refused to give us an option even when I offered to take an option on$1,000 a week. It would take volumes to tell you of the negotiations and, Iassure you, I never tried harder to close a deal than I did in the Sweet case. But I never expected to pay $750. However, I assure you it is a very wise move.I have studied all the reports of the exhibitors received through the Paramountexchanges, and there can be no doubt that she is a valuable star. I am assuredthat she was offered a thousand dollars by other firms and it was those offerswhich made it so difficult for me.
The original of this letterwas uncatalogued when I read it in the Cecil B. DeMille Collection at BYU.
Chapter 8: The Warrens of V
1. William C. deMille to Cecil B. DeMille, September 17, 1914, photocopy in author’s collection.
Chapter 9: TheUnafraid
1. Purchase agreement betweenCecil B. DeMille and Harry Revier, February 21, 1914, and lease agreementbetween Stern Realty Company and Cecil B. DeMille, February 28, 1914, copies inauthor’s collection.
Chapter 10: TheCaptive
1. If this incident did occur, it probably did so duringthe time DeMille was using the Universal ranch for some Squaw Man exteriors.
2. [Barrett C. Kiesling], manuscript of DeMille Picturesstudio biography of Jeanie Macpherson, ca. 1927, original in author’s collection.
3. For more detailed accounts of the shooting incident, see DeMille, Autobiography, (127) 28, and William M. Drew, Speaking of Silents, 226–27.
Chapter 11: TheWild Goose Chase
1. Robert Cushman, photo curatorof the Academy of Motion Picture Arts and Sciences Margaret Herrick Library, reviewed this manuscript and noted, “I met Ina Claire once and asked herabout TheWild Goose Chase. She instantly remembered it and said she took the job’between theatrical engagements.’"
2. The letter of agreementbetween Famous Players-Lasky and DeMille, listing the titles and the terms oftransfer, were examined by the author in the files of the Cecil B. DeMillee state in the 1980s.
3. Although DeMille refers tosixty feet per minute, or sixteen frames per second, Kevin Brownlow has notedthat during this period Alvin Wyckoff was cranking his camera at something morelike twenty or twenty-one frames per second, or seventy-five feet per minute.
4. Journal of the Screen Producers Guild 4, no. 1 (February 1956): 6.However, according to the late James Card of the George Eastman House inRochester, New York, DeMille rejected the idea of donating his film prints andmaking them available for study when he was first approached by Card in thelate 1950s. The family deposited most of his personal prints of his silentfilms at Eastman House after DeMille’s death.
Chapter 15: MariaRosa
1. “Geraldine Farrar—Her Interesting Experience, ” ParamountProgress, July1915.
2. Morris Gest, “WinningFarrar,” Photoplay 8, no. 2 (July 1915): 115–17.
3. EmmaCalve was Carmenin theminds of most opera fans until Geraldine Farrar’s triumph in the role at the Metropolitan Opera during the 1914–15season.
4. In his article for Photoplay Gest quotes Jesse Lasky on theterms of the contract: “You can tell her that for every minute ofdaylight she is in Southern California, whether she is at the studio or not, Iwill pay her two dollars—and a royalty, and a share of all profits. ” William C. deMille recalled that Farrar was to be paid twenty thousand dollarsfor eight weeks’ work and be provided with a house and servants for theduration of her stay. Whatever the terms of the final contract, the titles of the first three films note that Geraldine Farrar appears “By arrangementwith Morris Gest."
5.Robert Jameison, “Maria Rosa—The Photoplay That Made Geraldine Farrar a Bride,” Picture Progress, April 1916, 2–3.
Chapter 16: Carmen
1. William C. deMille, Hollywood Saga, 154–55.
2. Ibid. Lydia E. Pinkham’sVegetable Compound, a patent medicine designed to cure “Prolapsus Uteri or falling of the womb and other femaleweaknesses,” contained “18 per cent of alcohol…added solely as a solvent andpreservative."
3. Geraldine Farrar, Such Sweet Compulsion, 170.
4. DeMille, Autobiography, 142; and Farrar, Such Sweet Compulsion, 169.
5. Sam Goldfish to Cecil B. DeMille, September 29,1915, photocopy in author’s collection. Although thelibretto for the Bizet opera was under copyright, the use of the music was notprecluded according to William deMille.
6. Jesse L. Lasky to SamuelGoldfish, November 2, 1915, Cecil B. DeMille Collection. Uncatalogued at timeof review by author.
7. Fox’s Carmen cost $32,269 and had a worldwide gross of $106,086.
Chapter 17: Temptation
1. Cecil B. DeMille to Sam Goldfish, October 28, 1915, photocopy in author’s collection.
2. Cecil B. DeMille to Jesse L. Lasky, ca. 1917, quoted inDeMille, Autobiography, 212.
Chapter 18: ChimmieFadden Out West
1.Jesse L. Lasky to Cecil B. DeMille, November 30,1915, photocopy in author’s collection. Tally’s BroadwayTheater was a deluxe first-run house in downtown Los Angeles.
Chapter 19: The Cheat
1. Maurice Bardeche and Robert Brasillach, The History of Motion Pictures, 106.
2. Jeanie Macpherson received no credit on Temptation; the only record of herinvolvement comes from DeMille’s own personal filmography that his secretarykept for reference. Macpherson does receive screen credit on The Cheat.
3. The spoiled Flora Lee Peake in The Golden Bed (1925) bears some relation toEdith Hardy in The Cheat, and Unconquered (1947) contains an element of white slavery.
4. DeMille outtake reel, Cecil B. DeMille estate.Currently on deposit at UCLA Film and Television Archive.
Chapter20: The Golden Chance
1. Jesse L. Lasky, with DonWeldon, I BlowMy Own Horn, 27–113.
2. Jesse L. Lasky to Samuel Goldfish, November 2, 1915, Cecil B. DeMille Collection. Uncatalogued at time of review by author.
Chapter 21: The Trail of the Lonesome Pine
1. Frank Paret to Alex E.Beyfuss, May 15, 1914, in author’s collection.
2. Frank Paret to Alex E.Beyfuss, June 22, 1914, in author’s collection.
3. For a fuller account of DeMille’s relationship with Macpherson, see Charles Higham, Cecil B. DeMille.
Chapter 22: TheHeart of Nora Flynn
1. “Americanforeground” refers to the prevailing American style of the early 1910s inwhich the frame “cut” the actors at the knee or above, as opposed to “French foreground,” which kept the actors in frame from head to toe.
Chapter 23: TheDream Girl
1. Frank A. Garbutt to JackLondon, November 3, 1914, in the Jack London Collection at the HuntingtonLibrary, file number JL 6531.
2. Telegram from Jesse L. Laskyto Cecil B. DeMille, June 24, 1916, photocopy in author’s collection.
3. Telegram from Cecil B. DeMilleto Jesse L. Lasky, June 24,1916, photocopy in author’s collection.
4. Telegram from Jesse L. Laskyto Cecil B. DeMille, June 29, 1916, photocopy in author’s collection.
5. Will Irwin, The House That Shadows Built, 220.
6. Telegram from Jesse L. Laskyto Cecil B. DeMille, August 21, 1916, photocopy in author’s collection.
7. Goldfish resigned from Famous Players-Lasky on September 3, 1916.
8. Garbutt bought a printingpress for his son, Frank E. Garbutt, but the boy showed no interest infollowing in his footsteps. His daughter, Melodile, took over the press andbuilt a part-time basement business into a major job-printing company. Herinvolvement in Garbutt’s motion picture interests was real, although she confinedher participation almost entirely to business affairs. She remained with Famous Players-Lasky until 1921 as head of studio accounting.
9. “Synopsis of Mr.Garbutt’s Transactions in the Film Business for Mr. Baker,” in thecollection of Frank G. Hathaway.
10. A. Scott Berg, Goldwyn, 16–62.
Chapter 24: Joanthe Woman
1. Road shows were exclusivelong-term engagements in selected theaters in big cities, usually not more thanone theater per city, with two screenings per day at advanced ticket prices.Road-show attractions usually approached three hours in running time and werescreened with an intermission. Such engagements preceded, and were separatefrom, the general release of a film.
2. Clemens’s work was published under the dual pseudonym’The Sieur Louis De Conte …freely translated … by Jean Francois Alden."
3. Cecil B. DeMille to Jesse Lasky, July 1916, as quotedin DeMille, Autobiography, 43–172.
4. Night letter from DeMille to Jesse L. Lasky, October17, 1916, photocopy in author’s collection.
5. Telegram from Jesse L. Lasky to Cecil B. DeMille, October 18, 1916, photocopy in author’s collection. At this time, Mary Pickford’s films were being made on the East Coast.
