Notes to the Text
Cecil B. DeMille: The Art of the Hollywood Epic
Cecilia de Mille Presley and Mark A. Vieira
Published by Running Press-Perseus Books 2014
Table of Contents:
- Madame Satan and The Squaw Man
- The Sign of the Cross
- This Day and Age
- Cleopatra
- The Crusades
- The Plainsman and the Buccaneer
- Union Pacific
- North West Mounted Police and Reap the Wild Wind
- The Story of Dr. Wassell
- Unconquered
- Samson and Delilah
- The Greatest Show on Earth
- The Ten Commandments (1956)
- Epilogue
INTRODUCTION
I had been married . . . DeMille and Hayne, Donald, The Autobiography of Cecil B. DeMille, p. 69 (hereinafter DeMille, Autobiography).
Cecil’s world looked . . . Wm. de Mille, Hollywood Saga, p. 35.
In my imagination . . . DeMille, Autobiography, p. 38.
Cecil’s bank account . . . Wm. de Mille, Hollywood Saga, p. 35.
(caption) a very great . . . “Biography Notes, 3 June 1957,” p. (2) 257; Box 30 Folder 1; Autobiography Interview files in the Cecil B. DeMille Papers at the Arts & Communications Archives, L. Tom Perry Special Collections, Harold B. Lee Library, Brigham Young University, Provo, Utah (hereinafter BYU).
Page 20
The dramatist is a camera . . . DeMille, Autobiography, p. 31.
It was a bitter . . . Ibid.
Father had a . . . Ibid.
Page 21
The Lasky vaudeville . . . Betty Lasky to the authors, January 30, 2014.
Say, I like that . . . Lasky, I Blow My Own Horn, p. 64
The world was new . . . DeMille, Autobiography, p. 67.
They’re crude and . . . Wm. de Mille, Hollywood Saga, p. 36.
Page 22
Going into a nickelodeon . . . Berg, Goldwyn, p. 28.
If we tied up . . . Ibid., p. 32.
Well, I don’t know . . . Wm. de Mille, Hollywood Saga, p. 40.
Jesse would head . . . DeMille, Autobiography, p. 70.
You come of a cultured . . . Edwards, The DeMilles, p. 49.
For more than . . . Owen, “The Kick-In Prophets.”
I’m sorry . . . Naylor, “Cecil B. DeMille, the Master of Mystery,” p. 126.
Jesse, I’m pulling . . . Lasky, I Blow My Own Horn, p. 91.
Page 23
I have been honored . . . Moving Picture World, July 11, 1914.
Cecil, let’s . . . Lasky, I Blow My Own Horn, p. 91.
(caption) a very great playwright . . . Koury, Yes, Mr. DeMille, p. 77.
THE SQUAW MAN
NOTE: Our production history of The Squaw Man breaks significantly with previously published histories. This revision is based in part on research by Paramount historian Michael Greco into 1913-14 disbursement records in the Jesse L. Lasky Feature Play Company Collection in the Margaret Herrick Library at the Academy of Motion Picture Arts and Sciences. Our revision includes information obtained from these scholars: Kurt Cox of Western Costume; Richard Adkins of Hollywood Heritage; and Robert S. Birchard of the American Film Institute. It has been reviewed by Betty Lasky, historian of the Lasky family and company. Most significantly, it is drawn from previously unquoted interviews with Cecil B. DeMille held in the Arts and Communications Archives of the Harold B. Lee Library at Brigham Young University.
Page 26
We were charting . . . DeMille, Autobiography, p. 76.
That wasn’t a stage . . . Atlanta Constitution, November 25, 1913, p.6.
Listen, Dusty . . . Wm. de Mille, Hollywood Saga, p. 45.
Do what you think . . . DeMille, Autobiography, p. 69.
Page 27
(caption) Unmistakably, it was . . . DeMille, Autobiography, p. 79.
Page 28
I had never been . . . DeMille, Autobiography, p. 70.
We hoped that . . . Ibid., p. 77.
Page 29
You can make your . . . “Biography Notes, 3 June 1957,” p. (2) 257; Box 30 Folder 1; BYU.
They talked . . . DeMille, Autobiography, p. 70.
The night before . . . Rosenberg, The Real Tinsel, p. 326.
I had spoken . . . Wm. de Mille, Hollywood Saga, p. 48.
By the time our train . . . DeMille, Autobiography, p. 77.
There were high . . . Birchard, Cecil B. DeMille’s Hollywood, p. 5.
Somehow, this doesn’t . . . Wm. de Mille, Hollywood Saga, p. 51.
Well, I think we . . . Birchard, Cecil B. DeMille’s Hollywood, p. 5.
Casting was carried . . . Kobal, Hollywood, p. 11.
Page 30
After a long drive . . . DeMille, Autobiography, p. 79.
Page 32
behind the kitchen table . . . DeMille, Autobiography, p. 80.
The number of . . . “In the Motion Picture Swim.”
G. Harper . . . DeMille, Autobiography, p. 82.
Don’t go any . . . Birchard, Cecil B. DeMille’s Hollywood, p. 7.
She didn’t ask . . . Koury, Yes, Mr. DeMille, p. 77.
The sun was . . . DeMille, Autobiography, p. 83.
Page 33
When I went out . . . “Making a Picture Director.”
Page 34
We didn’t see . . . “Biography Notes, 3 June 1957,” p. 4; Box 30 Folder 1, BYU.
After we took . . . Ibid., p. 1.
Imagine the horizon . . . “Making a Picture Director.”
Puff! It was gone . . . DeMille, Autobiography, p. 84.
The tales that . . . de Mille, Dance to the Piper, p. 12.
I was riding . . . DeMille, Autobiography, p. 87.
These were not press . . . de Mille, Dance to the Piper, p. 13.
The cutting . . . “Biography Notes, 3 June 1957,” p. 3; Box 30 Folder 1, BYU.
Page 35
In those days . . . DeMille, Autobiography, p. 84.
Almost immediately letters . . . Goldwyn, Behind the Screen, p. 22.
It looked like a castle . . . “Biography Notes, 23 May 1957,” p. 23; Box 30 Folder 1, BYU.
It was the Santa Fe . . . Ibid., p. 5.
(caption) The minute a man . . . Blaisdell, “A Man With the Bark On,” p. 1243.
Page 36
The title of . . . DeMille, Autobiography, p. 89.
Our operator was . . . Birchard, Cecil B. DeMille’s Hollywood, p. 10.
Page 37
Sam had already . . . DeMille, Autobiography, p. 90.
a great picture . . . Birchard, Cecil B. DeMille’s Hollywood, p. 10.
Not only ruin . . . DeMille, Autobiography, p. 89.
Let’s look at . . . Ibid. p. 90.
I saw scratches . . . “Biography Notes, 3 June 1957,” p. 638; BYU.
Page 38
A makeshift projection . . . Variety, February 20, 1914, p. 23.
Much to my . . . Wm. de Mille, Hollywood Saga, p. 57.
genuine masterpiece . . . Variety, February 20, 1914, p. 23.
