Each day’s film is flown to Hollywood for processing and showing at the studio. This can of film apparently was stowed on the plane near something which fogged it. The whole scene—the one that made me so nervous—has to be shot again. If it hadn’t been for the accident we might have finished the mausoleum scene today or tomorrow. We will reshoot the fight sequence in a couple of days.
Frank Sinatra was in Rome for a benefit. Liz, Burton, and some other friends went to the show, then visited Frank in his dressing room at a party. Something happened and Burton left. George Stevens, Jr. brought Liz back to her villa at 3 A.M.
MAY 26, 1962
Called off shooting at 2:45 P.M. because after lunch Liz complained of a migraine headache and said she would be unable to continue working.
MAY 28, 1962
The “death scene” was filmed.
We altered one of the many historical versions of the asp episode. We were determined to photograph a real asp, but it is impossible to remove its venom. We had a trainer from Africa on the set all the time we worked because the asp was, literally, deadly.
In the movie, the asp is seen in a basket of figs just before Cleopatra’s hand reaches into it. Later, after Cleo’s death, the asp is then seen gliding across the floor.
Although the scene is the last in the movie, we were shooting it out of continuity. I was very upset to learn that one of our publicity people sent a wire to Levathes saying, “We have made it, the last scene was filmed.”
I explained that we still had many scenes in which Liz was important, suggested that he come over himself and take charge since he has the authority as head of the studio. He refused.
MAY 30, 1962
The tension is now incredible.
Levathes is going to take me up on my challenge and rush the picture to a conclusion. He arrives Friday.
With the asp scene filmed, the studio is doing its best to either stop the picture or eliminate as many scenes as possible from it. They have even suggested we use Elizabeth’s double in the remaining scenes.
They believe that since we have 314 minutes of film already shot they can cut and edit and make a complete picture as long as they have the one obligatory scene—the death of Cleopatra.
JUNE 1, 1962
The Three Wise Men arrive.
Levathes, Koegel, and Joseph Moskowitz arrived this morning. At 10:45 P.M. they asked me to come to their room at the Grand Hotel.
Pete nervously and self-consciously cleared his throat and said he was going to read me an excerpt from the minutes of a meeting of the Executive Committee of 20th Century-Fox Film Corporation.
What came out was an ultimatum inspired by the high production costs being incurred and the necessity for quick completion of production.
I was to be taken off salary; Liz’s salary and expense payments were to be terminated no later than June 9th; all photography on Cleopatra was to be halted no later than June 30th; and no money was to be available for the production in Italy after June 30th.
When Levathes finished, Koegel said that I was not to cut and edit the film despite my contract.
Levathes corrected him and said I did have the right to do that.
I told Koegel I had no intention of accepting this ultimatum from the company, but I did not intend to argue. The picture is the only important thing, and I intend to do everything in my power to finish it properly.
JUNE 2, 1962
Slept about three hours, then up and off to Naples at 8:15. Took the Aliscafo to Ischia. I went to look over locations where the sea-battle sequences and the arrival of Cleopatra’s barge will be filmed.
Ischia, a lovely village almost oriental in character, with white houses clustered one above the other, steep stairways and alleys, is a major tourist attraction. We will be filming there next week at the height of the tourist season.
Talked with some of our production staff in Ischia about the problems they are anticipating in moving a film company into a little island town. The logistics requirements are enormous.
Since our schedule for filming here has been changed so often, we have lost many of the rooms that were promised to us. The housing situation for a complement of more than 75 people is difficult under the best of circumstances.
Everything—the heavy equipment, generators, Todd-AO cameras, lights—has to be brought into the port by boat.
We had to get permission from the local government to rebuild some of the town’s bridges; we had to arrange with the police department to police the harbor which is a constant traffic jam of pleasure boats ranging from luxurious yachts to small speedboats and sailboats. For our big scenes the harbor has to be completely empty.
Everything has to be tested in advance, checked and rechecked. We had workmen all over the island, including a crew working on top of one of the mountains building a hut and erecting an enormous window to go in front of the camera. Some of the background and scenery which we require for certain scenes is painted on the glass, as it was in London. Camera tests were being conducted in this location to determine what light is best and what angles are most effective.