6. Telegram from Jesse L. Lasky to Cecil B. DeMille, September 6, 1916, photocopy in author’s collection. Griffith’s Intolerance told four stories each set ina different place and time—Ancient Babylon, Judea in the time of Christ, Franceduring the St. Bartholomew’s Day Massacre, and contemporary America. The storiesare related thematically and are told simultaneously, rather thanconsecutively, by cutting from one to another at critical moments in anever-increasing tempo.
7. Night letter from Jesse L. Lasky to Cecil B. DeMille, October 17, 1916, photocopy in author’s collection.
8. Night letter from Cecil B. DeMille to Jesse L. Lasky, October 17, 1916, photocopy in author’s collection. James Young was the formerhusband of film star Clara Kimball Young. Although he continued to direct for another dozen years after his dismissal from the Lasky Company, many of his pictures were low-budget, independent efforts. His biggest projects in the1920s were Omarthe Tentmaker (1922) and Trilby (1923). He also directed ThedaBara’s comeback, The Unchastened Woman (1925), and The Bells (1926), starring LionelBarrymore and Boris Karloff at a time when Barrymore was considered a has-beenand Karloff was yet to be discovered by the American public.
9. Telegram from Jesse L. Lasky to Cecil B. DeMille, November 2, 1916, photocopy in author’s collection.
10. Night letter from Cecil B. DeMille to Jesse L. Lasky, November 3, 1916, photocopy in author’s collection.
11. Telegram from Jesse L. Laskyto Cecil B. DeMille, November 2, 1916, photocopy in author’s collection.
12. Night letter from Cecil B. DeMille to Jesse L. Lasky, November 3, 1916, photocopy in author’s collection.
13. Telegram from Jesse L. Laskyto Cecil B. DeMille, March 13, 1917, photocopy in author’s collection.
14. Telegram from Cecil B. DeMilleto Jesse L. Lasky, January 5, 1917, photocopy in author’s collection.
15. Merritt, an expert on the workof D.W. Griffith, compiled the record of these engagements from contemporarynewspaper ads and generously shared them. The final production cost of Intolerance was nearly four hundredthousand dollars and that figure inflated to over half a million when thedistribution costs were added. The expenditure was astronomical for the time, but a far cry from the two million dollars widely reported spent on the picture. No final gross figures are available for Intolerance, but contemporary reports on its first release suggest that the picture did as well or better than The Birth of a Nation for the first six months of its run before business slacked off precipitously. Itis highly doubtful that Intolerance was the monumental failure that many historians haveassumed.
16.Jesse L. Lasky to Cecil B. DeMille, March 13, 1917, photocopy in author’s collection.
17. “Negative cost” isthe direct cost of producing a film’s finished negative exclusive of the costsfor prints and advertising.
Chapter 25: ARomance of the Redwoods
1. Triangle offered a program consisting of a five-reelInce-KayBee feature, a five-reel Griffith-supervised Fine Arts feature, and atwo-reel Mack Sennett Keystone comedy, refusing to let exhibitors break up thepackages. The company also insisted that theaters booking the Triangle programcharge a $2.00 top admission fee.
2. The picture Pickford completed before her two pictureswith DeMille, The Poor Little Rich Girl, was released on March 5, 1917, just days before A Romance of the Redwoods was completed, and was a hugebox-office hit.
3. Pickford eventually made Rebecca of Sunnybrook Farm later in 1917 with directorMarshall Neilan.
Chapter 26: The Little American
1. Cecil B. DeMille, “Photodrama a New Art,” Moving Picture World, July 21, 1917, 374.
2. Wilfred Buckland, “The Scenic Side of thePhotodrama,” Moving Picture World, July 21, 1917, 374.
3. After U.S. entry into the war, anti-German hysteria wassuch that film star Margarita Fischer felt compelled to change her name toFisher, and character actor Gustav von Seyffertitz took the Anglicized monikerof G. Butler Clonbough for the duration. Sauerkraut became known as “Liberty Cabbage” and on the East Coast the Kaiser roll was dubbedthe “Hard Roll.” To this day Kaisers are called hard rolls in New York—strange because the German monarchy is long gone and the rolls arerelatively soft and bread-like in texture.
Chapter 27: The Woman God Forgot
1. Telegram from Jesse L. Laskyto Cecil B. DeMille, March 10,1917, photocopy in author’s collection.
2. Night letter from Cecil B. DeMille to Jesse L. Lasky, March 12, 1917, photocopy in author’s collection.
3. Telegram from Jesse L. Laskyto Cecil B. DeMille, March 13, 1917.
4. DeMille took his company toYosemite for this scene.
Chapter 28: The Devil Stone
1.TullyMarshall played similar roles in Stroheim’s The Merry Widow (M-G-M, 1925) and QueenKelly (Swanson-United Artists, not released in the United States). Stroheim’s first film as a director, Blind Husbands, was made in 1918, after the release of TheDevil Stone.
2. Geraldine Farrar, Such Sweet Compulsion, 179.
Chapter 29: The Whispering Chorus
1. DeMille, Autobiography, 192.
2. Unidentified magazineclipping.
3. Draftof telegram, Cecil B. DeMille to Jesse L. Lasky, April 18, 1918, photocopy in author’s collection. Maurice Tourneur’s production of The Blue Bird was released by Artcraft on March 25, 1918.
Chapter 30: Old Wives for New
1. Memo from Carl H. Pierce, quoted in DeMille, Autobiography, 212.
2. Letters from Jesse Lasky to Cecil B. DeMille, quoted inDeMille, Autobiography, 212.
3. Motion Picture News 17, no. 24 (June 15, 1918):3579.
Chapter 31: We Can’t Have Everything
1. MovingPicture World, June 29, 1918, 1867.
Chapter 32: Till I Come Bach to You
1. The 1933 Warner Bros, film Ever in My Heart is a fascinating study of theindignities many German Americans experienced in the Great War and offers asense of the era. Written by Beulah Marie Dix and Bertram Millhauser, Ever in My Heart ultimately veers off intoimprobable melodrama, but the anti-German harassment suffered by Otto Krugerhas the ring of truth about it.
2. Herbert Hoover was director-general of the AmericanRelief Administration— hence the word “Hooverize."
3. For the record, Arthur Allardt’s career as an actorevaporated in the 1920s. His last credited appearance was in A Man’s Man (F.B.O., 1923)—although thiswas a reissue of a 1917 film. Seyffertitz resumed his name after the war andworked in pictures nearly until his death in 1940.
4. KevinBrownlow, TheParade’s Gone By, 227.
5. Night lettergram from Cecil B. DeMille to Jesse L. Lasky, July 11,1918, photocopy in author’s collection.
Chapter 33: TheS quaw Man (first remahe)
1. Telegram from Jesse L. Lasky to Cecil B. DeMille, June24, 1918, photocopy in author’s collection.
2. Telegram from Jesse L. Lasky to Cecil B. DeMille, July10, 1918, photocopy in author’s collection. William Faversham was fifty-oneyears old in 1918.
3. Night lettergram from Cecil B. DeMille to Jesse L. Lasky, July 11, 1918, photocopy in author’s collection.
4. Telegram from Cecil B. DeMille to Jesse L. Lasky, July27,1918, photocopy in author’s collection. Although William Faversham was notused in The Squaw Man, hedid make TheSilver King (releasedJanuary 12, 1919) for Famous Players-Lasky.
Chapter 34: Don’tChange Your Husband
1. GloriaSwanson, Swansonon Swanson. Aneducated guess would suggest that DeMille wanted Swanson in the Old Wives for New role eventually played by FlorenceVidor.
2.Presumably DeMille also wantedSwanson for TillI Come Back to You.
3. According to Swanson she replaced another actress on Don’t Change Your Husband, although the film was inpreproduction, not mid-production as she remembered in her autobiography.
4. Swanson, Swanson on Swanson.
6. The practice of preproduction script readings may havebegun with Maleand Female. Swansondoes not mention such a session being held before For Better, For Worse, but she does make a point ofdescribing the group script session for Male and Female, her third DeMille picture.
7. S. Harrison, Motion Picture News, February 8, 1919,921; and Variety, February 7, 1919,61.
Chapter 35: ForBetter, For Worse
1. Gloria Swanson, Swanson on Swanson, 107.
2. The term “slacker” once meant someone whowore slacks. Today “slacks” are synonymous with “pants” or “trousers,” but strictly speaking slacks are worn withoutputtees—which were part of American military uniforms in 1918. Hence a slackerwas one who did not wear puttees, or was not in uniform.
3. The scene has an interesting parallel to DeMille’s ownlife. In the early 1920s he and Constance adopted Katherine Lester, whosefather was killed in the war and whose mother died of tuberculosis. AsKatherine DeMille she pursued a career as an actress in the 1930s and wasmarried to Anthony Quinn.