LEARNING HIS CRAFT
On his way . . . DeMille, Autobiography, p. 106.
(caption) The taking of outdoor . . . Wm. de Mille, Hollywood Saga, p. 71.
Page 42
The cameraman was . . . Higashi, Cecil B. DeMille and American Culture, p. 15 (hereinafter Higashi, Cecil B. DeMille).
Belasco’s productions were . . . Ibid.
to picturize in . . . Higham, Cecil B. DeMille, p. 49.
I had never seen . . . Wm. de Mille, Hollywood Saga, p. 66.
I am not interested . . . Lowrey, The First One Hundred, p. 110.
When Jeanie brought . . . Koury, Yes, Mr. DeMille, p. 80.
Page 43
I arrived at the Santa Fe . . . Lasky, I Blow My Own Horn, p. 94.
Vine Street was one . . . “C.B. DeMille, July 24, 1933,” p. 3; Box 305 Folder 13, BYU.
Vine Street had palm . . . Brownlow, Hollywood, p. 91.
Cecil was in . . . de Mille, Dance to the Piper, p. 13.
Every picture broke . . . Brownlow, interview with Agnes de Mille, Hollywood.
Page 46
I could not be satisfied . . . DeMille, Autobiography, p. 114.
A man who had . . . Lasky, What Ever Happened to Hollywood?, p. 11.
The story was . . . DeMille, Autobiography, p. 114.
What I was after . . . DeMille, Autobiography, p. 115.
I lighted half . . . Higashi, Cecil B. DeMille, p. 54.
(caption) All I remember . . . Bruce Paddock to the authors, June 12, 1988.
Page 47
Cecil, you’ve ruined . . . Koury, Yes, Mr. DeMille, p. 87.
If you and the exhibitors . . . Koury, Yes, Mr. DeMille, p. 87.
(caption) A good part . . . Ibid., p. 115.
SOCIAL DRAMAS
This scene is so . . . “Kindling.”
anything that ever . . . “Genuine Film Masterpiece.”
Page 50
But Mr. DeMille . . . Higham, Cecil B. DeMille, p. 44.
I was raised . . . Carr, “Every Little Bit Helps,” p. 21.
Fannie Ward was . . . Higham, Cecil B. DeMille, p. 45.
Page 51
I purposely tried . . . Carr, “Every Little Bit Helps,” p. 21.
It was a pleasure . . . Higham, Cecil B. DeMille, p. 45.
From nine until . . . DeMille, Autobiography, p. 149.
In Paris this week . . . Drazin, French Cinema, p. 31.
Features like . . . “The Cheat.”
There is a new . . . “The Golden Chance.”
(caption) The master hand . . . Ringgold, The Films of Cecil B. DeMille, p. 100.
(caption) Never before have . . . “The Golden Chance.”
THE SILENT DIVA
Welcome to California . . . Kingsley, “Diva Here to Act in Movies,” p. Il 5.
a theatre man . . . Farrar, Such Sweet Compulsion, p. 144.
Stars are sometimes . . . Lasky, I Blow My Own Horn, p. 116.
Oh, Geraldine . . . Farrar, Geraldine Farrar, p. 112.
I was enthusiastic . . . Farrar, Such Sweet Compulsion, p. 144.
There would be no more . . . Berg, Goldwyn, p. 53.
(caption) She had jet-black . . . de Mille, Dance to the Piper, p. 22.
Page 56
The first step . . . DeMille, Autobiography, p. 140.
(caption) The Lasky studio . . . Ibid.
Page 58
At every performance . . . Wagenknecht, Geraldine Farrar, p. 18.
Opera stars are . . . DeMille, Autobiography, p. 141.
Most things were . . . From an interview titled “Geraldine Farrar: April 3, 1964, a conversation with Agnes de Mille and Kevin Brownlow.” Photoplay Pictures Collection, London, UK (hereinafter “Geraldine Farrar: April 3, 1964”).
The audience had . . . “Geraldine Farrar: April 3, 1964.”
I thought Cecil . . . “Geraldine Farrar: April 3, 1964.”
(caption) I hate things . . . “Geraldine Farrar: April 3, 1964.”
Page 60
(caption) The motion picture . . . DeMille, Autobiography, p. 141.
(caption) We sat around . . . de Mille, Dance to the Piper, p. 23.
(caption) I want everybody . . . “Geraldine Farrar: April 3, 1964.”
Page 63
(caption) We were allowed. . . Farrar, Such Sweet Compulsion, p. 173.
(caption) With Joan the Woman . . . “Geraldine Farrar: April 3, 1964.”
(caption) Mr. DeMille was . . . Brownlow, The Parade’s Gone By, p. 366.
(caption) Our characterization . . . DeMille, Autobiography, p. 141.
Page 64
(caption) Before shooting . . . de Mille, Dance to the Piper, p. 24.
(caption) Then Farrar stood . . . Ibid.
Page 65
(caption) No idea can be . . . Farrar, Such Sweet Compulsion, p. 176.
(caption) Theodore Kosloff . . . Ibid.
AMERICA’S SWEETHEART
Film making means . . . “Film Making Means Millions to Los Angeles.”
For every member . . . Cecil B. DeMille to Samuel Goldfish, July 23, 1914, photocopy courtesy of Robert S. Birchard Collection (hereinafter RSB).
I have been working . . . Cecil B. DeMille to Samuel Goldfish, October 28, 1915, RSB.
It is really harder . . . Dick Le Strange to C.B. DeMille, May 13, 1915, RSB.
The first of the great . . . Zukor, The Public Is Never Wrong, p. 172.
Page 68
Mr. Zukor was . . . DeMille, Autobiography, p. 154.
Page 70
I agreed very . . . Ibid., p. 180.
This much is . . . Higham, Cecil B. DeMille, p. 65.
I have no desire . . . Whitfield, Pickford, p. 157.
The director of a . . . DeMille, Autobiography, p. 184.
DeMille was a great . . . Brownlow, The Parade’s Gone By, p. 128.
(caption) I was absolutely terrified . . . Brownlow, The Parade’s Gone By, p. 128.
Page 71
If Pickford refuses . . . Higham, Cecil B. DeMille, p. 65.
We built almost . . . DeMille, Autobiography, p. 186.
I had to flounder . . . Brownlow, The Parade’s Gone By, p. 128.
She took the dousing . . . DeMille, Autobiography, p. 183.
I lived up to my . . . Spears, “Mary Pickford’s Directors,” p. 80.
A NEW ERA
We were daily increasing . . . DeMille, Autobiography, p. 157.
Dad rode on horseback . . . Lasky, What Ever Happened to Hollywood?, p. 9.
A modern story . . . Higashi, Cecil B. DeMille, p. 54.
In Old Wives . . . DeMille, Autobiography, p. 209.
Page 76
They had just come out . . . Pratt, “Interview with Cecil B. DeMille,” Eastman House.
Everybody who’s . . .Ibid.
Page 77
(caption) The still small voice . . . “Films: The Whispering Chorus.”
(caption) The Whispering Chorus was not . . . Pratt, “Interview with Cecil B. DeMille,” Eastman House.