JUNE 3, 1962
Returned from Ischia and went right into meetings with the Three Wise Men.
All they are concerned about is when is the picture going to be over? How much more money do you need? They have canceled filming of Pharsalia scheduled for tomorrow for which all preparations had been made and money spent.
JUNE 4, 1962
Rex Harrison called. He has heard that the studio is thinking of cutting out the Pharsalia scene and he believes so strongly that the scene is necessary he is willing to underwrite the cost of filming it himself. A magnificent gesture!
Something marvelous and fantastic is happening to our cast and crew because of all this harassment. The esprit de corps and morale have improved rather than been hurt. Everyone except the studio seems determined to finish the picture properly. People who have been scrapping and snarling with each other for the past year have united in a common front. They now believe that this can be the greatest picture ever filmed—despite the studio—and they are willing to make large personal concessions in time and salary.
JUNE 5, 1962
Bad weather, which means we can’t shoot our scheduled scenes but could have shot Pharsalia which originally had been prepared for today.
Had a long battle over a memorandum of understanding which the Wise Men wanted me, Doc Merman, Sid Rogell, and JLM to sign.
The memorandum set up new termination dates for Elizabeth’s services and for completion of first and second unit photography in Italy and Egypt. Also, a daily report was to be made on the progress of this new shooting schedule.
Merman refused to sign it and walked out of the room.
JLM walked out, too, after telling the Wise Men what he thought of them and their procedures.
Rogell signed and I signed as producer.
JUNE 6, 1962
Unable to shoot today because NATO was firing at Torre Astura where we had scheduled a location. The Three Wise Men have left. They still don’t realize that if this picture is great it can be their only salvation, and the studio’s.
JUNE 7, 1962
Rained out of the Forum set, so JLM went into the studio where he shot two days’ work in one, including a retake of the slapping scene with Liz, which went off beautifully and without incident or accident.
JUNE 9, 1962
Liz unable to work because she has to have dental work on two infected teeth.
Eddie Fisher called from New York. Said he is happy—but he didn’t sound it.
Saw Dr. Coen, who told me my blood pressure is up, which puts a strain on my heart. “Take it easy,” he told me.
Levathes telephoned from Hollywood to say he had fired Marilyn Monroe. He considers himself a big hero. He reminded me of a time when I was a very young man and was general manager of the greatest of all motion-picture companies, Paramount. I had practically unlimited powers. One day, however, I
was impatient and fired a star.
Jesse Lasky, who was my boss, said to me, “Walter, under your contract you have a perfect right to get rid of that star, but that is not what we hired you for. We hired you to get the best out of people, not to fire them.”
JUNE 10, 1962
Rain.
The Monroe story is in all the European newspapers. “No company can afford Monroe and Taylor,” a Fox spokesman says. No company can afford the mismanagement of Fox, I say.
Earl Wilson called from New York to check on a story that I had been removed as producer of Cleopatra. I said, “It is a problem of cutting costs, nothing else.”
JUNE 12, 1962
News of my being “fired” is in today’s papers.
Liz couldn’t be sweeter. She was so angry she wanted to quit. But JLM and I convinced her to work on for the good of the picture.
— ISCHIA —
JUNE 13, 1962
Arrived here by boat today just as Richard and Liz flew in on a helicopter. The island is at its summer paradise best; the water blue beyond belief, the surroundings idyllic.
JUNE 14, 1962
First day of shooting held up. Liz is ill and can’t work. Rogell called from Rome and suggested we stop the picture since we have the ending filmed.
Bill Middlestat, our prop man, was a hero today. Middlestat, a former All American football player and a Phi Beta Kappa, is one of the best special-effects men in the business. Today while on the beach watching some butane tanks being unloaded for special effects, he noticed that something appeared wrong with one of them. He ordered everyone out of the area and, in moments, the tank exploded. His quick thinking saved the lives of quite a few people.