4. Telegram from Jesse L. Lasky to Cecil B. DeMille, January 22, 1919, photocopy in author’s collection.
5. Telegram from Cecil B. DeMille to Jesse L. Lasky, January 23, 1919, photocopy in author’s collection.
6. Cecil B. DeMille in interview with Art Arthur inpreparation for his autobiography, ca. 1958, photocopy in author’s collection.
7. Telegram from Cecil B. DeMille to Jesse L. Lasky, February 4, 1919, photocopy in author’s collection.
Chapter 36: Maleand Female
1. Night lettergram from Jesse L. Lasky to Cecil B. DeMille, December 19,1917, photocopy in author’s collection.
2. Although Adolph Zukor lost Pickford, Fairbanks, andGriffith to United Artists, he maintained some business relationships with them—especiallywith D.W. Griffith. Zukor contracted with Griffith for a series of Dorothy Gishfeatures to be released through Paramount well after the formation of United Artists. One of the terms of the contract was that Griffith’s name would notappear in any way in connection with the films.
3. Telegram from Jesse L. Lasky to Cecil B. DeMille, April29,1919, photocopy in author’s collection.
4. Telegramfrom Cecil B. DeMille to Jesse L. Lasky, April 30,1919, photocopy in author’s collection. Glass-covered stages were commonin the East from at least 1910. As improved lighting instruments andpanchromatic film became available in the later 1920s most glass stages werepainted over to block out the sun. With the coming of sound, glass stagesbecame obsolete. Production began at the Astoria studio in September 1920.
5.William Ernest Henley was aremarkable man. As a child he contracted tuberculosis of the bone and had a foot amputated. While in the hospital he wrotepoetry that came to the attention of Robert Louis Stevenson. In later years, Henleybecame editor of such publications as London, the Magazine ofArt, and the NationalObserver. He also co-authored Slang and Its Analogues (1890–1904), one of the earliest dictionaries of British and American slang. He is best remembered for hispoem “Invictus “:
It matters not how strait the gate,
How charged withpunishments the scroll,
I am the master of my fate:
I am the captain of mysoul.
6. See Kevin Brownlow, Hollywood: The Pioneers, 171.
7. Jesse Lasky’s January 22, 1919, telegram to DeMilleread: “Have closed for Admiral Crichton” (photocopy in author’s collection).
8. Telegram from Cecil B. DeMille to Jesse L. Lasky, May14,1919, photocopy in author’s collection.
Chapter 37: Why Change YourWife?
1. Telegram from Jesse L. Lasky to Cecil B. DeMille, April29,1919, photocopy in author’s collection. Susan Lenox was finally brought to the screen by Metro-Goldwyn-Mayer in 1931 as a vehicle for Greta Garbo.
2. Telegram from Jesse L. Lasky to Cecil B. DeMille, May9, 1919, photocopy in author’s collection.
3. Telegram from Cecil B. DeMille to Jesse L. Lasky, May12, 1919, photocopy in author’s collection.
4. Telegram from Jesse L. Lasky to Cecil B. DeMille, April29,1919, photocopy in author’s collection.
5. Telegram from Cecil B. DeMille to Jesse L. Lasky, April30,1919, photocopy in author’s collection. DeMille’s declaration that: “Icould take the high spots from half the great Biblical stories of the world such as great chariot race and other smashing incidents of the kind,” inwhich he refers to one of the highpoints of Ben-Hur, might seem like blatantplagiarism today, but DeMille and his screenwriters followed thenineteenth-century theater tradition of constructing plays from elementsalready familiar to the audience. For a discussion of the manner in which HenryC. deMille and David Belasco constructed their plays see: Robert Hamilton Ball, ed., ThePlays of Henry C. DeMille Written in Collaboration with David Belasco, ix-xxv.
6. Telegram from Cecil B. DeMille to Jesse L. Lasky, May12, 1919, photocopy in author’s collection.
7. Telegram from Jesse L. Lasky to Cecil B. DeMille, May14, 1919, photocopy in author’s collection. GeorgeMelford eventually directed Everywoman; Theodore Kosloff did not appear in the film; and IrvingCummings played the role of Passion.
8.Telegram from Cecil B. DeMille to Jesse L. Lasky, May14, 1919, photocopy in author’s collection.
9. Telegram from Jesse L. Lasky to Cecil B. DeMille, May23, 1919, photocopy in author’s collection. Milton Sills was a solid leading man in the manner of Elliott Dexter. He was eventually signed by Famous Players-Lasky for The Faith Healer (1921), but he was largely afreelance actor throughout the early 1920s. His only work with DeMille was in Adam’s Rib (1923). Moving to FirstNational in the mid-1920s, Sills became a top star. He created a strongimpression in his first sound films, especially in The Sea Wolf (Fox, 1930), but died of a heart attack in 1930 at the age of forty-eight.
10. Telegramfrom Cecil B. DeMille to Jesse L. Lasky, August 30, 1919, photocopy in author’s collection.
Chapter 38: Somethingto Think Ahout
1. Telegram from Jesse L. Lasky to Cecil B. DeMille, October 1, 1919, photocopy in author’s collection.
2. In 1920 Irvin Willat Productions produced Dabney Todd as Down Home, which bears strikingsimilarities to the DeMille picture. Both Down Home and Something to Think About were in production about the same time; so it is unlikely that either director saw the other’s work beforetheir films were released. Interestingly, Down Home features Leatrice Joy, wholater became a DeMille star.
3. The Wanderer was eventually produced by Famous Players-Lasky in1925. It was directed by Raoul Walsh and released through Paramount in February1926.
4. DeMille, Autobiography, 230.
Chapter 39: ForbiddenFruit
1. TheVolstead Act, passed over the veto of Woodrow Wilson in October 1919, provided the legal framework for enforcing the Prohibition amendment.
2. Motion Picture News, January 22, 1921, 902.
Chapter 40: TheAffairs of Anatol
1. Charles Higham, Cecil B. DeMille, 84.
2. Buckland had directed severalplays in New York before coming to Hollywood, and directed at least part of the 1914 Lasky Feature Play production The Man on the Box.
3. For a moving account ofWilfred Buckland’s final years, see Jesse L. Lasky Jr., Whatever Happened ToHollywood?
4. DavidChierichetti, Hollywood Director—The Career ofMitchell Leisen, 28.
5. The DVD release of The Affairs of Anatol distributed by ImageEntertainment preserves the Handscheigl stencil color effects.
Chapter 41: Fools Paradise
1. In Vertigo, a man remakes a woman in theimage of a lost love, only to find later that she is in fact the woman hepresumed dead.
2.For a loving account of life in early Hollywood, seeEvelyn F. Scott, Hollywood—When Silents Were Golden. Scott was the daughter ofBeulah Marie Dix.
3. David Chierichetti, Hollywood Director—The Career of Mitchell Leisen, 28.
4. Telegram from Jesse L. Lasky to Cecil B. DeMille, May27, 1921, photocopy in author’s collection. While production at the Long Islandstudio of Famous Players-Lasky never reached initial expectations, thefacility was not shut down until 1932, when another depression took its toll.
5. Cecil B. DeMille to Jesse L. Lasky, ca. 1921, quoted inDeMille, Autobiography, 229.
6. DeMille, Autobiography, 229, 264.
Chapter 42: SaturdayNight
1. David Chierichetti, Hollywood Director—The Career of Mitchell Leisen, 28.
2. Leatrice Gilbert Fountain, Dark Star, 76–80. According to Fountain, her parents’ marriage was on-again, off-again, and DeMille insisted that Leatrice Joyremain apart from her husband during shooting.
Chapter 43: Manslaughter
1. Charles Higham, Cecil B. DeMille,91.
2. Evelyn F. Scott, Hollywood—When Silents WereGolden, 70.
3. DeMille was among the firstfilmmakers to give on-screen technical credits in 1914. However, technical credits are nowhere in evidence on surviving prints of SaturdayNight, Manslaughter, or Adam’s Rib. Credits are derived from Cecil B. DeMille’s personal filmography maintained by his staff.
Chapter 44: Adam’sRib
1. The absentminded professorsurrounded by dinosaur bones played by Elliott Dexter in Adam’s Rib bears a striking resemblanceto the character played by Cary Grant in Howard Hawks’s Bringing Up Baby (RKO-Radio Pictures, 1938).Howard Hawks began his career as a propman with DeMille’s unit at Famous Players-Lasky in 1919 and continued to work with DeMille intermittently and invarious capacities through the mid-1920s. DeMille also borrowed from Hawks inlater years, using Walter Brennan as a folksy sidekick to Andrew Jackson in The Buccaneer (Paramount, 1938) after Hawksestablished Brennan’s screen persona in Barbary Coast (Goldwyn-United Artists, 1935) and Come and Get It (Goldwyn-United Artists,1936).
