APRIL 30, 1961
The order of the day is: Make Cleopatra in Italy and Egypt during the months of September and October and shoot all interiors in Los Angeles in the winter on our wonderful, big, well-equipped stages.
We start making plans for that schedule—but carefully now—because we know that it was not the schedule yesterday and it probably will not be the schedule tomorrow. Every time we are given a starting date and a location date someone has to begin making commitments for space; someone else takes a trip to the area to find locations; cast and crew are hired and commitments made. And each change or cancellation costs money.
But Fox has had a long period without a hit. Skouras has a large, experienced, world-wide distribution organization which is keyed to handle lots of important product and isn’t getting what it needs. The Old Boy is in a panic. He hopes and prays that Cleopatra will do for Fox what Ben-Hur did for MGM.
MAY 1, 1961
Skouras had promised the Board of Directors in New York a June start for Cleopatra and is raising hell over JLM’s news that we won’t have the script in time. A June start is completely out of the question.
MAY 2, 1961
Dr. Rex Kennamer, Elizabeth’s close friend and Beverly Hills doctor, has given us the official go-ahead for her on filming locations in Italy in September. “Liz is in excellent health,” he said.
MAY 5, 1961
Letter to Spyros Skouras:
Dear Spyros:
We feel that the meetings with you here during Monday, Tuesday, and Wednesday were most constructive and the decisions arrived at after the meeting with Dr. Rex Kennamer were completely sound and will enable us to make the picture the company wants under intelligent and correct organization. We are reviewing herewith the questions we were faced with and our answers:
Question 1. Why can’t the film be started until September?
For many reasons, involving not only the size and scope of the picture itself, but also the health of Miss Taylor and the certainty we must have that she can successfully sustain the most grueling role of her entire career. We have taken advantage of the enforced layoff to improve the concept of the story we want to tell. The fact that we had to leave England necessitated tearing down all the sets. These must be redesigned and reconstructed here and abroad. Many of the costumes have yet to be designed and made. The very labor of crating and shipping the salvaged props from England would take almost three months.
As far as Miss Taylor is concerned she is still not fully recovered from her illness, in the sense that her leg still bothers her. She has never looked more beautiful nor has she ever been more enthusiastic about the project. The scar on her neck will have to be removed by plastic surgery. Dr. Kennamer has informed us that this cannot be done until the early part of July. This means that she will not be available for testing wardrobe and make-up until the latter part of July.
Question 2. Isn’t it true that if Elizabeth Taylor had not gotten sick you would have started the picture in England in April?
Of course this is true. We would have done the best we could. We would have attempted to rewrite the script as we made the picture, utilizing the sets that were already constructed. We would have been at the mercy of the uncertain English weather and there was no reason to suppose that our progress would not have been at least as expensive and the making of the picture as cumbersome as it was during the few weeks in which production had started previously.
The production of Cleopatra under those circumstances would have been hazardous and unsatisfactory. As it is, we are now able to undertake this great project properly prepared and under the best possible circumstances.
Question 3. Why are you shooting the locations first?
Because from every possible point of view it would be foolhardy to do anything else.
Dr. Kennamer has assured us that there is every reason to believe that Elizabeth’s health will be at its best when we resume production. He has expressed his opinion that she is no more likely to become ill in Italy or Egypt than in California.
September, from the point of view of climate, is the finest month of the year in Italy.
Likewise, climatically speaking, October is Egypt’s finest month. Location work with Miss Taylor is essential in both places.
It is our plan to finish her in Italy as soon as possible, then to finish her in Egypt as soon as possible—and then to return her to Hollywood for a rest, while the remainder of the cast finishes its foreign locations.
This means that during the winter months, Miss Taylor would be getting the advantage of shooting the interiors in California instead of being subjected to the risks of intemperate climates elsewhere.
As far as the film itself is concerned—it is difficult to think of any major production involving locations in which the locations have not been shot first. The reasons for this are obvious. Once the outdoor shooting is done, the indoor shooting can be adapted to match it. The reverse is difficult and costly. The outdoor scenes usually involve many actors who can finish their parts rather quickly after their scenes are shot. To shoot the interiors first would require carrying them on salary for many months. Next, the fact that a company knows it has its most arduous work behind it is a tremendous asset both in the morale and speed of shooting the interiors. Also, if extra scenes are required they can be picked up before the bad weather commences.
Question 4. Cleopatra will undoubtedly be the most ambitious and expensive project ever undertaken by 20th Century-Fox. Is it worth it?
No attraction in the history of show business has ever had the “want-to-see” publicity and demand from the public that Cleopatra with Elizabeth Taylor has had. The world-wide interest is considered unheard of in public “penetration” in every country where pictures are seen.
