333
HOLLYWOOD, THE DREAM FACTORY
INDEX - pages 333-342
Abbott and Costello, 325-326
Accounting in movie industry, 87-90
Acting, art of, analyzed, 205-207; emphasis on exhibitionism,
207; compulsion to act, 207-208; egocentric nature Of, 208; movie
and stage, 215-216
Actors, relationship of, with directors, 29, 30, 219-225; with
producers, 30; lack of planned training for, 33; stereotyping
of, 42, 251, 254, 265-266; as property, 84, 113; exhibitionism
of, 205-207, 264-265; status and income of, 209-210; character
of, 209-210, 212-213, 266; factors in work and life of, 210; and
contracts, 210-211, 215; problem of roles for, 211-214; loaning
of, 214-215; at rehearsals, 217, 300-301; reaction of, to lack
of audience, 218-219; lack of individuality of, 225-226; and agent
relations, 238-240, 256-258; attitude of, toward executives, 254-256;
and their opinion of writers, 258; and their resentment of publicity
men, 258-261, 265; relations of, with business managers, 261-262;
power of technical crew over, 262-263; intensity of reactions
to, 263-266; individual, described, 266-278; personal lives of,
278-279; life and career summarized, 279-280; problem of creativity
of, 291-295. See also Starlets, Stars
Actors' directors, 192-193- See also Directors
Actors' Guild, 6, 85
Actor's Laboratory, Los Angeles, 20
Adaptation of novel or play, 153
Agents, 29; role of, 84, 256-258; publicity, 238-240
Aggression, problem of, in contemporary society, 325
Alice is Wonderland (Carroll) cited, 99
All the King's Men, 209
American Film Festival, 300
Animism, 281-282; inverted, in Hollywood thinking, 282-283
Antitrust suits, 48
Anxieties, movies as escape from, 12-13; in contemporary life,
308, 311-312; in present-day Hollywood, 308-310, 327-328
Arbuckle, "Fatty," 55-56
Arch of Triumph, 252
Arden, Eve, 20
Aristocracy, new, of Hollywood, 278
Art, influence of background and system of production in, 3; and
conflict with business, in movie industry~ 25-29. See also Artists
Art theaters, 297-298
Artists, problem of creativity for, 291-295; concept of unimportance
of, 214-217
Assembly Line, production as, 23, 30-31, 53
Attitudes, influence of magical thinking on, 284-285
Auden, W. H, quoted, 307
Audience, influence of, on production, 36; changing standards
and
attitudes of, 45, 109-110, 297-299; problem of actor and, 218-219,
polls of, in determination of taste, 285
Authority. See Power
Autographs; of Stars, 249
334
Bacall, Lauren, 212, 248
Bank of America, and financing of films, 51-52
Basic Motion Picture Techniques, 45
Baxter, Anne, 71
Beauty contests, 231
Beery, Wallace, 229
Behavior, influence of magical thinking on, 284-285; manipulation
of, 326
Bel-Air, 18, 19
Bell, Alexander Graham, 317
Benedict, Ruth, quoted on mechanistic theory of universe, 281-282
Bergman, Ingrid, 229, 250, 252
Bergman, Maurice, quoted on atmosphere of crisis, 31-31
Berlin, Irving, 315
Best Year of Our Lives, 27, 41, 62, 69, 71, 79
Beverly Hills, 18, 19, 35
Big Sleep, The, 324
Bigamy, Code taboos on, 61-62
Biltmore Theater, Los Angeles, 20
Blair, Betsy, 23
Block-booking, 48-49
Board of Trade of Boston Book Merchants, 70
Body and Soul, 40
Bogart, Humphrey, 209, 248
Brains, waste of, in Hollywood, 286, 303-306
Breaks. See Gambling, Luck
Breen, Joseph, Production Code Administrator, 36
Bribe, The, 75-77
Bride by Mistake, 241
Bride Goes Wild, The, 300
Brinkman, Paul, 24
Bryce, Lord, description of political boss quoted, 83
Buchman, Sidney, quoted on A Song to Remember, 43
Buck Private Comes Home, The, 325-326
Budget director, 130
Business conflicting with art in movie industry, 25-29