Chapter 45: The Ten Commandments
1. Jesse L. Lasky, with DonWeldon, I Blow My Own Horn, 161–64.
3. DeMille, Autobiography, 1959, 249. Seven others alsosuggested stories based on the Ten Commandments. None of the eight suggestions offered a usable story, but each received one thousand dollars for their suggestions.
5. Jeanie Macpherson, “How the Story Was Evolved,” in the souvenir program for the original release of The Ten Commandments, 1923.
6. Cecil B. DeMille, Autobiography, 250.
7.Jeanie Macpherson, treatment for The Ten Commandments. Paramount Story Files, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills, California.
9. Jeanie Macpherson, The Ten Commandments, screenplay. Paramount story files.
10. Hallett Abend, in Los Angeles Times, quoted by Charles Higham, Cecil B. DeMille, 118.
11. Telegram from Jesse L. Laskyto Adolph Zukor, July 5, 1923, photocopy in author’s collection.
12. In addition to his filmmakingactivities, DeMille was also a vice president of the Cherokee Avenue branch ofGiannini’s Bank of Italy in Hollywood at this time.
13. Cecil B. DeMille, Autobiography, 258.
14. Irvin Willat, interview byauthor for Louis B. Mayer Foundation-AFI Oral History project, June 9, 1971.
15. Curtis was known for his workin recording the lives of American Indian tribes. His 1914 feature-length film,In theLand of the Headhunters (Seattle Film Co.-World,1914), documented vanishing tribal life in the Pacific Northwest. For more onCurtis, see Kevin Brownlow, The War, the West, and the Wilderness, 68–338.
16. Technicolor perfected itsimbibition process in 1928. In “LB.” prints the two-color dyes weretransferred to a single strip of film in two successive printing passes, muchas in color lithography. Technicolor introduced a full-spectrum three-colorprocess in 1932.
17. Although the version of The Ten Commandments released by Paramount HomeVideo does not preserve the original tints and tones of the rest of film, itdoes offer an opportunity to view the color footage. An example of theHandschiegl Process can also be seen in the video release in the bright orangewall of fire that halts the Pharaoh’s charioteers.
18. Macpherson, “How theStory Was Evolved."
19. Night letter from Jesse L. Lasky to Adolph Zukor, October 5, 1923. Hugo Riesenfeld’s New York premierescore for The Ten Commandments has recently been revived by musicologist Gillian Anderson. It is apowerful compiled score and does much to enhance the drama. Interestingly, Riesenfeld treats the opening scenes of the modern story in a very lightheartedmanner, softening the sting of some of the heavy-handed dialogue titles, andcreating a tone for the film that is very much in keeping with Jeanie Macpherson’s written ideas about her intentions.
20. James R. Quirk, review in Photoplay Magazine, February 1924.
21. The three-week delay in theNew York premiere is an indication that Paramount did not give The Ten Commandments its full support. Beforetelevision and radio promotion, and to some extent even today, an early New York opening was deemed essential for national media exposure.
22. Jeanie Macpherson, treatment for The Ten Commandments, 11.
23. From the description, theeliminated scene in The Ten Commandments resembles the final shot inDeMille’s Kingof Kings (1927).
Chapter 46: Triumph
1. Telegram from Jesse L. Lasky to Cecil B. DeMille, quoted in DeMille, Autobiography, 247.
Chapter 47: Feetof Clay
1. Telegramfrom Jesse L. Lasky to Cecil B. DeMille, March 7, 1924, quoted in Charles Higham, Cecil B. DeMille, 130.
3. A clip from Feet of Clay does survive in The World’s Greatest Showman, a television tribute toDeMille produced by Henry Wilcoxon.
4. Outward Bound was eventually brought to the screen by Warner Bros, in 1930.
5. According to Evelyn Scott, daughter of Beulah Marie Dix, her mother was annoyed that Sutton Vane filedsuit as she had not filed suit over what she perceived to be Vane’s lifting ofmaterial she had created for The Road to Yesterday and Across the Border.
6. Adolph Zukor’s businessrelationship with D.W. Griffith is fascinating. In addition to the sixGriffith-directed Artcraft films of 1918–19, Zukor also financed a series ofDorothy Gish films produced anonymously by Griffith. Zukor was involved infinancing BrokenBlossoms (1919), eventually released by United Artists, and also put money into Griffith’s Isn’t Life Wonderful? (United Artists, 1924) and Sally of the Sawdust (United Artists, 1925), which was produced by Paramountand distributed by United Artists to settle a contract dispute.
Chapter 48: TheGolden Bed
2. Telegram from Sidney R. Kentto Cecil B. DeMille, December 18, 1924, quoted in DeMille, Autobiography, 264.
3. D.W. Griffith made The Sorrows of Satan (Famous Players-Lasky, 1925) afterDeMille was fired by the studio.
4. DeMille, Autobiography,269.
5.Fred Datig Jr. to author,2002. These were common references to Zukor aroundthe studio in Hollywood according to Fred Datig Jr., son of Paramount casting director Fred Datig, who served in that capacity from 1925 to 1937 beforetaking the same position for M-G-M.
6. DeMille, Autobiography, 265.
Chapter 49: The road to Yesterday
1. Contrary to popular myth, Ince was not shot or stabbedby William Randolph Hearst or Marion Davies or Charlie Chaplin or anybody else. He died at home in his bed. Quoting DeMille’s telegram to Adolph Zukor ofNovember 19, 1924: “TOM INCE DIED OF HEART FAILURE AT FIVE THIRTY THISMORNING” (photocopy in author’s collection).
2. Hattie the hairdresser was a black woman. UnfortunatelyI have not found a record of her last name.
3. Cecil B. DeMille to Jesse L. Lasky, February 1, 1925, box 260, Cecil B. DeMille Collection, BYU.
4. Jesse L. Lasky to Cecil B. DeMille, February 4, 1925, box 260, BYU.
5. Research librarian Elizabeth (Bessie) McGaffey did join the staff of DeMille Pictures sometime later and conducted research for The Godless Girl in 1927.
6. Copy of telegram from Jesse L. Lasky to Victor H.Clarke, March 18, 1925, box 260, BYU.
7. Copy of telegram from Jesse L. Lasky to Cecil B. DeMille, March 26, 1925, box 260, BYU.
8. Compiled from telegrams by Cecil B. DeMille to Oscar M.Bate, April 2,1925, and to Jesse L. Lasky, March 26, 1925, Boxes 261 and 260, BYU.
9. Telegram from Cecil B. DeMille to Jesse L. Lasky, March26,1925, box 260, BYU. Sackcloth and Scarlet (Kagor Productions, 1925) was the picture DeMille arranged to finance. It was later picked up fordistribution through Paramount.
10. Cecil B. DeMille to Nathan Burkan, draft of telegram, April 3,1925, box261, BYU.
11. Telegram from ProducersDistributing Corporation attorney Nathan Burkan to Cecil B. DeMille, April 4,1925, box 260, BYU.
12. Telegram from Nathan Burkan toCecil B. DeMille, April 8, 1925, box 261, BYU. It is difficult to understandhow Burkan could have come to this conclusion. Daniels’s existing agreement with Famous Players-Lasky was set to expire on June 30, 1925, according tocontract summaries DeMille kept in his files. Nevertheless, Burkan’s opinion effectivelyended DeMille’s efforts to sign Bebe Daniels.
13. Memo to Cecil B. DeMille,1925, box 260, BYU.
14. Telegram from Nathan Burkan toCecil B. DeMille, April 3,1925, box 261, BYU.
15. Telegram from Cecil B. DeMilleto Nathan Burkan, April 4,1925, box 261, BYU.
16. Frederick C. Munroe to Cecil B. DeMille, June 22, 1925, box 260, BYU.
17. Copy of letter from Cecil B. DeMille to Jesse L. Lasky, March 12,1925, box 260, BYU.
18. Metropolitan Studios wasestablished at the former Hollywood Studio at 1040 North Las Palmas Avenue in Hollywood. The overhead resulting from operating a second studio contributed to the precarious finances of P.D.C.
19. Cecil B. DeMille to [?], 1925, box 260, BYU.
20. Cecil B. DeMille to FrederickC. Munroe, June 29, 1925, box 260, BYU.
21. Telegram from Jesse L. Laskyto Cecil B. DeMille, June 16, 1925, box 260, BYU. Roberts would appear in only a handful of features and one or two shorts before his death in 1928 at age sixty-seven.
22.Draft of telegram from Cecil B. DeMille to NathanBurkan, July 3,1925, box 261, BYU.