GLORIA SWANSON
I am the star . . . Hall, “We Interview Cecil B. DeMille.”
When I first noticed . . . DeMille, Autobiography, p. 219.
Mr. De Mille’s paneled . . . Swanson, Swanson on Swanson, p. 93.
I believe in . . . Peltret, “Gloria Swanson Talks on Divorce,” p. 74.
Of all the scenes . . . Ibid.
(caption) Mr. DeMille has chosen . . . Peltret, “Gloria Swanson Talks on Divorce,” p. 33.
Page 80
(caption) Mr. DeMille made . . . Swanson, Swanson on Swanson, p. 109.
Page 82
I had to wade . . . Ibid., p. 111.
Page 83
The Lion’s Bride . . . Schallert, “A Film Star of Destiny.”
Page 84
I have had hundreds . . . Naylor, “Cecil B. DeMille, the Master of Mystery,” p. 37.
Here is life . . . Ringgold, The Films of Cecil B. DeMille, p. 173.
The skill of the director . . . Ibid.
The theme of man . . . Naylor, “Cecil B. DeMille, the Master of Mystery,” p. 37.
Just a few yards . . . Naylor, “Cecil B. DeMille, the Master of Mystery,” p. 126.
Page 85
(caption) I never use . . . Ibid., p. 37.
(caption) I am trying . . . Ibid.
(caption) The appeal of . . . Ibid.
Page 86
(caption) Wallace was a cause . . . Swanson, Swanson on Swanson, p. 155.
INTO THE PAST
My friends drove . . . DeMille, Autobiography, p. 229.
Jesse was more . . . Ibid., p. 230.
At the beginning . . . de Mille, Portrait Gallery, p. 160.
I loved working . . . Rosenberg, The Real Tinsel, p. 181.
Page 90
I make far more . . . Higashi, Cecil B. DeMille, p. 175.
The announcement of . . . “Cecil DeMille,” Motography XIX, No. 20, p. 940.
I am an absolute . . . Hall, “We Interview Cecil B. DeMille.”
I believe in beautifying . . . Naylor, “Cecil B. DeMille, the Master of Mystery,” p. 37.
Page 91
The country felt . . . Allen, Only Yesterday, p. 64.
(caption) My youthful zeal . . . Lasky, I Blow My Own Horn, p. 270.
Page 92
Mr. DeMille loved to . . . Oderman, Talking to the Piano Player, p. 94.
Page 93
(caption) It’s going to be . . . St. Johns, “The Photoplay Has Its Heroes,” p. 31.
(caption) It was horrible . . . Brownlow, The Parade’s Gone By, p. 323.
Page 94
The 1920s were . . . DeMille, Autobiography, p. 248.
How can you work . . . Fountain, Dark Star, p. 76.
Mr. DeMille tends . . . Film Daily, March 4, 1923.
Adam’s Rib is somewhat . . . Ringgold, The Films of Cecil B. DeMille, p. 100.
Adam’s Rib is a mass . . . Ibid.
A silly, piffling . . . Ibid.
All that I picture . . . Naylor, “Cecil B. DeMille, the Master of Mystery,” p. 37.
I make my pictures . . . Hall, “We Interview Cecil B. DeMille.”
Good for 1 Quart . . . Koury, Yes, Mr. DeMille, p. 178.
DeMille didn’t make pictures . . . Brownlow, The Parade’s Gone By, p. 183.
(caption) Every director now . . . Mr. DeMille tends . . . Film Daily, March 4, 1923.
THE TEN COMMANDMENTS (1923)
I consider Cecil . . . Swanson, “What My Experiences Have Taught Me,” p. 86.
We were always . . . Rosenberg, The Real Tinsel, p. 244.
Page 104
I like spectacle . . . DeMille, Autobiography, p. 170.
This is a big sum . . . Ibid.
The Ten Commandments made me a star . . . Rosenberg, The Real Tinsel, p. 246.
Page 105
The sensuous life . . . Telegram, Cecil B. DeMille to Jesse L. Lasky, April 30, 1919, RSB.
Here on this sandhill . . . “Patience of Aides Asked by DeMille.”
All through history . . . Pratt, “Interview with Cecil B. DeMille,” Eastman House.
Page 106
Pev came to me . . . “Pastor Rasbach Interview, 4/28/58” Box 20, Folder 12, p. 5, BYU.
Mr DeMille’s handling . . . Abend, “Old Testament Ways Revived by Players.”
Page 107
God almighty . . . Birkenhead, “Shifting Sands.”
Page 110
Tears trembled . . . Weiss, “How DeMille Created a Sanctuary Out of the Exodus.”
Page 112
What do they . . . Lasky, I Blow My Own Horn, p. 168.
Page 113
We’ve raised some . . . “Pastor Rasbach Interview, 4/28/58” Box 20, Folder 12, p. 5, BYU.
It was shortly after . . . Motion Picture News, January 5, 1924.
I congratulate you . . . DeMille, Autobiography, p. 259.
SECULAR EPICS
We’ve got to get . . . “Biography Notes, 13 June 1957,” p. 7; Box 30 Folder 4, BYU.
It is not your advance . . . DeMille, Autobiography, p. 264.
He looked at me . . . Koury, Yes, Mr. DeMille, p. 107.
Page 120
He did one of the most . . . “Biography Notes, 13 June 1957,” p. 9; Box 30 Folder 4, BYU.
It was a wrench . . . DeMille, Autobiography, p. 268.
That was an occasion . . . Edwards, The DeMilles, p. 76.
(caption) We had a train . . . Chierichetti, Mitchell Leisen, p. 35.
Page 124
I was ushered . . . Coffee, Storyline, p. 140.
It was near Parkersburg . . . “Biography Notes, 23 May 1957,” p. 26; BYU.
DeMille was hesitant . . . Chierichetti, Mitchell Leisen, p. 32.
It reminded me . . . DeMille, Autobiography, p. 270.
It was nothing of . . . Coffee, Storyline, p. 145.
THE KING OF KINGS
Every man has . . . Kingsley, “Universal to Picture World,” p. A8.
Why skirt around . . . Birchard, Cecil B. DeMille’s Hollywood, p. 217.
business of the American . . . Time-Life, This Fabulous Century, p. 96.
As Uncle Cecil’s power . . . de Mille, Portrait Gallery, p. 187.
Page 128
I wasn’t keen . . . Coffee, Storyline, p. 149.
Not really, Lenore . . . Coffee, Storyline, p. 150.
At the praise . . . de Mille, Dance to the Piper, p. 38.
Father had a lot . . . Edwards, The DeMilles, p. 103.
She had no husband . . . Swanson, Swanson on Swanson, p. 156.
Whenever I wanted . . . Kennedy, The Story of the Films, p. 125.
When I found . . . Coffee, Storyline, p. 149.
behave in a chaste . . . Koury, Yes, Mr. DeMille, p. 122.
Uncle Cecil had a fervid . . . de Mille, Dance to the Piper, p. 37.
I never saw . . . Coffee, Storyline, p. 158.