Business managers for actors, 261-262
Business practice of executives, 91-93
Butterfield, Roger, quoted on themes of American life,313
Cagney, James, 252
Cameramen, 27, 30
Canby, Henry Seidel, quoted on vulgarity, 77
Capital, tangible and intangible, 51
Capra, Frank, quoted on production on location, 20
Carnegie, Dale, 12
Carpenters, see Technicians
Carroll, Lewis, cited, 99
Cass Timberlane, 41
Casting, control of, 191; type, 207, 211, 214, 247, 20; of older
people, 298-299
Catholic Legion of Decency, see National Legion of Decency
Censorship controlling influence of, 35-36; fear of, as basis
of taboos, 55-56; state, threat of, 68; Hollywood attitude toward,
310-311; Of ideas in books and magazines, 321. See also Production
Code Administration
Champion, 46
Chaplin, Charlie, 79, 248, 315
Character actors. 209-210, 212-213, 266. See also Actors
Characterization in novel and movie, 173
Cheesecake clause in contracts, 73
Childbirth, Code taboos on, 61
Cinema, 16, 45
Citizen News, Hollywood, cited on sale of horses, 105
Clift, Montgomery, 253
Code. See Censorship, Production Code Administration, Taboos
Colbert, Claudette, 229
Collaboration in production of movies, 29, 287-289; lack of esprit
de corps, 295-20. See also Relationships
Columnists, 30, 249
Command Decision, 300
Companionship, illusion of, in present-day life, 307-308
335
Compensations in making of movies, 37-38
Competition among studios, 24-25, 29-30
Contacts, see Relationships
Contracts, of guild with studio, 34-35; as source of executive
owner, 84-85; of producers, 113; Of directors, 191; Of actors,
210-211, 215
Controls, influence of, 34-37. - See also Taboos
Cooper, Gary, 229
Coronet Theater, Los Angeles, 20
Crain, Jeanne, 24, 248
Creativity, artist's and Hollywood's concepts of, 286-287; collaboration
in, 287-289; problem Of, 291-295; mechanization of, 319
Credits, award and arbitration of, 154-155, 159, 160--161
Crime, taboos on, 63-64; ineffectiveness of taboos, 74-77
Crisis, atmosphere of, 31-33
Crosby, Bing, 209, 229, 230, 248, 249
Crossfire, 41, 79
Cultural lag, 28
Cultural life in Hollywood, 20-22
Culture, conflict in American, 28-29
Cutting, 30, 44, 185-186, 189-190
Cycles, 42
Data, collection of, 3-10; analysis of, 10-11
Davis, Bette, 209, 212, 248, 252
Day, Larraine, 240-241
Death of a Salesman, The, 72
Declaration of Independence, 313, 320
De Havilland. , Olivia, 23, 211
Department of Justice, Anti-Trust Division, investigation of three-way
control of movie industry, 48-49, 51
Derek, John, 23
Dewey, John, 321
Directors, 30; relationship of, with actors, 29, 30, 219-125;
relationship of, with producers, 30, 190-191; lack of planned
training for, 33; relationship of, with writers, 160; role and
problems of, 185-189, 191-192; struggle for control of cutting
of, 189~190; casting difficulties of, 191; varying of, 192-193;
ability and limitations of, 193-194; individual, described 194-201;
characteristics of prestige group of, 201-202, 219, 223-224; pivotal
position of, 202-204; problem of creativity of, 291-295
Directors' Guild, 190
Disney. Walt, 315
Distribution, and three-way control with production and exhibition,
48-49; relationship with production of, 49-50; control Of, 51
Divination, use of polls as, 285
Dougherty, Cardinal, ultimatum on Forever Amber, 69
Duel in the Sun, 41, 62
Durbin, Deanna, 209, 300
Durocher, Leo, 240
Easter Parade, 42
Economy wave, 300-302
Edison, Thomas A., 317
Education, entertainment as, 14; conflict of freedom and conformity
in, 321
Electricians See Technicians
Emperor Waltz, 42
Entertainment, 14
