My Life with Cleopatra

by Walter Wanger

  MARCH 7, 1960

  Johnny Johnston and John DeCuir back from Turkey. A harrowing tale.

  Skouras had an idea that we ought to attempt to shoot some of the exteriors for Cleopatra in Turkey and began negotiations with the Turkish Government. Johnny Johnston, a production manager, and John DeCuir, the art director, were elected to go and look for possible sites.

  Turkish officials met them in Istanbul and took them to the Turkish Riviera, which they are anxious to develop. The government is willing to make any concession we ask, in exchange for our shooting there and bringing them not only business but publicity. According to Johnston, however, the garden spot of Turkey is so inaccessible, it would be impossible to shoot there on any practical basis. Living conditions and supplies were impossible. So Turkey is out as a location, but the cost of the trip is on our budget.

  MARCH 8, 1960

  The Screen Actors Guild is on strike. Everyone at the studio is in a panic over what to do with Cleopatra. Skouras and Adler have now decided they want to make a co-production deal in Italy with Lionello Santi, who produced the Italian Cleopatra.

  MARCH 9, 1960

  Mamoulian to Italy for a week to scout locations and look at studio space with Santi. Everyone at the studio seems enchanted with Santi.

  MARCH 14, 1960

  The fight against my authority came out in the open this morning.

  Schreiber called me into his office to tell me that Rouben, my art director John DeCuir, and production manager Johnny Johnston are going east tomorrow to meet with Sid Rogell, general manager of studio operations, Skouras, and the rest of the officials. He said it would not be necessary for me to go to New York as it was not planned to have me go to Italy.

  “Why not?” I asked him.

  “It has something to do with the Italian taxes,” he said.

  “Why can’t I at least go to New York and discuss it with them? After all, it is my company’s production.”

  “Walter, don’t you understand? They don’t want you.”

  I know something about Santi and I know Mamoulian, and this isn’t going to work out. I settled for a wire to Buddy protesting his behavior, so I’d be on record, and decided to bide my time.

  APRIL 11, 1960

  Another writer. We made a four-week deal for Lawrence Durrell to revise our script.

  He is to receive $7,000 in Italian lire, and we are to pay his agents, Rosenberg-Coryell, the $700 commission. He is to start work on Friday, April 15, and deliver his revisions within four weeks. If we need additional revisions, he is to be paid at the rate of $2,500 a week in lire, with his agents’ commission deducted and paid in dollars.

  APRIL 19, 1960

  Received a memo from Mamoulian, who was now in London, on “making of Cleopatra in Italy.” Not encouraging.

  Mamoulian noted:

  There is a gulf between our way and the Italian way of making films intended for wide, popular consumption … the following seem to be the peculiarities of their modus operandi:

  Story construction is treated in a very free, loose manner … their whole approach to film making is much less demanding than ours. The talent and craftsmen involved seem to be easily satisfied with what we would consider unacceptable results. This attitude creates a real problem of semantics: Though they and we may use the same words, their meanings are different. For instance, what would there be referred to as a “great and perfect” location, would be called by us “limited and not suitable,” and so on as applied to every facet of picture making. The whole standard of values and the criterion for achievement are widely different.

  After summing up the many difficulties likely to be encountered making a film in Italy, Rouben noted that it would be possible to “correct these unfavorable circumstances.”

  APRIL 20, 1960

  The romance with Santi is over. We are now to make the picture in England with locations in Italy.

  In a full-page ad in Variety, Santi listed all of the pictures his Galatea Productions is involved in. Tucked between The Story of Esther and The King Must Die was “Cleopatra in color and for wide screen, directed by Rouben Mamoulian with Elizabeth Taylor.” No mention of Fox. It looked as though Cleopatra was just one of his many productions.

  Adler was furious. In no time at all the plans were changed once again. Goldstein, general manager of production in Europe, was told we would definitely be using Pinewood Studios.

  APRIL 28, 1960

  Mamoulian back from Rome.

  Rouben, who was supposed to be gone a week, stayed six.

  — NEW YORK —

  MAY 1, 1960

  Had dinner with Elizabeth, Eddie, and Ketti Frings at the Colony in New York; discussed the Cleopatra situation.