Page 131
He made The King . . . Edwards, The DeMilles, p. 103.
A recent examination . . . Box 282, BYU.
H.B. Warner said . . . Lord, Played by Ear, p. 293.
The idea . . . Coffee, Storyline, p. 159.
I saw the village . . . Ibid., p. 158.
Mass was spoken . . . Kingsley, “Hollywood Moves to the Holy Land,” p. 108.
I was at the Santa . . . Edwards, The DeMilles, p. 103.
Page 132
I have been working . . . Box 262, BYU.
This was the battle . . . Kennedy, The Story of the Films, p. 144.
De Mille was a strange . . . Lord, Played by Ear, p. 279.
This was to build . . . de Mille, Dance to the Piper, p. 33.
(caption) If Gloria Swanson . . . Kobal, People Will Talk, p. 5.
(caption) Mary’s leopard . . . Williams, “Under the Lights,” p. H5.
Page 134
Is this your final . . . Higham, Cecil B. DeMille, p. 161.
There were spectators . . . Chierichetti, Mitchell Leisen, p. 37.
Whenever DeMille started . . . Ibid.
(caption) DeMille engaged both . . . Schildkraut, My Father and I, p. 183.
Page 135
Oh, go to . . . Higham, Cecil B. DeMille, p. 166.
On a veranda . . . Kingsley, “Hollywood Moves to the Holy Land,” p. 108.
In Mexico . . . DeMille, Autobiography, p. 284.
Page 136
(caption) get Leonardo . . . Box 282, BYU.
Page 138
(caption) What better source . . . DeMille, “The Public Is Always Right,” p. 74.
Page 140
(caption) How could you photograph . . . Higham, Cecil B. DeMille, p. 161.
Page 141
(caption) The two great civilizing . . . DeMille, “The Public Is Always Right,” p. 74.
THE GODLESS GIRL
*Jewish-American press . . .
NOTE: In his 2008 book Controversial Cinema, Kendall R. Phillips recounts the controversy that for some reason did not erupt until the general release of The King of Kings.The issues included:
- the “film’s apparent promulgation of the myth that the Jews killed Jesus”;
- a stereotypical portrayal of Caiaphas by Rudolph Schildkraut, an eminent Jewish-American actor;
- an apathetic response by the Christian press to these offenses;
- collaboration by Hollywood Jews
- conflict between the Jewish Anti-Defamation League and B’nai B’rith over the most effective way to stem anti-Semitism in America.
In spite of well-documented efforts by DeMille to avoid these very problems, the negative press lasted several months, but after Rabbi Magnin of Los Angeles reiterated his support, the furor died down, and there was no appreciable effect at the box office.
Crime among youth . . . Kingsley, “The Godless Girl,” p. 51.
The great god business . . . Allen, Only Yesterday, p. 154.
Added to a general . . . Kingsley, “The Godless Girl,” p. 51.
Jess this is a . . . Sperling, Hollywood Be Thy Name, p. 131.
Page 144
How can you keep . . . Coffee, Storyline, p. 163.
We had a big fire . . . Chierichetti, Mitchell Leisen, p. 37.
The actors were . . . Slifer, “Camera Angeles on 3-39,” p. 93.
Cecil used to say . . . Chierichetti, Mitchell Leisen, p. 22.
The flames got . . . Brownlow, “Lina Basquette.”
I did not have enough . . . DeMille, Autobiography, p. 289.
Page 147
I offered Jesse Lasky . . . Ibid., p. 290.
When I visited . . . DeMille, Autobiography, p. 287.
On August 2 . . . Ibid.
DYNAMITE
Louis B. Mayer told . . . Box 30, Folder 1, “May 27, 1957,” BYU.
Man Marries Woman . . . Higham, Cecil B. DeMille, p. 194.
It is Mr. DeMille’s pleasure . . . Scheuer, “Truth Just Sugar-Coated,” p. B19.
Jeanie Macpherson was swiftly . . . Lord, Played by Ear, p. 279.
Page 152
A sturdily . . . Bickford, Bulls, Balls, Bicycles, and Actors, p. 162.
DeMille made a . . . Chierichetti, Mitchell Leisen, p. 39.
It was a masterly . . . Bickford, Bulls, Balls, Bicycles, and Actors, p. 192.
DeMille had no . . . Chierichetti, Mitchell Leisen, p. 23.
The motion picture . . . Rosenberg, The Real Tinsel, p. 184.
Page 153
The camera department . . . Box 30, Folder 2, “May 16, 1957,” BYU.
I think that was my first . . . Pratt, “Interview with Cecil B. DeMille,” Eastman House.
Everything that the screen had done . . . Ibid.
Page 154
DeMille directed actors . . . Chierichetti, Mitchell Leisen, p. 23.
Page 155
He’s coming . . . Bickford, Bulls, Balls, Bicycles, and Actors, p. 203.
They said there was a madman . . . DeMille, Autobiography, p. 293.
The cave-in . . . Chierichetti, Mitchell Leisen, p. 39.
DeMille remembered . . . Rosenberg, The Real Tinsel, p. 184.
Page 156
Cecil B. DeMille has . . . Schallert, “Spectacle and Thrill Effects Lend Vivid Interest to DeMille Feature,” p. H2.
Page 158
(caption) In Dynamite I’m the . . . Rosenberg, The Real Tinsel, p. 184.
MADAM SATAN AND THE SQUAW MAN
The prosperity band . . . Allen, Only Yesterday, p. 150.
We’ll be drunk . . . Van Vechten, Parties, p. 26.
Everybody said, ‘You must do . . . Edwards, The DeMilles, p. 114.
The gigantic edifice . . . Allen, Only Yesterday, p. 271.
Page 162
Plots had narrowed . . . Lord, Played by Ear, p. 291.
That one was hell . . . Chierichetti, Mitchell Leisen, p. 39.
DeMille might raise holy hell . . . Ibid., p. 23.
I’m not worried about . . . Ibid., p. 40.
Page 163
This is the Imperial . . .
I do not know . . . DeMille, Autobiography, p. 303.
(caption) In Dynamite I’m the . . . Rosenberg, The Real Tinsel, p. 184.
THE SIGN OF THE CROSS
Zukor was . . . Betty Lasky to the authors, January 30, 2014.
The Great Depression was . . . DeMille, Autobiography, p. 297.
Our house is . . . Gabler, An Empire of Their Own, p. 256.
I’m getting out . . . Lasky, I Blow My Own Horn, p. 242.
Page 179
The pioneers get . . . Box 30, Folder 2, “May 16, 1957,” BYU.
It starred William . . . Box 30, Folder 4, “June 13, 1957,” BYU.
The Ten Commandments was the . . . Whitaker, “DeMille in Manicurist’s Chair, Talks on Religion,” p. B12.
You gentlemen are . . . Box 30, Folder 3, “March 20, 1957,” BYU.
He had paid me . . . Chierichetti, Mitchell Leisen, p. 41.
My pride is . . . Baxter, Just Watch, p. 62.
Page 180
I had just seen Laughton . . . DeMille, Autobiography, p. 297.