Escape movies as form of, 12-13
Esprit de corps, lack of, 295-296
Estate, Hollywood, 19
Executive front-office, 29; power of, 82-87; salaries and bonuses
of, 87- 88, 90-91; inefficiency and wastefulness of, 91-94; reliance
on "instinct" Of, 92-93, 95, 110, 286-287; and fear
of failure and losses, 94-97; and anxieties and jealousies, 97-98;
and frenzied tempo of life, 98-99; individual, described, 100-108;
estimate of, 108-110; relationship of, with writers, 160, 161;
attitude of, toward actors, 254-256; and belief in own omnipotence,
289-290
Exhibition, and three-way control with production and distribution,
48-49
336
Exhibitionism of actors, 205-207, 264-265
Exhibitors, relationship with producers of, 49-50
Experts, position of. 27; employment of, in script writing, 154
Family Life, normal, in Hollywood, 23-24; trends in, 321-322
Fan clubs, 249
Fan Magazines, 249
Farmer's Daughter, The, 79
Fascism, see Totalitarianism
Fear. See Anxieties
Federal Trade commission, and investigation of three-way control
of movie industry, 48
Financing of motion-picture industry, 51-52
Finds, reliance On, 33
First names, use of, 19
Fitzgerald, Barry, 253
Flynn, Errol, 209, 249--250
Ford, Henry, 317
Foreign, movies, 297-298
Forever Amber, 42, 69-70, 94
Formulas, adherence to, 40-42, 47; and star system, 228-229, 251-253
Fortune cited, 90
Freedom, meaning of, 320-321
Friendships, impermanence of, 30
Fromm, Erich, theory of "individuation," 319, 320
Gable, Clark, 229
Gambling, attitude of, in production, 37; as means of holding
job, 115; as way of life in Hollywood, 289-291 Gangelin, Paul,
suggestion for profit-sharing system, 176
Garbo, Greta, 187
Gardner, Ava, 75-76
Garland, Judy, 229
Gentleman's Agreement, 42, 79
Gershwin, George, 315
Gimmicks, 151-152
Ginsberg, Henry, quoted on cost-consciousness, 301
Girl from Jones Brach, 212
Goals. See Values
Goldwyn, Samuel, quoted on profit-sharing system for writers,
176
Gossip columns, 30, 249
Grable, Betty, 209
Grant, Cary, 252
Greenson, Dr. Ralph R, quoted on gambling, 289
Guilds, contracts with studios, 34-35- See also individual guilds
by name
Haver, June, 23
Hawthorne, Nathaniel, 267
Hays, Will, 56, 57
Hays Office. See Production Code Administration
Hayward, Susan, 248
Hayworth, Rita, 209, 250
Hepburn, Katharine, 248
Hider, Adolf, 100, 328
Hobbies, interest in, 105, 278
Hodiak, John, 75, 76
Holiday, 300
Hollywood, symbolic character of, 16-17; Sex as Symbol Of, 16-17,
22-24; money as symbol of, 16-17, 24; domination of Los Angeles
of, 17, 18; social implications or location of, 17-18; atmosphere
of, 18-20; cultural and social life Of, 20-22; characteristics
of social structure summarized, 38
Hollywood Reporter, quoted on pictures for entertainment, 25-26;
gossip column, 30; quoted on exhibits, 50
Hollywood Review, quoted on showmen in movie industry, 92
Home of the Brave, 41, 79, 329
Homes, Hollywood myth of, 18-19
Hope, Bob, 229
Houseman, John, quoted on violence in films, 324
"How Films Teach History," 300
How to Stop Worrying and Start Living (Carnegie), 12
How to Win Friends and Influence People (Carnegie), 326
337
Hughes. Rupert, quoted on Hollywood three hundred years hence,
22
Human beings, stereotyping of, 72-73
I Married a Communist, 41
I Remember Mama, 190
Identification, with movie characters, 74
Impersonality, in relationships, 29
Income, in determination of status, 19-See also Salaries
Independent producers, 25, 50-50
Individuality, problem of, 319-321- See also Totalitarianism
Industrial Revolution, 185, 317
Insecurity, atmosphere of, 36-37, 94-99, 113, 295, 302-303, 327-328.