23. DeMille, Autobiography, 259–70.
24. It could be argued, however, that the modern day prologue added to The Sign of the Cross for its 1944 reissue cast the original film as an historic flashback.
Chapter 50: TheVolga Boatman
1. Telegramfrom Cecil B. DeMille to Ella K. Adams, November 7, 1925, box 260, BYU.
2. Telegram from F.C. Munroe to Cecil B. DeMille, October31,1925, box 260, BYU.
3.Leonard Maltin, The Art of the Cinematographer, 66.
4. Cecilia DeMille Presley (DeMille’s granddaughter), interview with author, 2002.
5. Telegram from Cecil B. DeMille to F.C. Munroe, December7,1925, box 260, BYU.
6. Telegram from F.C. Munroe to Cecil B. DeMille, December11, 1925, box 260, BYU.
7. Telegram from Cecil B. DeMille to F.C. Munroe, December12, 1925, box 260, BYU.
8. Telegram from Cecil B. DeMille to F.C. Munroe, December15, 1925, box 260, BYU.
9. Telegram from Cecil B. DeMille to F.C. Munroe, December17, 1925, box 260, BYU.
10. Telegram from F.C. Munroe toCecil B. DeMille, December 18, 1925, box 260, BYU.
Chapter 51: TheKing of Kings
1. See appendix A, p. 365, for costs and grosses on theDeMille Pictures, Inc., releases.
2. Denison Clift wrote the scenario for The Yankee Clipper (DeMille Pictures-P.D.C.,1927), which was a spectacular box-office flop.
3. Memo from Denison Clift toCecil B. DeMille, box 261, BYU.
4. Telegram from Cecil B. DeMille to F.C. Munroe, August5, 1926, box 260, BYU.
5. Undated document listing costs and grosses found atDeMille estate in 1986, photocopy in author’s collection.
6. Daniel A. Lord, S.J., Played by Ear, 268.
8. Bruce Barton was author of a then-popular book aboutJesus called The Man Nobody Knows.
9. [Cecil B. DeMille] to various, 1926, box 282, BYU. Thesurviving carbon or draft of this letter does not have a signature.
10. Transcript of script readingand discussion for The King ofKings, August23, 1926, box 282, BYU.
11. Transcript of Cecil B. DeMille’s remarks to his cast, August 31, 1926, box 282, BYU.
12. Various memos from Cecil B. DeMille, August 17 and September 7, 1926, and June 23, 1927, box 262, BYU.
13. Lord, Played by Ear, 58–268.
16. Barrett Kiesling to Will H. Hays, December 17,1926, box 282, BYU. According to Daniel A. Lord, Dorothy Cumming obtained a divorce during the earlydistribution of TheKing of Kings and was effectivelyblacklisted in Hollywood as a result.
17. W.G. Crothers to Cecil B. DeMille, March 9, 1927, box 282, BYU.
18. Text of DeMille’s radioaddress, box 282, BYU.
Chapter 52: The Godless Girl
1. The play was also the basis for the 1942 film Roxie Hart and the 1975 Broadway musicalChicago and its 2002 film adaptation.
2. Among books referred to by Jeanie Macpherson in doingresearch for The Godless Girl, according to records in the DeMille files, were Reformatory Reform by Isaac G. Briggs, The Child, the Clinic and theCourt by acollection of authors, Young Gaol Birds by Charles E.B. Russell, The Young Delinquent by Cyril Burt, The Revolt of Modern Youth by Judge Ben B. Lindsey andWainright Evans, and Judge Baker Foundation Case Studies, Cases 1–20.
3. Charles Beahan to Cecil B. DeMille, September 27, 1927, box 270, BYU.
4. Memo from Gladys Rosson to Cecil B. DeMille Picturescasting director L.M. Goodstadt, October 3, 1927, box 270, BYU.
5. Gladys Rosson to Ella K.Adams, October 25, 1927, box 270, BYU.
6. Telegram from L.M. Goodstadt to Charles Beahan, November 12, 1927, box 270, BYU.
7. Undated letter from E. JasonTemple to Cecil B. DeMille, box 270, BYU.
9. Quack medicine in the 1920s made great claims for therejuvenating effects of various animal glands. In the changeover to sound, talking sequences were added to already completed silent films in hopes ofmaking them more commercial. Such scenes in the part-talkies of the period werecalled “goat gland” sequences.
10. Fritz Feld, interview with author, ca. 1985.
Chapter 53: Dynamite
1. Bickford also describes his lonely arrival in Hollywoodjust before Christmas and his attendance at a Christmas party in DeMille’s bungalowon the M-G-M lot, but since Bickford didn’t leave New York for Los Angelesuntil December 26,1928, one must conclude that events had blurred his memorybetween 1928 and his 1965 autobiography.
2. Draft of letter from Cecil B. DeMille to proposed recipientJ. Stuart Blackton, September 24,1929, Cecil B. DeMille Collection, BYU. Thisletter was prepared in response to Blackton’s charge that Dynamite plagiarized his film, The Glorious Adventure, and may be somewhatself-serving but it offers a glimpse of how DeMille often turned to newspaperarticles for inspiration.
3. Sex Appeal in the Background.
4. Handwritten letter from Carole Lombard to Cecil B. DeMille, undated, box 297, folder 13, BYU.
5. Fred C. Beers to Orville Dull, Irving Thalberg, EddieMannix, Cecil B. DeMille, and J.J. Cohn, March 4, 1929, box 297, BYU.
6. Cecil B. DeMille to Roy Burns, August 9, 1929, box 299, BYU.
Chapter 54: MadamSatan
1. Elsie Janis to Cecil B. DeMille, March 24, 1930, box 299, BYU.
2. Telegrams from Joseph Kennedyto Cecil B. DeMille, and DeMille to Kennedy, December 1929, box 299, BYU.
3. Cecil B. DeMille to FrankJoyce, November 12, 1929, box 300, BYU.
4. Draft of telegram from Cecil B. DeMille to DorothyDalton, February 13, 1930, box 300, BYU.
5. Telegram from Cecil B. DeMille to Robert G. Ritchie, January 16, 1930, box 299, BYU.
6. Roth’s best-selling 1954 autobiography, I’ll Cry Tomorrow, written in collaboration withMike Connolly and Gerold Frank, details her career. The book was made into afilm starring Susan Hayward.
7. Cecil B. DeMille to J.J. Cohn, May 3, 1930, box 299, BYU.
8. Memos from Barrett Riesling to Cecil B. DeMille, ca.August 20, 1930, box 299, BYU.
Chapter 55: The Squaw Man (second remake)
1. SidneyR. Kent became president of Fox Film Corporation after leaving Paramount.
2. Anne Bauchens to Cecil B. DeMille, May 25, 1932, box60, BYU.
Chapter 56: TheSign of the Cross
1. “WORLD GROSSES—estimatedfinal,” November 1932, from Cecil B. DeMille’s files, photocopy inauthor’s collection.
2. Communications between EmanuelCohen and Cecil B. DeMille, box 505, BYU.
3. Memo to Roy Burns, August 11,1932, box 506, BYU.
4. Emanuel Cohen to Cecil B. DeMille, August 19, 1932, box 505, BYU.
5. Excerpts of two memos fromCecil B. DeMille to Mr. Egli, Paramount Casting, September 8, 1932, box 505, BYU.
6. Memo to Paramount casting department, September 12,1932, box 505, BYU.
7. Memo from Cecil B. DeMille toFred Leahy, August 16,1932, box 505, BYU.
8. In a memo to Cecil B. DeMille, September 28, 1932, Albert Kaufman suggested that all of Joyzelle Joyner’sdialogue be re-recorded by another actress (box 505, BYU).
9. Memo from Cecil B. DeMille toSam Katz, September 19, 1932, box 505, BYU.
10. Sam Katz to Cecil B. DeMille, October 7, 1932, box 505, BYU.
11. Cecil B. DeMille to Sam Katz, October 7, 1932, box 505, BYU.
12. Undated memorandum written byJames Wingate in the Sign of the Cross filein the M.P.A.A. Production Code Administration Collection, Academy Library, Beverly Hills, California.
13. Christian F. Reisner to A.L.Selig, October 3, 1932, in The Sign of the Cross filein the M.P.A.A. Production Code Administration Collection, Academy Library, Beverly Hills, California.
14. Telegram from Adolph Zukor toCecil B. DeMille, November 14,1932, box 505, BYU.
15. DeMille shot the World War IIprologue for The Sign of the Cross, which takes place largely in abomber flying over Germany, on a Paramount sound stage from March 20 to March25, 1944, at a reported cost of $125,000.