Laughton is nothing . . . Box 30, Folder 4, “June 13, 1957,” BYU.
I was forbidden . . . Lasky, I Blow My Own Horn, p. 242.
Father joked . . . Schulberg, Moving Pictures, p. 460.
I have to deal . . . Koury, Yes, Mr. DeMille, p. 26.
Boy, the pennies . . . Chierichetti, Mitchell Leisen, p. 41.
I owe Mr. DeMille . . . Chierichetti, Mitchell Leisen, p. 24.
Page 183
On my way out . . .
I was bored . . . Kakutani, “Claudette Colbert Still Tells DeMille Stories,” p. C31.
Claudette’s test . . . DeMille, Autobiography, p. 322.
We modern women . . . Fragmentary clipping, author’s collection.
There seems to be . . . Baxter, Just Watch!, p. 62.
We have gone . . . Fragmentary clipping, author’s collection.
Hurrah for you . . . Telegram, C.B. DeMille to Jason Joy, October 1, 1930, Madam Satan file, Production Code Administration papers, MPAA Collection, Margaret Herrick Library, Fairbanks Center for Motion Picture Study, Academy of Motion Picture Arts and Sciences, Beverly Hills (hereinafter PCA).
Page 184
I had loved that . . . Lord, Played by Ear, p. 310.
You must not make . . . Walsh, Sin and Censorship, p. 78.
I will always resist . . . DeMille, Autobiography, p. 324.
Or else I will not . . . Birchard, Cecil B. DeMille’s Hollywood, p. 255.
The head cutter . . . Box 30, Folder 3, “March 20, 1957,” BYU.
Cecil, I hear that . . . Ibid.
Page 186
Manny was my . . . DeMille, Autobiography, p. 321.
I shot the whole . . . Higham, Hollywood Cameramen, p. 128.
Page 187
Poppaea bathing . . . Box 30, Folder 2 (inside 1), “May 27, 1957,” BYU.
That milk bath . . . Kakutani, “Claudette Colbert Still Tells DeMille Stories,” p. C31.
It was real powdered . . . Chierichetti, Mitchell Leisen, p. 43.
Page 188
The arena was . . . Ibid., p. 41.
Thirty miles from . . . “Gas Turned On to Make Rome Burn.”
Page 189
DeMille visualized Nero . . . Lanchester, Charles Laughton and I, p. 101.
Nero was one . . . Singer, The Laughton Story, p. 94.
After a long argument . . . Lanchester, Charles Laughton and I, p. 101.
Nero was nuts . . . Higham, Cecil B. DeMille, p. 216.
Page 190
Let me know . . . Chierichetti, Mitchell Leisen, p. 43.
Listen! This is costing . . . Koury, Yes, Mr. DeMille, p. 23.
We couldn’t get the lions . . . Chierichetti, Mitchell Leisen, p. 43.
Charles [Laughton] and I ate . . . Lanchester, Charles Laughton and I, p. 103.
This is an outrage . . . Koury, Yes, Mr. DeMille, p. 25.
We were in the arena . . . Chierichetti, Mitchell Leisen, p. 43.
The Code was not . . . Wall, James M. “Interview with Geoffrey Shurlock.” Louis B. Mayer Library, American Film Institute (hereinafter Wall, “Shurlock”).
Ordinarily we would have . . . Letter, Jason Joy to Harold Hurley, November 16, 1932, The Sign of the Cross, PCA.
Page 191
The audience howled . . Berry, “Such a Naughty Nero,” p. 46.
Well, you sure . . . Singer, The Laughton Story, p. 94.
What can you . . . Ibid., p. 97.
The old master . . . Lusk, “DeMille Again the Old Master,” p. B17.
This picture is going . . . “The Sign of the Cross,” Variety, November 25, 1932, p. 1.
It is repellant . . . Letter, Rev. C. Reisner to C.B. DeMille, The Sign of the Cross, PCA.
This film, with its sadistic . . . Lord, Played by Ear, p. 310.
To us, even then . . . Kakutani, “Claudette Colbert Still Tells DeMille Stories,” p. C31.
It was an alluring . . . DeMille, Autobiography, p. 323.
Page 195
damnable hypocrisy . . . “The Money ‘Sign of the Cross’ Has Lost Because of Scenes of Shocking Cruelty.”
the most unpleasant bits . . . Ibid.
This scene becomes . . . Quigley, Decency in Motion Pictures, p. 39.
Cecil, what are you . . .
Without cash . . .
(caption) Among the more outré . . .
(caption) DeMille’s attempts to horrify . . .
(caption) The sacrifice . . .
THIS DAY AND AGE
I feel today . . . “Lasky Fetes His Success.”
The pall of depression was . . . DeMille, Autobiography, p. 324.
High-school boys . . . “DeMille Finds High School Generation Grown Mature.”
DeMille consulted Horace Hahn . . . Box 505, “Horace Hahn Notes, May 12, 1933,” BYU.
Page 208
Some critics thought . . . DeMille, Autobiography, p. 327.
Before you children . . . Hamilton, “The Last of the Veteran Showmen,” p. 33.
Mr. DeMille would forgive . . . Koury, Yes, Mr. DeMille, p. 83.
Page 211
Good old melodrama . . . Schallert, “This Day and Age Real Film Thriller.”
Page 213
DeMille was furious . . . Chierichetti, Mitchell Leisen, p. 45.
Leslie Wishard . . . Friends of the Future, Paniolo House Stories, p. 97.
September 28 . . . Box 513, “Emily Barrye to Roy Burns, September 29, 1933,” BYU.
Tell me, Bart . . . Higham, Cecil B. DeMille, p. 225.
I knew they were in . . . Chierichetti, Mitchell Leisen, p. 46.
Page 214
Wingate couldn’t explain . . . Wall, “Shurlock,” p. 89.
Page 216
There are no nude . . . Box 513, “C.B. DeMille to James Wingate, SRC, December 29, 1933,” BYU.
The audience reaction . . . Chierichetti, Mitchell Leisen, p. 46.
I was the fifth . . . Cecilia de Mille Presley to Mark A. Vieira, May 9, 2014.
It is inspiring . . . Box 505, “C.B. DeMille to Adolph Zukor, November 14, 1932,” BYU.
Mr. Zukor was forced . . . DeMille, Autobiography, p. 333.
Right in front of . . . Box 30, Folder 2, “May 16, 1957,” BYU.
A man does best . . . DeMille, Autobiography, p. 335.
If I make a light . . . Schallert, “Hollywood Has No Actors.”
This is the story . . . Lord, “Hollywood Treats Own Code,” p. 1.
The pest hole . . . Black, Hollywood Censored, p. 163.
CLEOPATRA
Hollywood is queening it . . . Rankin, “They’re All Queening It,” p. 34.
Producers have reduced . . . “Deadline for Film Dirt.”
It is only fair . . . “Brickbats and Bouquets,” (1934) p. 16.
As a small-town . . . Ibid.
Mae rubbed people . . . Wall, “Shurlock,” p. 123.