See also Gambling
"Instinct," reliance on, by executives, 92-93, 95, 110,
286-287; by producers, 113
Interviews, place and nature of, 5-6
Iron Curtain, The, 41
Isolation, in present-day life, 12, 307-308; Social in Hollywood,
19-20
It Had to Be You, 252
It Happened One Night, 229
Joan of Arc, 42
Johnny Belinda, 42, 229
Johnson, Van, 300
Johnson Bookstore, Springfield, 70
Johnston, Eric A, President of MPAA, 36, 56, 68; quoted on film
industry, 33; on inter-industry strife, 50; seeks to stop intra-industry
quarreling, 3oo Jolson Sings Again, 42, 69
Jolson Story, The, 41
Judson, Eddie, 250
Kelly, Gene, 23
Kiss in the Dark, A, 314
Kluckhohn, Clyde, quoted on religion in contemporary culture,
312
Laissez-faire economy, 209
Laughton, Charles, 75, 76
Le Gallienne group, 279
Legion of Decency. See National Legion of Decency
Liebman, Joshua, 12
Life, quoted on legion of Decency, 70-71
Linton, Ralph, cited on values, 78
"Literature in Films," 300
Location, Social implications of, in Hollywood 17-18
Locket, The, 241
Loew, Marcus, 109
Loew's, Incorporated, 301
Los Angeles, domination of, by Hollywood, 17, 18; theaters, 20-21
Lost Boundaries, 41
Lost Weekend 40, 71
Love, movie concept of, 14-15, 323-324
Loy, Myrna, 252
Luck, emphasis on, in Hollywood, 37, 284, 289-291; in concept
of creativity, 286. See also Gambling
Madison, Guy, 23
Magic, rational knowledge and, 283-284; in Hollywood thinking,
284-288, 290
Make-up man, 30
Male War Bride, 42
Mamoulian, Mr., 300
Mankind, stereotyping of, 71-73
March, Frederic, 71
Margin for error, decrease in, 296-297
Mass communication, manipulation of people by, 11, 322-327
Mass production, adaptation and integration of new technology,
39; adherence to formulas, 40-42; use of polling devices, 42-45;
changing standards and attitudes of audience, 45-47; monopolistic
practices, 47-49; problem of integration of storytelling with,
110. See also Production
Material, problem of control of, by writers, 174-184
Maturity, 8-9
338
Mayer, Louis B., salary , 87; quoted on future of movie industry,
109
Mein Kampf (Hitler), 328
Mental breakdowns, 295
"Message" Pictures, 40-41
Metro-Goldwyn-Mayer, diversity of interests, 47; casting of older
people, 298-299
Milland, Ray, 71, 252
Mimeographing, of scripts, 159
Mr. Blanding Builds His Dream House, 252
Mr. Lucky, 241
Modern Screen, quoted on normal family life In Hollywood, 23-24
Money, as symbol of Hollywood, 16-17, 24; Hollywood attitude toward,
285; preoccupation with, 312
Monopoly, practices of, in movie industry, 47-49; increase in
independent producers, 50-51
Montgomery, Robert, 209, 252
Morality, truth and, 79; motivation and interpretation of, in
Hollywood, 80-81. See also Censorship, Production Code, Administration,
Sex, Taboos
Motion Picture Association of America, 6, 57, articles by, 300.