Chapter 57: ThisDay and Age
1. Cecil B. DeMille to JohnFlinn, November 14, 1932, box 505, BYU.
2. Cecil B. DeMille to JohnFlinn, November 14, 1932, box 505, BYU; Cecil B. DeMille to Adolph Zukor, November 14, 1932, box 505, BYU.
3. Notes from Horace Hahn toCecil B. DeMille, May 12, 1933, box 505, BYU.
4. Fred Datig to Cecil B. DeMille, April 4, 1933, box 505, BYU.
5. Phil Berg to Cecil B. DeMille, May 10, 1933, box 505, BYU.
6. Los Angeles Times, July 13, 1933, clipping in theJudith Allen biography file at the Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills, California.
7. Bill Cunningham, “’Sonny’Spent Riches on Wife,” Boston Post, July 15, 1933.
8. In later years, Judith Allenclaimed that Paramount knew of her marriage, that she kept it quiet at the studio’s insistence, and that she had just done what she was told. She alsoclaimed that she was cast in a later DeMille film, only to arrive on the setthe first day of shooting to learn that she had been fired.
9. DeMille office memos, July 20,1933, and July 22, 1933, box 505, BYU.
Chapter 58: FourFrightened People
1. Russell Holman will be familiar to collectors of “Photoplay Edition” noveliza-tions as the adapter of such films as Speedy, The Freshman, TheFleet’s In!, The Love Parade, Cobra, The Cheat (1923), and Manhandled.
2. Memo from Emily Barrye to Milo Anderson, September 15,1933, box 513, BYU.
3. Memo from Karl Struss to Cecil B. DeMille, September22, 1933, box 513, BYU.
4. Memo from Emily Barrye per Cecil B. DeMille to RoyBurns, September 26, 1933, box 513, BYU.
5. Memo from Emily Barrye to “Hezie” Tate andJimmie Dugan, October 1, 1933, box 513, BYU.
6. Hau (Hibiscus tiliaceus): Curved soft wood used to makeoutriggers for Hawaiian canoes. In one sequence the Four Frightened People make their way through atortuous entanglement of these twisted plants.
7. Memo from Emily Barrye to Roy Burns, November 15, 1933, box 513, BYU.
8. Memo from Emily Barrye perCecil B. DeMille to Roy Burns, September 29, 1933, box 513, BYU.
9. Postproductionschedule, box 513, BYU.
10. Undated copy of telegram fromCecil B. DeMille to Albert Kaufman, box 513, BYU.
11. Draft of telegram from Cecil B. DeMille to Emanuel Cohen, December 18, 1933, box 513, BYU.
12. Telegram from Bartlett Cormackto Cecil B. DeMille, December 21, 1933, box 513, BYU.
13. Draft of telegram from Cecil B. DeMille to James Wingate, December 29, 1933, box 513, BYU.
14. When Four Frightened People was sold to televison in theearly 1960s, these offending frames were physically spliced out of all the 16mmTV prints.
Chapter 59: Cleopatra
1. HildegardeMerta to Cecil B. DeMille, February 10,1938, and Frank Calvin to Hildegarde Merta, February 16, 1938, box 514, BYU. DeMille associate David MacDonald headed the research team on Cleopatra. Colbert’s measurements were reported to DeMille’s office on January 16, 1934.
2. Cecil B. DeMille to Agnes deMille, March 6, 1934, box519, BYU.
3. Undatedhandwritten note from Albert Kaufman to Cecil B. DeMille in response to a November 22, 1933, memo from DeMille, box 515, BYU.
4. Al Kaufman to Cecil B. DeMille, December 8, 1933, box 515, BYU.
5. George M. Arthur to Cecil B. DeMille, February 13, 1934, box 515, BYU.
6. The 1917 Cleopatra is considered one of the tenlost films that are most anxiously sought by the American Film Institute. Today only a few seconds of Theda Bara’s Cleopatraare knownto survive.
7. Emily Barrye to Cecil B. DeMille, March 1 and March 8,1934, box 515, BYU.
8. Cleopatra daily production reports, box516, BYU.
9. Cecil B. DeMille to FredLeahy, April 26, 1934, box 516, BYU.
10. Albertina Rasch choreographeda number of Broadway shows, including Rio Rita, Three Musketeers, and The Band Wagon. She also created balletic setpieces for such films as The Merry Widow (M-G-M, 1934) and Rosalie (M-G-M, 1937).
11. Telegram from Cecil B. DeMilleto Anna George deMille [mother of Agnes deMille], March 5, 1934, box 516, BYU.
12. Night letter from Cecil B. DeMille to Agnes DeMille [via her agent, Mr. Graham], March 2, 1934, box 516, BYU.
13. Cecil B. DeMille to AgnesDeMille, March 6, 1934 [excerpted and rearranged], box 519, BYU. The work ofFrench illustrator Edmund Dulac (1882–1953), who was best known for a series ofpre-World-War-I, deluxe illustrated editions of literary classics like The Tempest (1908). The Rubaiyat of Omar Khayyam (1909), and The Sleeping Beauty and OtherTales (1910), was a strong influence on DeMille’s sense of costume, decor, and staging.
14. Memo from Agnes deMille toRudolph Kopp, March 28, 1934, box 519, BYU.
15. Memo from Florence Cole to TomBaily, April 4, 1934, box 516, BYU.
16. Keith had left Hollywood aftershooting Cleopatrato tour ina play.
17. Memo from Emily Barrye toRudolph Kopp, June 4, 1934, box 516, BYU.
18. Memo from Cecil B. DeMille toRudolph Kopp, June 9,1934, box 516, BYU.
19. Telegram from Cecil B. DeMilleto [?], August 17, 1934, box 516, BYU.
Chapter 60: TheCrusades
1. Harold Lamb, draft of letter answering questions aboutscript for TheCrusades, August24, 1935, box 519, BYU.
2. Transcription of January 7, 1935, Crusades production meeting, Box 520, BYU. The rough transcript of this conversation runs thirty-two typewrittenlegal-sized pages. I have edited and condensed it to an essence of the wide-ranging discussion, and added punctuation tomake the text more comprehensible. Emanuel Cohen was Paramount’s head ofproduction. E. Lloyd Sheldon and Benjamin Glazer were Paramount producers withbackgrounds as writers. Jeff Lazarus was chairman of Paramount’s editorialboard.
3.The “piece of wood ” DeMille refers to is the “True Cross” supposedly residing in the Cityof Acre during the Third Crusade.
4. Casting notes, December 6,1934, box 515, BYU; and memo from Emily Barrye to Fred Datig, December 10,1934, box 519, BYU.
5. Florence Cole to Cecil B. DeMille, September 25, 1934, box 518, BYU.
6. Fred Datig to Cecil B. DeMille, October 27, 1934, box 519, BYU.
7. Fred Datig to Cecil B. DeMille, undated, box 519, BYU.
8. Cecil B. DeMille to HobartBosworth, July 19, 1934, box 519, BYU.
9. Early draft script of Hollywood Extra Girl April 22, 1935, box 519, BYU.
10. Cecil B. DeMille to Roy Bums, September 26, 1934, box 519, BYU.
11. Emily Barrye to Roy Bums andEmily Barrye to George Hippard, David MacDonald, Holly Morse, and Joe Egli, February 14, 1935, box 519, BYU. Future star Ann Sheridan played an unbilledbit as a woman who kisses a cross before being sold into slavery. The attentionshe gained in the slave market scene earned her a featured bit in Hollywood Extra Girl, a production short detailingthe making of The Crusades. The unidentified “Jewish comedian” playing the auctioneer was replaced by J. Carroll Naish.
12. The Crusades daily production schedules, box 520, BYU.
13. Cecil B. DeMille to Roy Bums, April 4, 1935, box 519, BYU.
14. Emily Barrye to Roy Bums, etal., April 11, 1935, box 520, BYU.
15. Cecil B. DeMille to AnneBauchens, April 13, 1935, box 520, BYU.
16. Cecil B. DeMille, Autobiography, 344.
17. Overseas report from the Paramount office in France, April 16, 1936, box 521, folder 3, BYU.
18. Cost, loss, and territorialfigures from Producer’s Settlement Statement prepared by Paramount for Cecil B. DeMille Productions, Inc., as of March 31, 1951, box 751, BYU.
Chapter 6l: ThePlainsman
1. Figures were reported as ofMay 1936. Copy in collection of Karl Thiede.
2. The Big Trail and Billy the Kid were unequivocal flops. Cimarron was popular with audiences andgrossed $1,383,000, but the picture cost $1,433,000 and showed a loss on RKO’sbooks of $565,000.