Page 220
Joe Breen nurtured not the . . . Vizzard, See No Evil, p. 75.
the thousands of . . . Lord, Played by Ear, p. 308.
mad through and through . . . Lord, Played by Ear, p. 307.
vile and disgusting . . . Black, Hollywood Censored, p. 163.
Father Dinneen and . . . Lord, Played by Ear, p. 310.
The actor I shall . . . Scheuer, “Wanted! A He-Man,” p. A1.
We have a tremendous . . . Schallert, “Hollywood Has No Actors,” p. A1.
I can’t subscribe . . . Schallert, “Irving Thalberg Challenges,” p. A1.
Page 222
Everything you see . . . DeMille, “How I Make a Spectacle,” p. 100.
At last . . . Wilcoxon, Lionheart, p. 12.
Page 225
You are the most . . . Box 519, “C.B. DeMille to Agnes de Mille, March 6, 1934,” BYU.
Page 228
Uncle Ce thinks . . . Easton, No Intermissions, p. 112.
You remember . . . DeMille, Autobiography, p. 338.
The studio made it . . . Chierichetti, Mitchell Leisen, p. 47.
Page 229
Costumes not ready . . . Birchard, Cecil B. DeMille’s Hollywood, p. 277.
‘Warren raised . . . Kakutani, “Claudette Colbert Still Tells DeMille Stories,” p. C31.
Calpurnia was one . . . De Mille, Agnes, Speak to Me, Dance With Me, p. 255.
an ex-waiter . . . Ibid., p. 262.
LeRoy Prince . . . Ibid., p. 259.
Rapp, cheap and . . . Ibid., p. 260.
I want to do dances . . . Ibid., p. 256.
Uncle Ce amazes . . . Ibid., p. 262.
Page 230
I told Claudette . . . Wilcoxon, Lionheart, p. 30.
I’d become good friends . . . Ibid., p. 40.
Page 231
I recall her muttering . . . Ibid., p. 32.
It was a hot. . . Higham, Cecil B. DeMille, p. 233.
I was one of a . . . Niven, Bring On the Empty Horses, p. 325.
You know when you come here . . . Koury, Yes, Mr. DeMille, p. 29.
What I want . . . Ibid., p. 147.
Page 233
Well, Uncle Ce . . . De Mille, Agnes, Speak to Me, Dance With Me, p. 263.
The name of this . . . Wilcoxon, Lionheart, p. 40.
Do you know what . . . Higham, Cecil B. DeMille, p. 235.
Well now Colbert . . . De Mille, Agnes, Speak to Me, Dance With Me, p. 265.
To a member of . . . Ibid., p. 271.
Pull out her . . . Ibid., p. 267.
Page 235
Very sorry you and Agnes . . . Box 65, “William de Mille to C.B. DeMille, May 5, 1934,” BYU.
(caption) Don’t show that . . . John Kobal to Mark A. Vieira, January 14, 1985.
(caption) And, yes, Claudette . . . Wilcoxon, Lionheart, p. 34.
Page 241
Ce can be tough . . . Edwards, The DeMilles, p. 136.
Making pictures is . . . Schallert, “Film Producers Shaken by Clean-Up Campaign,” p. 1.
DeMille’s This Day and Age . . . Scheuer, “Hollywood Borrows Tricks,” p. A1.
No! No! . . . Van Ryn, “When You See Paramount,” p. 36.
DeMille’s films were . . . Kakutani, “Claudette Colbert Still Tells DeMille Stories,” p. C31.
(caption) Move that black horse . . . Millier, “Hush,” p. A1.
Page 242
One of the bit . . . Zeitlin, “Interview with Henry Wilcoxon, October 16, 1956,” p. 2.
Purify Hollywood . . . Black, Hollywood Censored, p. 177.
Will, you’ve got to save . . . Wall, “Shurlock,” p. 98.
Page 247
Joe Breen was not . . . Jack Vizzard to Mark A. Vieira, April 12, 1998.
Motion pictures cannot be . . . Quigley, “Dr. DeMille on Sex,” p. 9.
At nine o’clock . . . Birchard, Cecil B. DeMille’s Hollywood, p. 282.
THE CRUSADES
The Crusades is an example . . . DeMille, Autobiography, p. 344.
This is a very important . . . Birchard, Cecil B. DeMille’s Hollywood, p. 284.
The Crusades, in my opinion . . . DeMille, Autobiography, p. 345.
Page 252
Mr. Cohen started . . . Eyman, Empire of Dreams, p. 318.
Page 254
He was half Morgan . . . Wilcoxon, Lionheart, p. 51.
I purposely . . . Edwards, The DeMilles, p. 138.
Page 255
One simply didn’t . . . Ibid.
I pressed nurses . . . DeMille, Autobiography, p. 343.
Hit Richard . . . Fisher, “Diary of a DeMille Crusader.,” p. 67.
Knowing nothing . . . Ibid., p. 21.
When I was . . . Ibid., p. 67.
Page 256
We had a man right in the . . . Birchard, Cecil B. DeMille’s Hollywood, p. 290.
I was playing this . . . Kobal, People Will Talk, p. 417.
snowbound in the Sierra . . . Fisher, “Diary of a DeMille Crusader.,” p. 68.
This one is lovely . . . Ibid.
(caption) DeMille is always aiming . . . Schildkraut, My Father and I, p. 184.
Page 259
Don’t those people . . . “Human Touch Injected into Pictures by DeMille.”
I watched this little extra . . . Wilcoxon, Lionheart, p. 66.
Mr. DeMille? Sheer heaven . . . Kobal, People Will Talk, p. 417.
Page 260
Well, boss . . . Kendall, “Revenge Dished Up a la Mode,” p. 19.
Cecil B. DeMille is a touch man . . . Woessner, Cecil B. DeMille, p. 17.
The Crusades presents . . . Wilcoxon, Lionheart, p. 68.
The subjects made . . . Jones, “DeMille’s Crusades.”
The film is historically . . . “The Crusades.”
(caption) This portrait was . . . Henry Wilcoxon to Mark A. Vieira, September 18, 1975.
Page 267
A state of mourning . . . Wilcoxon, Lionheart, p. 74.
THE PLAINSMAN AND THE BUCCANEER
This is their way. . . Wilcoxon, Lionheart, p. 76.
I just wonder . . . DeMille, Autobiography, p. 346.
I’m under contract . . . Wilcoxon, Lionheart, p. 77.
Page 272
All my calls . . . Ibid., p. 78.
Page 273
The cavalry charge . . . Birchard, Cecil B. DeMille’s Hollywood, p. 296.
Where the gates . . . Coughlin, “Producing The Plainsman,” p. 87.
Calamity Jane wore . . . Henning, Destined for Hollywood, p. 43.
Mr. DeMille was preparing . . . Towne, “Calamity Jean,” p. 84.
No one is . . . Arce, Gary Cooper, p. 133.
Gary is an embodiment . . . DeMille, Autobiography, p. 349.
How in the hell . . . Arce, Gary Cooper, p. 134.
Page 276
You four-flushin’ . . . Koury, Yes, Mr. DeMille, p. 282.