See also Production Code Administration
Movies, distinguished from folk and fine arts, 3; problem of,
as social institution, 11; influence of, 11-15; conflict between
business and art in, 25-29; storytelling as function of, 25, 39,
168-169; foreign, 297-298; imprint of contemporary tendencies
on, 307-314- See also Production
MPAA. See Motion Picture Association of America
"Music in Films," 300
Musicians, 30
Myrdal, Gunnar, quoted on objectivity, 8
Nationality groups, Code consideration for. 64-65
Nepotism in movie industry, 114
Net profits, concealment of, 87-90
New York Times, quoted on rehearsal of movies, 217
Niven, David, 314
Normality, cult of, 278
Objectivity, in social studies, 8
O'Brien, Margaret, 229
Occupational groups, Code consideration for, 64-65
O'Keefe. Dennis, 253
Oliver Twist, 71
Omnipotence, executive's belief in own, 289-291
Option contracts, See Contracts
Originals, writing and use of, 174-176
Oscars, 289
Overhead expenses, charges to, 88-89
Package Deal, 257
Paradine Case, The, 252
Paramount Pictures, Inc., 301; diversity of interests, 47
Peace of Mind (Liebman), 12
Peck, Gregory, 252
People, concept of, as property, 84, 85-86, 113; "private,"
18-19
Perry, Ralph Barton, cited on freedom of thought, 320
Personality factor, in choice of profession, 264-265
Perversions, Code taboos on, 61
Photogenic quality, 230
Pickford, Mary, 230
Pinky, 41, 42, 299
Polling devices, use of, 42-45, 47
Polls, in determination of audience taste, 285
Power, in determination of status, 19; struggle and competition
for, 29-30; of executives, 82-87; option contract as source Of,
84-85; social ties and sex relations in demonstration of, 85-86;
personalization of, 100; of producers, 111-114, 116; need for
changes in allocation Of, 303, 304-305; totalitarian aspects of,
in Hollywood, 329-331
339
Pregnancy, Code taboos on, 61
Pressure groups, problem of, 67-71, 81, 98, 311
Pre-testing. See polling devices
Previews, 44
Price, Vincent, 75, 76
Pride of the Marines, 79
"Private people," 18; contact with, 19
Producers, 30; independent, 25, 50-51; relationship of, with writers,
29, 30, 152, 161-164, 165-168; relationship of, with directors,
30, 190-191; relationship of, with actors, 30; reaction of, to
Code, 66; role of, 111-112; contracts and insecurity of, 113,
securing and holding of positions, 114-116; individual, described,
116-129; estimate of, 129-130
Production, relationships in, 29-30; assembly-line characteristics,
30-31, 53; atmosphere of crisis, 31-33; lack of planned training,
33; prevalence of superstitions, 34; influence of controls 34-37;
gambling aspects, 37; three-way control with distribution and
exhibition, 48-49; relationship with distribution, 49-50; increase
in independent producers, 50-51; financing, 51-52; utilization
of employee skills, 52-53; influence of background and personality
of executives, 100-108; influence of talkies, 187-189; need for
increased flexibility, 226-227; lack of esprit de Corps, 295-296;
decreased margin for error, 296-297; proposed economies in, 300-302;
need for changes in system 303-304- See also Executives, Mass
production
Production Code Administration, 6; controlling influence of, 36;
fear of censorship in activation of, 55-56; role of, 57-58, 285;
implementation. of, 58-65; Hollywood attitude toward, 65-67; outside
protests, 67-71; stereotyping of mankind, 71-73; failure of, 73-78,
80-81; problem of competing and contradictory values, see also
Censorship
Profit motive, 83
Profits, net, as means of control 35; concealment of, 87-90
Profit-sharing system. suggested for writers, 176-177
Projection, of taste of executives, 86-87
Property, Hollywood conception of, 282-283, 305-306; people as,
84, 85-86,113
Props studio emphasis on, 225-226
Public relations, inter-industry strife and, 50; need for improvement
in, 299-300
Publicity, as factor in success, 238-141
Publicity agents, work of, 238-240
Publicity men, attitude of, toward actors, 84, 258-261, 265; role
of, 259
Publicity writers, 29
Puritan tradition, heritage of, 310-311
Racial Groups, Code consideration for, 64-65
Ranch, Hollywood, 19
"Rappacini's Daughter" (Hawthorne), 267
Rathvon, N. Peter, 89
Razor's Edge, The, 71
Reagan, Ronald, 209
Realm, surface, of movies, 14
Red Danube, 41
Red Menace, The, 41
Red River, 42, 253
Rehearsals, movie and stage, 217-218,advantages Of, 300-301
Relationships social, 20-22, 85-86; impersonality in, 29; shifting
nature of, 30; influence of controls, 34-37- See also Actors,
Power, People, Producers, Production, Public relations, Sex
Religion, changing attitude toward, 311-312
Religious groups, Code consideration for, 64-65
Research, lack of, 33; use of polling devices, 42-45, 47
340
RKO Radio Pictures, Inc., diversity of interests, 47
Road to Rio, 42
Robinson, Edward G, 248
Roc, Patricia, 65
Rogers, Ginger, 252
Roles, problem of, 211-214; importance of, in climb to stardom,
242
Rooney, Mickey 229
Roosevelt, Franklin, 327
Roosevelt, Theodore, 313
Rubin, Bob, 109
Russell, Gail, 23
Russell, Rosalind, 209
Salaries, as means of control, 35; Of studio heads, 87, 90-91;
payroll economies, 90; of apprentices, 127; of writers, 132; of
actors, 209
San Fernando Valley, 18
Saxon Charm, 252
Schenck, Nicholas M, 109; quoted on costs and sincerity of purpose,
301-302
Schweitzer, Albert, quoted on conformity of convictions, 313
Screen Actors' Guild, 215; quoted on annual income, 209
Screen Extras Guild, 209n.