JUNE 16, 1962
Had a long talk with Rizzoli, the William Randolph Hearst of Italy and a big picture maker (he financed La Dolce Vita) about Marilyn Monroe. I’m sure Marilyn would be excellent in films here where the picture is shot first, the sound dubbed in later.
In American films, sound and picture are done together. Using the European system it would be possible to make a picture quickly with Marilyn, then have her dub her own voice later. I think such a system would be successful and so does Rizzoli. I will get in touch with Marilyn later and try and fix a deal for her.
The difference in shooting technique has caused us no end of trouble with the Italian crew who don’t really believe it when an assistant director calls for “Silence!” Even after all these months our crew finds it hard to believe that we are not going to do the voices and sound later.
JUNE 17, 1962
Sunday. The floating paparazzi.
“Why don’t you take my yacht for the weekend and get away from life’s problems?” Rizzoli asked me yesterday. His yacht, a converted American sub-chaser, is beautifully appointed and manned.
Rizzoli also suggested I extend the invitation to Elizabeth. “She can have anybody aboard she wants,” he said. Elizabeth was delighted. She invited a large group of friends, including Burton; Monica Vitti, the Italian star; Michelangelo Antonioni, the director (La Notte); Marcello, the Duke of Caracculo and a pal of Rizzoli’s; Terence Rattigan, the playwright, and several others. The only stipulation Elizabeth made was that no photographs be taken.
Since we filmed Sunday morning, it was 2 P.M. before we were able to board the yacht. But once aboard we were wined and dined magnificently as we cruised to Capri. Liz, however, was more alert than the rest of us because halfway through lunch she suddenly looked up and said, “What’s that behind the curtain?”
“Oh, it’s nothing,” said one of the Italians.
One of the party got up and pulled the drape. There was a man concealed there, movie camera in hand. He was shooting footage for Rizzoli’s newsreel company.
Elizabeth was rightfully furious, as was Burton. I came in for my share of blame, too, because Rizzoli was my friend. The matter was settled before we got back to land when Rizzoli promised not to release any of the film.
Back at Ischia, Liz thought the matter over and called her attorney Louis Nizer to tell him what happened. He promised to write a strong letter to Rizzoli warning him against showing the film.
JUNE 20, 1962
Haven’t heard a word from the executives in New York or Hollywood since they left here.
Although I am off salary and, theoretically, without any real authority I am remaining with the picture and still functioning as producer.
I don’t think the executives know what they are doing. Regardless of what they think and do, this is my project.
We are still up in the air about the battle scenes at Pharsalia and the additional scenes with Liz at the mausoleum.
Meanwhile, JLM is going ahead shooting the battle of Actium—one of the most important battles in the picture. At Cleopatra’s insistence the battle is to be fought at sea even though Antony is famed for his fighting on land.
On the eve of the battle Cleopatra visits the high priestess of Isis at the portable temple in her camp and asks that the outcome of the battle be disclosed to her. For the first time Isis fails her. The high priestess is frightened—evasive—obviously unwilling to lay before Cleopatra what she augurs for the following day. The fires will not burn. Isis will not respond. A note of doom has been sounded, foreshadowing the tragic end of the story.
JUNE 23, 1962
For five years I have waited to see what I saw today—Cleopatra’s barge arriving at Tarsus.
The scene was right out of Plutarch. Cleopatra came sailing up the River Cydnus in a barge with gilded stern and outsized sails of purple, while oars of gold beat time to the music of flutes, fifes, and harps. She herself stands under a canopy of cloth of gold, dressed as Venus in a picture and surrounded by beautiful young girls; some stand dressed like sea nymphs and Graces, some steering at the rudder, some working at the ropes.
The barge was resplendent as it sailed by, clouds of incense rising from burners. The rigging of the barge, which cost $277,000 to build, was garlanded with flowers. The water between the wharf and the barge was thick with swimmers (75 of them) and hundreds of tiny boats. Thirty-five handmaidens on the prow of the 200-foot barge threw out coins for swimmers to dive after while forty other handmaidens strewed the water with flower petals.