  We were all high about making the greatest picture ever. Elizabeth is especially excited about making a picture abroad. She wanted me to be sure and get Sidney Guilaroff as her hair stylist. He has done her hair on most of her pictures.

  Sidney once worked at Bonwit Teller in New York. Then he went to Hollywood under contract to MGM and became a great favorite of many stars, especially Elizabeth and Ava Gardner, who always ask for him. Our only problem is to find out Sidney’s availability and arrange to borrow him from MGM and get permission for him to work in London.

  Our starting date is June 17.

  — LONDON —

  MAY 3, 1960

  Nothing going right here.

  Johnny Johnston and John DeCuir, who arrived here in advance, met me at the airport and insisted on a meeting at once to “take stock.” The facilities at Pinewood, as anticipated, were not adequate; Denham Studio, which has the best stages in England, has been taken over by the U. S. Air Force and is not available; there was very little construction material available; we need a great many plasterers, and despite ads in the papers and on movie screens promising bonuses, we had less than a dozen. Of the dozens of draftsmen Goldstein said were available, we have been able to hire only a few, which makes it difficult to meet our starting date.

  Additionally, there are basic differences between our ideas and methods and theirs. The English approach to film making is different from the American. The English can’t be pushed. Although efficient, they don’t want to work under pressure. We offered them bonuses which they refused. They would rather have their leisure at home and time to look after their gardens. Maybe they’re right.

  And they work differently. In America, a prop man goes out and finds things or rents them from places he knows about. They don’t operate that way in England. First of all there are no props available for the Cleopatra period here, so everything has to be designed and then built, which means it will be expensive and slow.

  We fear we may have a difficult time getting the proper results from the English extras, who are unfamiliar with the demands of this type of picture.

  Also, it looks as though we are going to have trouble because of Sidney Guilaroff, the hairdresser. The British hairdressers’ union is protesting his employment, claiming our using him is a reflection on the skill of the English hairdresser.

  What worries us all most, however, is the weather. Even though this is spring, it is cold and damp, and Elizabeth is just over pneumonia.

  MAY 6, 1960

  Received a memo today from Adler saying the absolute limit on the Cleopatra budget is $4,000,000. Most unrealistic. We’ve spent half that already and haven’t a foot of film.

  MAY 9, 1960

  David Merrick in town to try and get Laurence Olivier for Becket. We still hope to get him for Cleopatra, but we don’t have a new script to show him, so I fear we may be out of the running. Caesar is a most difficult role to cast.

  MAY 12, 1960

  Bad news from Rome.

  Bill Kirby, the English production manager, went with John DeCuir to Rome to check on the locations picked by Mamoulian. They also checked living accommodations and possibilities for renting filming equipment.

  They found that the Olympic Games had taken over all t
he living space—something no one had considered. The studios Mamoulian chose need to be soundproofed, and it’s doubtful that can be done in time. Also, there isn’t the right kind of equipment available. A huge production like this needs a tremendous variety of lights, generators, and equipment. They have to be arranged for far in advance.

  MAY 13, 1960

  On the basis of yesterday’s report, it has been decided to try and do everything possible in England if we can get Denham as Goldstein promised Adler. But the Denham Studio has been taken over by the U. S. Air Force. I called Jock Whitney, the American ambassador, to ask if something could be worked out.

  He was most co-operative and sympathetic, but after making every effort possible, he called back to say it was impossible.

  WALTER WANGER

  DORCHESTER HOTEL LONDON

  DEAR WALTER TIME IS DRAWING NIGH ANYTHING NEW OF A HOUSE FOR A WIFE HUSBAND THREE CHILDREN AND ASSORTED ANIMALS STOP IMPERATIVE THAT MOST SATISFACTORY ACCOMMODATIONS BE FOUND STOP LOOKING FORWARD TO HEARING FROM YOU

  YOUR SON EDDIE

  MAY 14, 1960

  Olivier is definitely out as Caesar.

  He’s going to do Becket for Merrick, so we are trying—against Skouras’ wishes—to get Rex Harrison. Skouras told me there are two actors he doesn’t want—Harrison and Richard Burton. He had Harrison in movies in the past, and they didn’t do much at the box office; Burton had been in some great pictures, but Skouras doesn’t think he means a thing at the box office.