Screen Writers' Guild, 6, 127, 132, 176, 181, 299; arbitration
of credits, 154-155, 161
Scripts, writing Of, 31, 150-156;front-office decisions on, 86-87;
importance of, 150; oral discussion of, 152-153; adaptation of
novel or play, 153; story conferences, 153-154; awarding of credits
for, 154-155, 159, 160-161; mimeographing of, 159; and demands
of stars, 164-165; compared with novel writing, 168; weakness
of Hollywood system concerning, 168-169; sources of, 174-175,
See also Writers
Scully, Frank, quoted on actors and writers, 258
Seaton, George, quoted on anti-Hollywood prejudice, 299
Security, lack of. See Insecurity
Self-deception, practice of, in Hollywood, 95-96
Selznick, David O., quoted on movie industry accounting, 89; on
star system, 251
Senator Was Indiscreet, The, 71
Sequences, filming of, 30
Set designers, 30
Sex, as symbol of Hollywood, 16-17, 22-24, 73-74; taboos on, 54,
58, 59-60; use of, to advance career, 85-86, 232-238, 243-244
Shakespeare, William, 206
Shane, Maxwell, quoted on popular taste in movies, 45-47
Sheridan, Ann, 209
Shubert, Brothers, 48n.
Sin, Code emphasis on punishment of, 62-64
Sinatra, Frank, 230
Sitting Pretty, 253
Sleepers, 93
Smash-Up, 40
Snake Pit, 27, 40-41, 42
So Evil My Love, 252
Social life and structure in Hollywood. 20-22, 85-86, new aspects
of, 30, 278
Social organization, conflict of contemporary values, 30, 311-314;
art and aesthetic goals, 314-317; mechanization of creativity,
317-318; problem of power, 318--320; individuality, 319-321; totalitarianism,
320-3zi; education, 321; trends in family life, 321-322; maw communications
and manipulation of people, 322-326; conflict of democracy and
totalitarianism, 326-327
Social system, defined, 3. See also Social life and structure;
Social organization
Song to Remember, A, 43-44
Sordidness, Code taboos on, 62
Sound engineers, 27
Spellman, Cardinal, quoted on Forever Amber, 69
Starlets, 273-274- See also Actors, Stars
341
Stars, influence of system, 35, 244-246; hit-or-miss training
of, 92; alteration of scripts for, 164-165 exploitation of, 228-229;
and achievement of success, 229-232, 242-244, 247-248; and sex
in advancement of career, 232-238, 243-244; and publicity factor
in success, 238-241; influence of social ties on, 241-242; importance
of roles of, 242; and getting the breaks," 244; obsession
with looks of, 246; type casting of, 247, 248; as heroes and heroines
of modern society, 248-251; potency of formula concerning, questioned,
251-253. See also Actors, etc.