We had trouble early in the day getting the handmaidens to steer the barge—they just weren’t strong enough. So we sent out a hurried call for some slim but powerful Italian men, whom Irene costumed and wigged hastily. They were then scattered about on the barge where they did the actual work while the beautiful girls merely functioned as props.
This is also Liz’s last day on the picture according to executive order of the studio.
The press wanted a story but we feared that if it was announced that Liz was finished in the picture it could be the signal for the press to descend again. Liz was determined to stay with the picture as long as possible.
Since we wanted to keep everyone happy we put out a story that it was not Liz’s last day, that she was finished for the moment but we expected to use her in other scenes.
JUNE 25, 1962
My lawyer, Greg Bautzer, says I am to remain on the job as producer. He will get Fox to put out an announcement to that effect.
JUNE 26, 1962
Skouras has resigned from Fox, to become effective September 20, 1962.
James Aubrey, President of CBS-TV’s network division and Darryl F. Zanuck are being mentioned as possibilities to take over.
Darryl, who is an old and good friend of mine, was production chief for many years and, in addition, is the company’s largest single stockholder.
Although I have spent much of my time the past few years fighting with Skouras I was sorry to learn he was resigning. Despite our many differences of opinion, I had always considered Skouras one of the best showmen in the business. He could have done a good job of selling Cleopatra, and had some novel ideas of getting guarantees before it opens.
JUNE 28, 1962
Hume Cronyn finished his final
scene as Sosigones today.
Hume was in full costume on the pier when the scene ended. He called to JLM, “Is that all, Joe?”
“Yes, Hume,” JLM said.
Hume turned to his wife, Jessica Tandy, who was on the sidelines watching, and shouted, “Jessie, we’ll go home.” With that he leaped happily off the pier into the water 25 feet below.
JUNE 29, 1962
Now New York wants to call off Philippi—another scene which they never before have hinted they’d like to kill. The set is under construction and it’s ridiculous to do away with it, as the scene is essential for the opening of the second part of the film.
Obviously, New York cares about just one thing—ending the picture regardless of how and despite the fact we have only three weeks more to go.
JLM is so upset he sent the following cable to Skouras, Levathes, and Judge Rosenman:
WITHOUT PHARSALIA IN MY OPINION OPENING OF FILM AND FOLLOWING SEQUENCES SEVERELY DAMAGED STOP BUT WITHOUT PHILIPPI THERE IS LITERALLY NO OPENING FOR SECOND HALF SINCE INTERIOR TENT SCENES ALREADY SHOT SIMPLY CANNOT BE INTELLIGIBLY PUT TOGETHER STOP … FOR MY PART I HAVE EXHAUSTED SUCH ENERGIES AND TALENT AS I POSSESS AND THE PROSPECT OF A FLOW OF SIMILAR PRONUNCIAMENTOS IN THE MONTH AHEAD IS ONE I CANNOT FACE STOP NOR WOULD I WANT TO FACE THE FILM I COULD NOT ASSEMBLE PROPERLY MUCH LESS TURN OVER WITH PRIDE STOP WITH MUTUAL APPRECIATION OF RESPONSIBILITIES AND SUGGESTING THAT MINE TOWARD THE STOCKHOLDERS IS NO LESS THAN YOURS I SUGGEST THAT YOU REPLACE ME SOONEST POSSIBLE BY SOMEONE LESS CRITICAL OF YOUR DIRECTIVES AND LESS DEDICATED TO THE EVENTUAL SUCCESS OF CLEOPATRA.
JOSEPH L. MANKIEWICZ
JUNE 30, 1962
Zanuck is in the fray—and he makes good sense.
Darryl, who is now in New York, gave the press a statement representing a complete vote of confidence in Skouras’ regime and an equally complete indictment of Fox’s “rule by committee” which, he said, “has approved all major decisions in production and administration during the last several years.”
Although DFZ did not say whether he had been offered the presidency of Fox, he said that the company’s president “must have the unqualified and unanimous support of a unified board of directors. He need not necessarily have total autonomy, but to function properly … he cannot be placed in a position where he is ‘second guessed’ by inexperienced ‘committees’ …” By which he means committees loaded with Wall Street directors.
My Life with Cleopatra Page 17