Calamity Jane’s virtues . . . Arthur, “Who Wants to Be a Lady?” p. SM3.
Jean had to learn . . . DeMille, Autobiography, p. 350.
One of the most . . . Ibid.
My idea in every picture . . . Burgoyne, The Epic Film in World Culture, p. 88.
As every historian . . . DeMille, Autobiography, p. 350.
Page 278
It brought me . . . Ibid., p. 347.
If Wild Bill . . . Burgoyne, The Epic Film in World Culture, p. 88.
Page 279
Oh, Mr. DeMille . . . Hopper, “Pictures, Too,” p. A11.
Caricature is essential . . . Henning, Destined for Hollywood, p. 45.
When you looked . . . Ibid., p. 40.
When I went ashore . . . Higham, Cecil B. DeMille, p. 251.
I’m going to sue . . . Hayes, “March Versus the Stage,” p. 22.
I was subtly . . . Waterbury, “Close Ups and Long Shots,” p. 12.
Page 280
I like to work . . . Smith, “Freddie Takes a Fall,” p. 55.
UNION PACIFIC
Proudly hailing from . . . DeMille, Autobiography, p. 366.
I haven’t made up . . . “Third Film Based on American History.”
Page 284
Gentle elderly Jews . . . Lasky, What Ever Happened to Hollywood?, p. 147.
Twentieth Century-Fox will . . . “Film Studio to Offset European Market Loss.”
Production is up . . . Schallert, “Studio Production Budgets Soaring,” p. C3.
Page 285
Tell the story . . . DeMille, Autobiography, p. 362.
How is your . . . Lasky, What Ever Happened to Hollywood?, p. 137.
Sweat, blood . . . Ibid., 151.
For me it was only . . . Ibid., p. 185.
An enormously attractive . . . Ibid., p. 132.
Page 286
If that woman . . . Ibid., p. 156.
DeMille took to phoning me . . . Ibid., p. 172.
Page 287
I don’t know whether . . . Joel McCrea, letter to DeMille, Box 546, BYU.
DeMille never failed . . . Kobal, People Will Talk, p. 312.
I have never worked . . . DeMille, Autobiography, p. 364.
With DeMille, the picture . . . Kobal, People Will Talk, p. 312.
Page 294
Whenever DeMille shoots . . . Walters, “Photoplay Fashions,” p. 5.
You certainly knew . . . Drew, “Stanwyck Speaks,” p. 45.
He was great with . . . Kobal, People Will Talk, p. 312.
For over two weeks . . . Hurley, “Robert Preston.”
Page 295
His face a gaunt . . . Lasky, What Ever Happened to Hollywood?, p. 185.
I loved DeMille . . . Drew, “Stanwyck Speaks,” p. 45.
Page 296
Most of the State . . . Smith, Starring Miss Barbara Stanwyck, p. 128.
His twenty-five . . . National Box Office Digest 9, No. 14 (May 22, 1939)
DeMille is one . . . Nugent, “Union Pacific.”
NORTH WEST MOUNTED POLICE AND REAP THE WILD WIND
Whew . . . Birchard, Cecil B. DeMille’s Hollywood, p. 314.
Alan was lured . . . Lasky, What Ever Happened to Hollywood?, p. 159.
You’ve just lost me . . . Ibid., p. 160.
Page 301
We considered . . . DeMille, Autobiography, p. 369.
Page 302
harem-skarem . . . Schallert, “Drama: Dietrich May Portray Loupette,” p. A9.
I look forward . . . Gilbert, Opposite Attraction, p. 275.
Aren’t you going to . . . Morella, Paulette, p. 92.
If you walked . . . Hopper, “November Film Menu,” p. D3.
Louvette is here . . . DeMille, Autobiography, p. 369.
I was called over . . . Lasky, What Ever Happened to Hollywood?, p. 200.
It’s too bad the good Lord . . . “Norma Lee Browning-Edith Head Autobiography Manuscript,” p. 162. Special Collections, Margaret Herrick Library, Fairbanks Center for Motion Picture Study, Academy of Motion Picture Arts and Sciences (hereinafter Edith Head, FCMPS).
They guffawed . . . Lasky, What Ever Happened to Hollywood?, p. 203.
Page 305
I have always . . . DeMille, Autobiography, p. 370.
Page 306
In 1840 . . . Ibid., p. 372.
What I want . . . Lasky, What Ever Happened to Hollywood?, p. 216.
Charles Bennett would appear . . . Ibid., p. 217.
I couldn’t sleep . . . Ibid., p. 219.
Page 308
ungrateful bastard . . . Hurley, “Robert Preston.”
some writer . . . McGilligan, Film Crazy, p. 113.
After North West Mounted Police . . . Gilbert, Opposite Attraction, p. 286.
Page 309
ripples of discord . . . Ibid.
There were some . . . Morella, Paulette, p. 120.
DeMille actually used . . . Gilbert, Opposite Attraction, p. 286.
You’re going to cut . . . DeMille, Autobiography, p. 375.
Everyone who has . . . Griffith, “New York Critics Praise,” p. 8.
Reap the Wild Wind broke . . . DeMille, Autobiography, p. 376.
My sixtieth . . . Ibid., p. 374.
Cecil B. DeMille was unquestionably . . . Milland, Wide-Eyed in Babylon, p. 210.
(caption) There is no dearth . . . Griffith, “New York Critics Praise,” p. 8.
THE STORY OF DR. WASSELL
The men were suffering. . . The American Presidency Project (www.presidency.ucsb.edu/was/?pid=16252)
We had no sooner . . . DeMille, Autobiography, p. 377.
Page 314
The research . . . McGilligan, Backstory, p. 86.
I like Mr. DeMille . . . Schallert, “South Sea Lure Holds Java Hero,” p. C2.
Page 315
Mr. DeMille was pleasant . . . Birchard, Cecil B. DeMille’s Hollywood, p. 327.
Imagine . . . Crowther, “The Story of Dr. Wassell,” June 7, 1944.
This picture is too ornate . . . Parsons, “Heroic Dr. Wassell,” p. 8.
some of the inevitable . . . Schallert, “Dr. Wassell’s Heroism,” p. A10.
This story is one . . . Ringgold, The Films of Cecil B. DeMille, p. 334.
Mr. DeMille is doing . . . Schallert, “South Sea Lure Holds Java Hero,” p. C2.
Page 316
Not one critic . . . Shippey, “Leeside,” p. A4.
The critics lambasted . . . DeMille, Autobiography, p. 380.
UNCONQUERED
As we moved . . . Lasky, What Ever Happened to Hollywood?, p. 238.
How was the war . . . Ibid., 249.
One Sunday afternoon . . . DeMille, Autobiography, p. 391.
the birth of freedom . . . Ibid.
Page 321
DeMille’s eyes . . . Koury, Yes, Mr. DeMille, p. 12.
My assistants . . . Ibid., p. 156.
The old gentleman . . . Lasky, What Ever Happened to Hollywood?, p. 197.
Page 325
One scene had to be . . . Ibid., 200.
I know it’s too much . . . Ibid., 254.