  Mamoulian arrived today—quite rightly furious. He wasn’t met at the airplane and had to carry his own baggage. And he didn’t have proper living accommodations. I am afraid he will be more upset when he gets a full report on our production problems.

  Later the plans for the picture at this point were well summed up by Rouben Mamoulian in a 1300-word cable to Skouras. Rouben pointed out that the cuts the studio wanted made in our script would not merely shorten the picture but would change it so that it would not be the glamorous and colorful film we hoped to achieve.

  Rouben also pointed out the difficulty of finding the right landscapes in England and the grave problem of weather conditions. He suggested we make the film in Italy and asked for a clear-cut decision as to where we are going, because the time left for preparation with limited labor is alarmingly and dangerously short.

  MAY 19, 1960

  This is absolute disaster.

  Hollywood has given us an August 15 starting date, but we don’t have enough studio space, don’t have a full cast, don’t have a script, and don’t have a crew of laborers.

  We need an enormous number of wigs, which are not available, and we don’t have the costumes. The only positive note is the news that construction has started on the city of Alexandria at Pinewood. The workmen are on overtime. With luck the set will be ready in November—weeks after we are scheduled to use it.

  MAY 27, 1960

  Mr. Lew Schreiber

  Twentieth Century-Fox Film Studios

  Beverly Hills, California, U.S.A.

  Dear Lew:

  I talked to Elizabeth in New York last night. She was not too disappointed over Olivier not doing the picture because she always felt that he did not have any real enthusiasm for it. She is very anxious and excited over having Rex Harrison as Caesar … of all the available, established actors it seems to me, and I am sure Rouben agrees, that Harrison is the most capable and strongest talent available. I think you told me that you saw him play Henry VIII and how impressed you were. Not that this part is by any means similar, but he can handle costumes and he has strength and sex and, I think, will help Taylor enormously. The Sidney Guilaroff situation was brought up by Taylor last night. I explained to her that he could not work in the studio. She is insisting on bringing him over. I imagine any day you will be approached over a deal. I tried to ward off the situation by saying Oliver Messel wanted to control her hair problems in connection with the costumes, but she would not have any of it.

  As always,

  Walter Wanger

  WALTER WANGER

  DORCHESTER HOTEL LONDON

  MUST CONFIRM SIDNEY GUILAROFF POSITION IMMEDIATELY OR HE WILL BE LOST AND THIS CANNOT HAPPEN

  REGARDS

  ELIZABETH

  JUNE 2, 1960

  Our first estimate on a foreign budget: $4,119,978.

  It is not only totally unrealistic but it does not take into account any of the $2 million already spent.

  — PARIS —

  JUNE 3, 1960

  Darryl F. Zanuck turns us down.

  Mamoulian and I to Paris for the weekend to work with Lawrence Durrell and see Darryl Zanuck. He greeted us at the door of his apartment on the Left Bank. The walls were covered with very attractive pictures of Juliette Greco. Our purpose was to tell him of our serious trouble and try to get his help in putting the movie back on the rails, as he is one of the largest shareholders in Fox.

  He took us to a superb dinner, then we went back to the apartment and discussed our problems. He isn’t happy with the management but is having his own troubles. “There’s nothing I can do at this time,” he said, “and, please, don’t even mention that you saw me here.”

  — LONDON —

  JUNE 4, 1960

  The budget was raised to $6,000,000 yesterday, dropped to $5,000,000 today. Also, the desert scenes are to be filmed in England. But instead of Cinemascope we are going to get Todd-AO!!!

  Meanwhile the weather is terrible—cold, rainy, and cloudy, and the weather forecast is equally dismal. I called Elizabeth to tell her that the Italian locations are out. She was furious.

  JUNE 13, 1960

  Bob Goldstein called to say Elizabeth is planning to quit the picture.

  Skouras telephoned from New York to say I am a saboteur and disloyal. He claims I had no right to tell Elizabeth that the Italian locations had been eliminated. Goldstein can’t understand either why I didn’t let Elizabeth start the picture, then tell her the Italian locations were out.