3. Information from memos by Jeanie Macpherson, September 23, 1935, and Emily Barrye, April 30, 1936, box526, BYU.
4. Undatedcasting suggestions for The Plainsman, box 526, BYU.
5. Transcribed interview betweenpublicist Ann Del Valle and Cecil B. DeMille, October 30, 1958, box 528, BYU.
6. Frank Lloyd to Cecil B. DeMille, August 3, 1936, box 526, BYU.
7. Telegram from Cecil B. DeMilleto Arthur Rosson, June 20, 1936, box 527, BYU.
8. Cecil B. DeMille to Constance DeMille, November 24, 1936, box 526, BYU.
9.Previewcard returned by Fred Wendt, November 27, 1936, box 527, BYU.
10. EverettR. Cunnings to Robert Gillham, December 9, 1936, box 527, BYU.
Chapter 62: The Buccaneer
1. Hugh Wiley to Cecil B. DeMille, December 11, 1924, box 535, BYU.
2. Cecil B. DeMille to HughWiley, May 7, 1925, box 535, BYU.
3. Note on Bartlett Cormack’sdraft of June 16, 1934, box 533, BYU.
4. Cecil B. DeMille, dictated notes intended for attorneyJack Karp, May 6,1938, box 535, BYU. All of the subsequent narrative by DeMilleregarding the development of the screenplay for The Buccaneer derive from this document.
5. Such rules were instigated by the Hays office to avoidsituations such as DeMille had experienced in 1915 when his version of Carmen competed with a separate versionmade by the Fox Film Corporation.
6. Memo from Dixie Davis to Florence Cole, April 28, 1937, box 533, BYU. Dominique You was an historic character who died November 15,1830. DeMille borrowed “Mr. Peavey,” another comic relief characterin The Buccaneer, from his brother William C. deMille’s play The Warrens ofVirginia.
7. Director Ernst Lubitsch was appointed to replaceEmanuel Cohen as head of production at Paramount in 1935 when Cohen was firedfor signing several Paramount players to personal service contracts, ignoringhis responsibilities to the company. The choice of Lubitsch seems an odd one.Although his pictures were highly regarded for their artistic merits and theso-called “Lubitsch touch,” virtually all of Lubitsch’s films, withrare exceptions like Ninotchka (M-G-M, 1939) and To Be Or Not To Be (United Artists, 1942), werebox-office flops. Lubitsch returned to directing in 1936.
8. Cecil B. DeMille quoted in British press book for The Buccaneer, in author’s collection.
9. Telegram from unnamed still photographer to Cecil B. DeMille’s office, July 24, 1937, box 534, folder 1, BYU.
10. Telegramfrom Cecil B. DeMille to William Pine, July 28, 1937, box 533, BYU.
Chapter 63: UnionPacific
1. 20th Century-Fox released Hudson’s Bay in 1940.
2. Joel McCrea to Cecil B. DeMille, July 1, 1938, box 546, BYU.
3. Cecil B. DeMille to ClaudetteColbert, August 14, 1938, box 546, BYU.
4. DeMille, Autobiography, 364–65.
5. Lane Chandler to Cecil B. DeMille, November 7, 1938, box 546, BYU.
6. Mabel Van Buren Gordon toCecil B. DeMille, October 13, 1938, box 546, BYU.
7. Gladys Rosson to Joe Egli, October 15, 1938, box 546, BYU.
8. Gladys Rosson to Frank Calvin, September 16, 1939, box 546, BYU.
9. Anne Bauchens to Cecil B. DeMille, April 22, 1939, box 548, BYU.
10. DeMille was referring to the then-common practice of theaters leaving the color-tinted curtain lights up as the curtain opened and the house lightsdimmed during a film’s opening titles.
11. National Box Office Digest 9, no. 13 (May 8, 1939): 7.
12. National Box Office Digest 9, no. 14 (May 22, 1939): 5.
Chapter 64: NorthWest Mounted Police
1. North West Mounted Police budget estimate, box 561, folder 4, BYU.
2. Memo from Art Rosson to Cecil B. DeMille, January 25,1940, box 561, folder 9, BYU.
3. Gladys Rosson to Cecil B. DeMille, January 25,1940, box 561, folder 2, BYU.
Chapter 65: Reapthe Wild Wind
1. DeMille, Autobiography, 355–56.
2. Job description dated August14, 1942, box 586, folder 5, BYU.
3. Transcriptionof first production meeting for Reap the Wild Wind, September 13, 1940, box 571, folder 11, BYU.
4. Memofrom William Meiklejohn to Jack Karp, April 10,1941, box 571, BYU.
5. Rough transcript of phone conversation between BillPine and DeMille’s office, December 6, 1940, box 571, folder 6, BYU.
6. Rough transcript of phone conversation between Cecil B. DeMille and Bill Pine, December 6, 1940, box 571, folder 6, BYU.
7. John Wayne to Leo Morrison (passed on to DeMille’scasting director Joe Egli on April 8, 1941, and later shared with DeMille), box571, folder 11, BYU. Wayne included two pages of specific, but rather minorsuggestions for script revisions.
8. Gladys Rosson to Cecil B. DeMille, December 20, 1941, box 572, BYU.
9. Handwrittenpostcard from “A Movie Fan” to Mr. DeMille, July 13,1942, box573, folder 18, BYU.
10. Neil Agnew to Barney Balaban, Y.F. Freeman, and C.B. DeMille, February 18, 1944, box 571, folder 11, BYU.
Chapter 66: The Story of Dr. Wassell
1. Copy of telegram from Y. FrankFreeman and Cecil B. DeMille to Stephen Early, April 28, 1942, box 587, folder 1, BYU.
2.Corydon Wassell died on May 12, 1958, at age seventy-four.
3. Laraine Day to author, 2003. DeMille was notoriously averse to dealing with agents, which may have had something to do with his rather harsh judgment at the time.
4. Eddie Salven to Cecil B. DeMille, February 26,1943, box 587, folder 4, BYU.
5. Eddie Salven to Cecil B. DeMille, March 3, 1943, box 587, folder 4, BYU.
6. Eddie Salven to Cecil B. DeMille, April 21, 1943, box 587, folder 4, BYU.
7. Eddie Salven to Cecil B. DeMille, June 9, 1943, box 587, folder 4, BYU.
8. Dialogue supervisor EdwinMaxwell and dialogue director Arthur Pierson would have conducted these rehearsals.
9. George Mitchell inconversation with author, ca. 1990.
10. GladysRosson reporting comments of J.H. Rosenberg, Vice-president Bank of America, Los Angeles Main office, to Cecil B. DeMille, May 19,1942, box 587, BYU.
11. Gladys Rosson to Cecil B. DeMille, July 9, 1942, box587, BYU.
Chapter 67: Unconquered
1. DeMille, Autobiography, 384–88. The Lux Radio Theatre continued on the air for another ten years, first with director William Keighley (1945–52) and thendirector Irving Cummings (1952–55) as hosts.
2. Sidney Biddell to George Brown, March 23, 1945, box600, folder 3, BYU. Norman Reilly Raine did not receive screen credit on Unconquered and is listed only as anadditional writer in DeMille’s log of credits. Swanson’s novel was to be basedon the first-draft screenplay that Raine was expected to finish in June 1945.Swanson’s TheJudas Tree was also to be drawn upon in writing the new novel, but all character names, exceptfor historical figures, were to be changed.
3. Transcript of production meeting, April 26, 1945, box602, folder 7, BYU. In attendance were DeMille, Sidney Biddell, Roy Burns, Kenny DeLand, Farciot Edouart, Gordon Jennings, Walter Tyler, and Arthur Rosson.
4. Jesse L. Lasky Jr., Whatever Happened toHollywood?, 197’. Lasky misremembers the incidents he describes as having taken place during thewriting of North WestMounted Police.
5. DeMille, Autobiography, 398.
6. DeMille’s granddaughter, Cecilia Presley, recalled the reaction of the audience in an interview with the author. She said DeMille was aware the scene needed additional work but that he ultimately lost patience with trying to fix it.
Chapter 68: Samson and Delilah
1. Thisand following comments by DeMille ballyhooing Samson and Delilah come froman undated article under DeMille’s byline titled “Binding Samson with Film” in an unattributed publication, box 628, folder 12, BYU.
2. DeMille, “Binding Samsonwith Film."
3. Transcript of a phone callfrom Cecil B. DeMille to Russell Holman, April 4, 1948, box 618, BYU.
4. William Meiklejohn to Cecil B. DeMille, April 20, 1948, box 618, BYU.
5. Transcript of Cecil B. DeMille’s comments regardingNancy Olson’s audition, May 6, 1948, box 618, BYU.
6. Transcript of Cecil B. DeMille’s comments regardingNancy Olson after viewing her screen test, undated, BYU box 618, BYU.