Consequently, the goal to achieve is not a compromise production or a film of expedience, but an original, exciting, romantic historical film that will enthrall the audience and achieve a record international gross. The reason that we feel this can be done is:
1. We are telling the amazing story of the most remarkable woman of all times, showing her entire life from the age of 19 to her dramatic death at 39 years of age. Covering for the first time in the theater the contrasting lives of Caesar and Antony and the enmity of Octavian. All of this against the greatest panorama of world conquest. The spectacular sequences, such as Cleopatra’s entrance into Rome … the battle of Actium, and the orgies in Alexandria, will not be the stereotyped spectacles of the usual “big” pictures, but overall dramatic concepts never before on the screen. This picture, as now conceived, is one that every man, woman, and child should want to see. But in order to achieve this in an organized way, the logistics of this enterprise must be carefully organized and prepared in the next three months.
2. Yesterday we spent two hours with the production office in setting up all safeguards for the operation. A clear understanding of the objectives in all departments was agreed upon.
3. The script must be taut, gripping, exciting, and intelligent to satisfy the whole world market.
4. The cast must be superlative from an acting standpoint. Cleopatra could not be improved upon and Caesar and Antony must be the finest and strongest actors available, as well as all of the remaining cast.
5. The production must not look like a studio production. The beauty of Italy and Egypt will give this Todd-AO production a scope and authenticity that will lift the whole film to unique proportions.
6. The costumes, in the hands of the creative designers, will give a stamp of reality and style that will not have been seen before.
7. All the technical work is now being planned to be executed by Hollywood technicians, who are the best in the world.
8. The program is as follows:
During active preparation at the studio, Joseph Mankiewicz and staff will go to Italy and Egypt in two weeks to settle all problems regarding the locations so preparation can go forward. After two weeks, he will return to the studio to
continue preparation. By the end of July, start tests with Elizabeth Taylor. In September, the film will commence in Italy with Elizabeth Taylor’s scenes, then to Egypt for Elizabeth Taylor’s scenes. As soon as her Italian and Egyptian work is finished, she will return to Hollywood to rest while Mankiewicz finishes his work in Italy and Egypt. Shooting will then commence in Hollywood on the interiors, probably by the end of October or first of November, and the company will remain here until completion.
We assure you we realize fully our responsibilities in being given the largest and most expensive production ever attempted by 20th Century-Fox and we will stop at nothing to give an attraction that will get you the largest profit and the most acclaim.
Kindest regards,
Walter
MAY 12, 1961
JLM cabled Skouras saying he was deeply disturbed and disheartened by his refusal to approve Richard Burton as Mark Antony. JLM pointed out that we do not have to face the problem of box-office attraction (because of Elizabeth) so it does not matter whether Burton is not considered a box-office star.
JLM pointed out Burton’s “physical attractiveness and impressive personality” and described him as a “magnificent and experienced actor with the technical resources and dramatic power I can draw upon not only to sustain but to realize completely that all important second half” of the picture.
He closed the wire by noting that the production staff and studio administration are in complete agreement that Burton should play Mark Antony and said there is a very good chance we would lose him unless Skouras withdrew his objection quickly.
MAY 13, 1961
Eddie’s “surprise party” for Liz.
The party was given at Au Petit John in Beverly Hills and everyone in town seemed to be there. I noticed Kurt Frings in a heated, obviously confidential discussion with Jack Warner, which I understand went on until 4 A.M.
MAY 14, 1961
Gary Cooper died. Services tomorrow. Another good friend gone. I was at Paramount when he was first signed and we have been friends ever since.
MAY 18, 1961
JLM suggested that the studio assign a new production number to this version of Cleopatra and the old budget not be included with the new. A very good move on his part—to keep the English cost from being added to our budget. Our new number is “JO4.”
MAY 19, 1961
JLM and I have finally convinced Skouras that Burton is the right man to play Mark Antony.
Now it’s a question of negotiations, which will probably be complicated, as he is a hit on Broadway in Camelot. JLM to leave tomorrow for Rome and Cairo to scout locations, as it is definite we will do some location work in these places. I remain in Hollywood to organize production, get Elizabeth’s wardrobe started, and the script finished.
MAY 21, 1961
Called Liz in Las Vegas.
The papers report she is there every night for Eddie’s show, arriving at the room where he is entertaining just before he goes on. He sings his last song, That Face, directly to her. The audience loves it. So does Liz.
I sent some of Irene’s costumes to Liz for fittings but her back is still bothering her. We will send the fitters to Vegas.
JUNE 2, 1961
Talked with Eddie Fisher in Las Vegas.
Liz has laryngitis. Eddie told me Frings and Warner were working out a big deal for him and Liz. “It’s the biggest deal ever made, and if Fox doesn’t handle the rest of Cleopatra properly we won’t finish it.”
I told Pete Levathes, who is now in charge of the studio, about the Warner deal with Liz and Eddie. He said there is nothing to it. Fox is about to sign Liz to a four-picture deal to follow Cleopatra.
JUNE 5, 1961
Talked to Jerry Wald about the Wall Street bankers who seem to be taking over the studio.
All the producers on the lot are frustrated. Wald, George Stevens, David O. Selznick have each run studios but they can’t get anybody in authority here to discuss their picture problems. They spend hours of each week being interviewed by bankers. In the big struggle for power Skouras is working skillfully to win over the minority stockholders group.