  This hassle between us over the handling of Elizabeth has been brewing for some time. Every time Skouras sees Elizabeth in New York to discuss her contract—which she hasn’t signed yet—he says something to infuriate her. The last time they met at her hotel, she told him she wouldn’t make a deal with him. She wanted to deal with me. Skouras asked Elizabeth why she listened to “that old man.” “Because he’s honest,” Elizabeth said.

  JUNE 25, 1960

  Skouras arrived today.

  As always, Skouras was met at the airport by the film transportation man, who brought him two bottles of his favorite and unique Scotch and an envelope with English currency. Mamoulian and I met him at his suite in Claridge’s, where he sat fiddling with his worry beads.

  We presented him with a dossier compiled by his experts regarding the production, including a sheaf of weather reports on England for the past three years which indicated why the picture shouldn’t be made here. “There’s no sun,” I said. “It’s cold now, going to get colder. Elizabeth is liable to get pneumonia again.”

  “I don’t believe in experts,” Skouras shouted. “The weather is going to be fine. No one will get sick. England is the best place to make this picture. Go ahead. Shoot the picture.”

  Later, however, Rouben got a concession that we could go to Egypt for the desert shots.

  JUNE 27, 1960

  Skouras held a press conference about Fox plans today in the projection room of the Fox Soho Square headquarters. He was so tired he fell asleep three times—a fact the press duly noted.

  JUNE 28, 1960

  Met with Mamoulian on the script.

  The first pages are not good enough to shoot. The sets are not nearly finished at Pinewood. They still can’t get enough plasterers.

  JULY 11, 1960

  Buddy Adler died today in Hollywood of cancer. Despite our occasional differences on this picture, he was a good friend, and one has too few friends in this life. I am especially sad because he was so young.


  JULY 13, 1960

  Bob Goldstein is no longer head of European production. He is flying to Hollywood where he will run the studio there, succeeding Adler.

  JULY 15, 1960

  Sent a long memo to my lawyer in Hollywood.

  Mr. Gregson Bautzer

  Bautzer & Grant Attys.

  190 North Canon Drive

  Beverly Hills, California

  Dear Greg:

  I tried to reach you on the phone the other day to offer my sympathy because I know how upset you must be about the tragic passing of poor Buddy. Naturally, I am bewildered by the inexplicable turn of events that can cause such an early death, but what is there to say.

  Regarding the material things in life, I started to write you a letter on July 5th, which I have rewritten after discussing the entire situation with Schwab, and I will try to make it as short as possible, but I am sure you can read between the lines. Naturally, I am very disturbed over the many delays and misadventures regarding Cleopatra. We certainly started out with a wonderful project that five stars wanted to do. After great difficulties, as you know, we had finally secured the services of Elizabeth Taylor and then we went after Olivier, who could have been signed up had the studio acted promptly enough. I am not going into all the details of how they kept operating without advising me of their activities when they sent Kurt Frings abroad to talk to Hepburn and to Elizabeth, nor am I going to belabor the point regarding the fact that Mamoulian and myself came to England November/December of 1959 and decided that would not be the ideal place to shoot the picture, but perhaps we might do the interiors provided we get a large enough stage. Then, on our return to America, we discovered that Skouras and everybody else was enchanted by Santi, and they suddenly decided to make the picture with Santi, and at that time they went over my head by sending Mamoulian, the art director, and the production manager Johnny Johnston to New York for conference with Rogell, Adler, and Skouras, telling me that they didn’t want me there, I don’t know for what reason, and they would be going for a week to Italy on a survey. DeCuir, Johnston, and Mamoulian were gone five weeks. On their return, the entire matter turned out to be a fiasco. They, Rogell and myself and Mamoulian proposed making the whole picture in Italy where it should have been made, and this was turned down in favor of an Eady Plan quota production whereby we shoot the interiors in London and the exteriors in Rome and the desert. Then came Adler’s trip to Rome where, due to Goldstein’s influence, he reversed himself and decided not to do anything in Rome because Goldstein had promised adequate stage space and workmen which, I said, were impossible to find, as you can see by the wires, and we were to do the entire picture in England. From then on, I think, the wires in the file that I had prepared for Skouras clarify the situation, with the exception of the fact that when Adler sent his congratulatory wire, it was implying that the plan was Goldstein’s while it was Mamoulian’s and my plan which we had to put over in opposition to Goldstein.