7. Transcript of Cecil B. DeMille’s comments regardingSteve Reeves, February 12, 1948, box 618, BYU.
8. Transcript of Cecil B. DeMille’s comments regardingSteve Reeves, March 9, 1948, box 618, BYU.
9. Transcript of Cecil B. DeMille’s comments regardingVictor Mature, undated 1948, box 621, BYU.
10. Cecil B. DeMille to assistantdirector Eddie Salven, September 24,1948, box 618, folder 6, BYU. William Farnum, brother of Squaw Man star Dustin Farnum, gained screen fame with his brutal fight scene in The Spoilers (Selig Polyscope, 1914), and was noted for fight scenes in later pictures. Cowboy stuntman TedFrench fought with Farnum on-screen and commented, “That old boy, when he put ona fight you’d better have yourhands up, because he was in there to make pictures and to make it look good andto see that he didn’t get hurt."
11.Ralph Jester to Cecil B. DeMille, ca. August 28, 1948, and Cecil B. DeMille to Ralph Jester, August 31,1948, box 622, folder 4, BYU.
12. Telegram from Kathleen Key toCecil B. DeMille, December 20, 1948, box 618, BYU.
13. Virginia [last name omitted]to Cecil B. DeMille, December 31, 1948, box 618, folder 5, BYU. Morton hadstarred in F.W. Murnau’s 4 Devils (Fox, 1928) and was William Gargan’s stand-in onDeMille’s FourFrightened People.
14. Memo from Berenice Mosk toGordon Jennings, Bob Osborne, Roy Burns, Eddie Salven, and Phil Koury, box 623, folder 9, BYU.
15. Cecil B. DeMille to FlorenceCole, box 622, folder 1, BYU.
16. Transcript of Cecil B. DeMille’s phone conversation with Dave Cockrill, box 622, folder 1, BYU.
17. New York Times, January 8, 1950.
Chapter 69: TheGreatest Show on Earth
1. Gladys Rosson to Cecil B. DeMille, July 16, 1946, box600, folder 9, BYU.
2. “The Battle of WarnerBros.” occurred in October 1945 during a lengthy strike by the Conferenceof Studio Unions.
3. These figures come from anuntitled 1953 film the motion picture industry made to show members of Congressin a campaign to repeal the 20 percent federal excise tax on theater admissionsthen in place.
4. The “Hollywood Ten, ” a group of writers and directors sentenced to federal prison terms for contemptof Congress and alleged Communist ties, included Alvah Bessie, HerbertBiberman, Lester Cole, Edward Dmytryk, Ring Lardner Jr., John Howard Lawson, Albert Maltz, Samuel Ornitz, Adrian Scott, and Dalton Trumbo. DeMille alsoemployed Albert Maltz as a writer on the aborted project called The Flame (a.k.a. Rurales).
5. Al Rogell to author, ca. 1981.
6. The Taft-Hartley Labor Actactually made it illegal for unions to suspend members for failing to paypolitical assessments, but the law was not retroactive, and the union refused to lift the suspension it had placed on DeMille.
7. The Screen Directors GuildBoard at this time included Seymour Berns, Claude Binyon, Frank Borzage, Clarence Brown, David Butler, Merian C. Cooper, Cecil B. DeMille, HarveyDwight, John Ford, Tay Garnett, Walter Lang, Frank MacDonald, John F. Murphy, Mark Robson, William Seiter, Richard Wallace, and John Waters. Al Rogell servedas First Vice President, and Lesley Selander was Second Vice President. SeeScott Eyman, Print the Legend—The Life and Times ofJohn Ford, 377–86, for a fuller account of the Screen Directors Guild proceedings in this matter.
8. Eyman, Print the Legend, 382.
9. Ronald L. Davis, Duke, the Life and Image of John Wayne (Norman, Oklahoma: University of Oklahoma Press, 1998), quoted in Eyman, Print the Legend, 386.
10. Theaffiliated trade names included the Al G. Barnes Amusement Company, Sells Floto Circus Company, Sparks Circus Company, Hagenbeck-Wallace Shows Company, and John Robinson Shows Company, which had been acquired by the Ringling organization through the years.
11.Contract amendment datedSeptember 19, 1950, box 643, BYU.
12. Transcript of DeMille’scomments regarding Charlton Heston’s screen tests, June 6, 1950, box 646, BYU.
13. Transcript of DeMille’scomments regarding Charlton Heston after seeing Dark City, July 19, 1950, box 646, BYU.
14. Transcript of DeMille’scomments regarding Charlton Heston’s performance in Of Human Bondage, October 6, 1950, box 646, BYU.
15. Contract summary, box 642, BYU.
16. Undated draft of form letterreplying to actors looking for extra work on The Greatest Show on Earth, box 642, BYU.
17. For a harrowing account of theHartford fire and its aftermath see Stewart O’Nan, The Circus Fire.
18. Transcript of phoneconversation between Stanley Goldsmith and Henry Wilcoxon, January 4, 1951, box644, folder 17, BYU.
19. Excerpted from a transcriptionof an October 23, 1951, meeting, box 646, folder 3, BYU. Ultimately, Paramountchose not to hold the picture for a July release.
20. DeMille’s films received anumber of Academy Award nominations in various categories through the years, but won only the following Oscars: Victor Milner, A.S.C, Best Cinematographyfor Cleopatra (1934);Anne Bauchens, Best Film Editing for North West Mounted Police (1940); Farciot Edouart, Gordon Jennings, William L. Pereira, and Louis Mesenkop, Best Special Effectsfor Reapthe Wild Wind (1942); Hans Dreier, Walter Tyler, Sam Comer, and Ray Moyer, Best ColorArt Direction for Samson and Delilah (1950); Edith Head, DorothyJeakins, Elois Jenssen, Gile Steele and Gwen Wakeling, Best Color CostumeDesign for Samson and Delilah, and Fredric M. Frank, Theodore St. John, and Frank Cavett, Best Motion Picture Story for The Greatest Show on Earth (1952).
Chapter70: The Ten Commandments
1. TheHoly Scriptures referred to in the titles include the Koran as well as the Bible.
2. Cecil B. DeMille, introduction to Henry S. Noerdlinger,Moses andEgypt, 2.
3. Noerdlinger, Moses and Egypt, 8–9. For a recent and morethorough examination of biblical archaeology, see Israel Finkelstein and Neil Asher Silberman, The Bible Unearthed.
5. Cecilia Presley to author,2002.
6. DeMille was so pleased withBrynner’s performance that on June 23,1955, he agreed to eliminate the two free weeks and to pay Brynner $7,500 per week for the two weeks.
7. Rufus Blair to Art Arthur, October 21,1954, photocopyin author’s collection.
8. Cecil B. DeMille to Y. FrankFreeman, October 30,1954, photocopy in author’s ollection.
9. Anne Edwards, The DeMilles: An American Family.
10. DeMille, Autobiography, 430.
11. Cecilia Presley to author,2002.
12. Eddie Fisher, with DavidFisher, BeenThere, Done That. Eddie Fisher made his first visit to Max Jacobson onApril 17, 1953.
13. “On April 25,1975, aftermore than two years of hearings and 5,000 pages of testimony, the New YorkState Board of Regents revoked Max Jacobson’s medical license. He was foundguilty on 48 counts of unprofessional conduct in 11 specifications, and anadditional count of fraud” (St. Louis Post-Dispatch, June 18,1989).
14. Henry Wilcoxon to Chico Day, February 9,1955, box 675, BYU. The Court Jester starred comedian Danny Kaye.
15. Bud Brill to Henry Wilcoxon, February 11, 1955, box 675, folder 8, BYU.
16. Cecilia DeMille Presley toauthor, 2002.
17. ’An Interested Viewer” toCecil B. DeMille, undated, box 675, BYU.
18. Edward G. Robinson, with Leonard Spigelgass, All My Yesterdays, 272. DeMille also hired otherswho had been threatened with blacklisting, including Elmer Bernstein, OliveDeering, and Nina Foch.
19. Cecilia Presley to author,2002.
20. Charlton Heston, In the Arena, 142–43.
21. Richard Gilden to author,2002.
22. Victor Young would die onNovember 10, 1956.
23. Elmer Bernstein, “TheDeMille Legend,” quoted in Gabe Essoe and Raymond Lee, DeMille: The Man and His pictures, 279–80.
24. It won only Best SpecialEffects.
25. Bernstein, “The DeMilleLegend,” 278–79.
26. The barn had been moved from the old Lasky studio location at Selma Avenue and Vine Street to the newParamount studio on Marathon Street in 1926. In 1985 the barn was moved to itspresent location at 2100 North Highland Avenue and is maintained and operatedas the Hollywood Heritage Museum by Hollywood Heritage, Inc.
27. Jerry Hartleben to author, ca.1980.
28. Journal of the Screen Producers Guild 4, no. 1 (February 1956).