JUNE 7, 1961
Excerpts from a letter to JLM:
Dear Joe:
I am sorry that I missed your call from Rome; however, the wire to Merman to have me stand by didn’t arrive until the day after you spoke. And I did wait as long as I could after I received the wire from Johnny, but I had a very serious dental appointment and I would have much rather talked to you than to have been in the dentist chair.
We have all missed you, but I will try to get you up to date on what has been happening, roughly, as far as I know …
Randy has been most industrious about turning out copy. I have taken him off for two days to complete the treatment, so that, in the event that you feel that we should show it to Burton, we would have something to show him, as he has been screaming for a treatment, or script, or something.
I have spoken to Elizabeth several times, and Eddie, and they have apparently changed their plans again and are not going to Europe immediately, as Eddie is going to open at the Ambassador Hotel on July 25th. They sent their love to you and wanted to know where you were and where they can get in touch with you. She is naturally very excited about Burton. I explained to her that we had a very good chance of getting him, but that we hadn’t closed as yet …
John Loeb’s associate, Woodfin, is here. Also Gould, who is the head of the new committee, and Treves, whom Gould represents. There are all sorts of rumors flying, and every kind of strange scheme being evolved. The last I heard was that Skouras was going to be moved out here to help Bob Goldstein run the studio, because Skouras was so efficient in production. This was the bankers’ latest finding. My own feeling is that Skouras will outwit the whole crowd because I saw the bankers going home last night with books under their arms, and they are now discussing scripts, and Ray Stark gave a party for them and introduced them to a lot of starlets.
Skouras was negotiating, as you know, with Liz for four pictures, but kept it very quiet. So quiet that he overplayed his hand and Liz and Eddie are supposed to be making a deal with Warner Brothers for four pictures. However, it is not an exclusive deal and I have talked to Liz and Eddie about the situation and they are in the position that, if we want her for Justine, I am sure that she will be available.
I have been looking at a lot of Negro actors and actresses, hoping to find a good Charmion and a good Apollodorus. So far, I have seen certain possibilities and I am going to try and see some in New York. I am sure that we will find what we want. I have seen some very striking types that I think will be very useful in other parts of the picture and especially in the Procession into Rome.
I am turning them over to Hermes Pan, whom I have been talking to, and I have had Hermes look at the designs for the procession as Novarese sees it. Hermes has some very fine ideas which I am pretty sure are going to please you tremendously.
Incidentally, I ran into an Egyptologist the other day who came up with the idea that it was a great mistake to call it “Cleopatra’s Barge,” because it should have been known as “The Royal Galley.” Personally, I don’t know whether a galley is better than a barge, but maybe it is.
I have told Rosemary to make a one-line continuity of the treatment from beginning to end, so that you can have that to compare to the script and it might be very useful when we get to editing and cutting.
Needless to say, the studio is in the height of confusion, but, so far, nobody seems to be worrying too much …
With every good wish—as always,
Walter F. Wanger
P.S. Zeus [Skouras], of course, is here. I have seen him twice today … once on the Taylor deal, which I am trying to get back on the track for Fox … and, secondly, on Burton. The price of 250 has been approved, but we are asking for thirty weeks. I doubt if we will get it, but I think that it is a fair request. I will probably be seeing him while I am in New York.
— N
EW YORK —
JUNE 8, 1961
Went to see Camelot and Richard Burton. I thought him dynamic and forceful—a perfect Mark Antony, as JLM conceives him.
After the show I visited Burton in his dressing room. He was surrounded by fans, autograph seekers, and well-wishers. He was very affable. A young lady named Pat remained behind after the others had left, and Burton asked if she could join us at “21.” Burton entered the restaurant like a football hero at a college prom with the prettiest cheerleader at school on his arm. He exuded confidence, personality, and sex appeal.
He said he was excited about working with JLM, whom he knew well and had great respect for. When I pointed out that we were still only in the negotiation stage for him he said, “Don’t worry. I want to do this. We will work out a deal.” I hope so.
— HOLLYWOOD —
JUNE 12, 1961
JLM back from Rome enthusiastic about locations. He does not want to shoot in Egypt if he can help it.
Skouras in town. Going through the crowded lunchroom he said to me sadly, “Look at all this talent here, and our pictures turn out bad.” He should know the answer: there’s no one at the head of the studio, no one to run things, who understands production problems of modern picture making.
During these weeks there have been many meetings with the executives, including Skouras who seemed to commute from New York. At meeting after meeting he calls JLM and by-passes me. But Joe calls me, says, “I think you ought to be at the meetings,” and insists that I go in with him.
I was in a delicate position with Joe. I knew that the studio was high on him and had given him complete authority, but I felt that since I am producer and it is my company’s project it is my duty and obligation to get the script written the way we planned it. Like most artists JLM is sensitive to criticism or being pushed, so he had to be handled with great tact and diplomacy.
My Life with Cleopatra Page 8