State Department, control by, 36; and influence of Good Neighbor
Policy, 71
Status, shifting of, 30
Stereotyping of actors, 42, 251, 254, 265-266; of mankind, 71-73-
See also Formulas
Stevens, Mark, 253
Stewart, James, 248
Stories, buying of, 91-92. See also Scripts
Story line, 152-153
Storytelling, as function of movies, 75, 39, 168-169; problem
of integration with mass production, 110; weakness of Hollywood
system concerning, 168-169
Street with No Name, 253
Studios, described, 18; competition among, 24-25; contracts with
guilds, 34-35
Success, relation of supernatural to, 785-286
Sullivan, Dr. Harry Stack, quoted on fear and anxiety, 327-328
Sullivan's Travels, 79
Sunset Strip, 19, 237
Supernatural, See magic
Superstitions, prevalence Of, 34
Suspense, in current movie thrillers, 325-326
Swimming-pools, 19
Symbolism. of Hollywood, 16-17
Taboos, prevalence of, 54-55; specific, 58, 59-64, 74-77- See
also Censorship, Production Code Administration
Talent, waste of, in Hollywood, 286; liberation of unused resources,
303-306
Talkies, influence of, on production system, 187-189
Taylor, Robert, 75-76
Technicians, 27; power of, over actors, 261-263
Techniques, of investigation and study of subject, 3-10
Technology, adaptation and integration of, 39; problems of changes
in, 185
Temple, Shirley, 23, 229
Theater Guild, 279
Theater Owners of America, 47
Theaters, Los Angeles, 20-21
Thinking, Hollywood, inverted animism in, 282-283, 286; influence
of, on attitudes and behavior, 284-285; Magical, 284-285, 290;
acceptance of new ideas and values 296; need for change in, 303-304
Three Musketeers, 42
Time of Your Life, 252
T-Men, 253
To the Ends of the Earth, 79
Toilets, showing of, prohibited, 61
Totalitarianism, 320-321, 331-332; conflict with democracy in
America, 326-327; aspects of, in Hollywood, 327-331, 332
Tracy, Spencer, 248
Training, lack of planning for, 33, 218; problem of, for writers
170-174
Treatment, as basis for script, 152
Truman, Harry S., 327
Trust, lack of, in Hollywood, 302-303
Truth, morality and, 79
Turner, Lana, 243-244
Twentieth Century-Fox Film Corp. Inc, diversity of interests,
47
Type casting, 207, 211, 214, 247, 248
342
UNIONS. See Guilds
Unit manager, work of, 31
United Booking Office, 20
Unity, committee on intra-industry, 50
Universal-International, cheesecake clause in contracts, 73
Values, in collection and presentation of data, 8-9; competing
and contradictory, 78-79; conflicting, of contemporary society,
311-314; art and aesthetic goals, 314-317; ingenuity and inventiveness,
317-318; problem of power, 318-320, individuality, 319-321; totalitarianism,
320-321; education, 321; trends in family life, 321-322; mass
communications and manipulation of people, 322-327.
Variety, 96; as source of data, 7; quoted on Hollywood, 21; on
Hollywood three hundred years hence, 22; on film profits, 35;
on Snake Pit, 41; on Home of the Brave, 41; on top-grossers of
1948, 42; on independent companies, 51; on organized pressure
for censorship, 67-68; on overhead, 88; on payroll economies,
90; on market quotations of film stocks, 93-94; on originals,
174-175; on star system, 251, 252; on art houses, 297-298.
Violence, as theme of movies, 14-15; ineffectiveness of taboos
on, 74-77; movie concept of, 324-325.
Voice of the Turtle, The, 63
Vulgarity, 77; Code taboos on, 62
Wall Street, suspicion of film stocks, 93-94
Wallis Independent Unit, Hal, 88
Warner Brothers, Inc., 212, diversity of interests, 47
Wayne, John, 253
Wealth. See Money
Webb, Clifton, 253
Welles, Orson, 250
Westerns, 42; Success of, 40
Westwood Village, 18
Whitney, Ell, 317
Wicked Lady, The, 65-66
Widmark, Richard, 253
Wilkerson, W. R., quoted on pictures for entertainment, 25-26
Winter Meeting, 252
Women's Christian Temperance Union, 71
Writers, 30; relationship of, with producers, 29, 30, 152, 161-164,
165-168; problem of training, 33, 170-174; reaction of, to Code,
66; as property 84; firing of, 92; motivations of, 131-132; backgrounds
of, 131-132; salaries of, 132-134; appraisal of 133-134; life
of, n Hollywood, 134-135; individual, described, 135-148; attitude
of, 148-149; position of, 151; relationship of, with directors,
160; relationship of, executives, 160, 161; problem of control
of material, 174-184; suggested profit-sharing system for, 176-177;
roles of writer-producer and writer-director, 177-180; writing
of novels and plays, 181-182; opinion of actors, 258; problem
of creativity, 291-295. See also Scripts
Writers' Guild, 6
Wyler, William, quoted on mediocrity in films, 202-203, 309-310;
on choice of properties, 302
Wyman, Jane, 229
Zukor, Adoph, quoted on brains and money in pictures, 301, 302