I am running . . . Koury, Yes, Mr. DeMille, p. 142.
There is nothing . . . Birchard, Cecil B. DeMille’s Hollywood, p. 331.
The players had more . . . Koury, Yes, Mr. DeMille, p. 141.
The camera did not miss . . .
Page 326
Is that where you . . . Morella, Paulette, p. 158.
(caption) Laugh as one may . . . Crowther, “Unconquered.”
SAMSON AND DELILAH
Hard hit as Hollywood . . . Schallert, “Hollywood Studios Fight the Economic War,” p. 13.
There was a man . . . Koury, Yes, Mr. DeMille, p. 196.
What would you say . . . Lasky, What Ever Happened to Hollywood?, p. 257.
Brawl at wedding . . . Koury, Yes, Mr. DeMille, p. 241.
Every weekend . . . Ibid., p. 237.
DeMille: This is the best . . . Ibid., p. 235.
Page 336
Conflict is the only . . . Ibid., p. 241.
Casting was risky . . . DeMille, Autobiography, p. 400.
Nancy Olson . . . “Casting Log,” De Mille Office (hereinafter Casting Log, D M).
Page 339
I was won . . . Schallert, “Hedy May Play Wire Walker,” p. D4.
I expected to . . . Casting Log, D M.
DeMille looked . . . Wilcoxon, Lionheart, p. 169.
Lancaster and Mature . . . Casting Log, D M.
DeMille had an extensive . . . McClelland, Forties Film Talk, p. 129.
Page 341
I would have cast . . . Casting Log, D M.
DeMille really was considered . . . “Angela Lansbury, an interview with Patrick Stansbury and Kevin Brownlow.” Photoplay Pictures Collection, London, UK.
Page 342
Economic conditions . . . “Samson and Delilah Meeting, May 27, 1948,” Paramount Pictures Collection, Special Collections, Margaret Herrick Library, Fairbanks Center for Motion Picture Study, Academy of Motion Picture Arts and Sciences (hereinafter Para, FCMPS).
He was known . . . Head, Edith Head’s Hollywood, p. 114.
I didn’t really feel like . . . Edith Head, FCMPS, p. 161.
Page 343
That I like very much . . . Ibid, p. 170.
I watched . . . Head, Edith Head’s Hollywood, p. 120.
The spectacular face . . . Lasky, What Ever Happened to Hollywood?, p. 259.
I can still see . . . Edith Head, FCMPS, p. 170.
Mr. DeMille has . . . Schallert, “Hedy May Play Wire Walker,” p. D4.
Geez, look at him . . . “Samson and Delilah.”
She was not exactly . . . McClelland, Forties Film Talk, p. 131.
Jeez, this is . . . “Samson and Delilah.”
I never use stuffed . . . Koury, Yes, Mr. DeMille, p. 162.
I have met . . . Edith Head, FCMPS.
I wouldn’t walk . . . McClelland, Forties Film Talk, p. 131.
Now, just a minute . . . “Interview, December 10, 1951.” Hedda Hopper Collection, Special Collections, Margaret Herrick Library, Fairbanks Center for Motion Picture Study, Academy of Motion Picture Arts and Sciences (hereinafter Hopper, FCMPS).
I have been previewing . . . Birchard, Cecil B. DeMille’s Hollywood, p. 340.
(caption) This sketch sold . . . Koury, Yes, Mr. DeMille, p. 196.
THE GREATEST SHOW ON EARTH
During the quiet . . . “D.W. Griffith Paid Tribute.”
Page 357
There has appeared . . . Edwards, The DeMilles, p. 202.
The circus is only . . . “The Soul of the Circus.”
Page 359
All is forgiven . . . Betty Lasky to the authors, June 2, 2014.
Page 360
Gladys Rosson trouped . . . DeMille, Autobiography, p. 404.
At dinner he slipped . . . Koury, Yes, Mr. DeMille, p. 258.
I was valuable . . . Essoe, DeMille, p. 273.
He has a sinister . . . Casting Log, D M.
Who was that . . . Heston, In the Arena, p. 103.
Page 363
Naturally I’d love . . . “Roach Eager.”
Mr. DeMille, what I’ve . . . Wilcoxon, Lionheart, p. 208.
You can have a baby . . . Koury, Yes, Mr. DeMille, p. 235.
Congratulations . . . Thomas, King Cohn, p. 248.
I do hope . . . Morella, Paulette, p. 177.
I think you have great . . . Hopper, FCMPS.
You cannot light . . . Hopper, “Greatest Show DeMille’s Biggest Topper,” p. D1.
Page 364
It is a world . . . DeMille, “The Soul of the Circus.”
No one can tell . . . “The DeMille Spell.”
Sometimes Mr. DeMille . . . Essoe, DeMille, p. 273.
Page 368
I have been called . . . Small, “Rock of Hollywood,” p. 68.
No one knows how . . . Koury, Yes, Mr. DeMille, p. 164.
Hey! What have . . . Ibid., p. 163.
Page 369
It’s a lot of . . . Ibid., p. 278.
THE TEN COMMANDMENTS (1956)
You must be . . . Wilcoxon, Lionheart, p. 226.
Page 372
Our screenplay . . . Lasky, What Ever Happened to Hollywood? p. 296.
I would have given. . . DeMille, Autobiography, p. 296.
Page 373
I’d never met . . . “Pastor Rasbach Interview, 4/28/58” Box 20, Folder 12, p. 8, BYU.
I took a cut . . . Baxter, Intermission, p. 313.
That’s Chuck . . . Wilcoxon, Lionheart, p. 244.
The Crusades was . . . Ibid., p 274.
The only way . . . DeMille, Autobiography, p. 426.
There was dysentery . . . Wilcoxon, Lionheart, p. 282.
Heston’s legs . . . Birchard, Cecil B. DeMille’s Hollywood, p. 355.
The truth of the scene . . . Heston, In the Arena, p. 133.
Every day we shipped . . . DeMille, Autobiography, p. 426.
Johnny Jensen did . . . Wilcoxon, Lionheart, p. 287.
Page 374
We never really . . . Ibid., p. 285.
For hours in the predawn . . . Ibid., p. 287.
I was followed . . . Heston, In the Arena, p. 134.
Page 375
No more conservative . . . Robinson, All My Yesterdays, p. 272.
DeMille gave . . . Wilcoxon, Lionheart, p. 288.
Page 378
If my motives . . . DeMille, Autobiography, p. 429.
We tore down . . . Wilcoxon, Lionheart, p. 28.
Page 384
Mr. Bernstein, do you think . . . Essoe, DeMille, p. 281.
disconcertingly mechanical . . . Crowther, “The Ten Commandments.”
I was not frightened . . . Biography Notes, July 8, 1957,” p. 1; Box 10 Folder 24, BYU.
Page 387
I haven’t left . . . “Biography Notes, April 16, 1957,” p. 1; Box 30 Folder 3, BYU.
DeMille sold the same . . . Lasky, What Ever Happened to Hollywood?, p. 304.
To Cecil B. DeMille’s everlasting . . . Wilcoxon, Lionheart, p. 275.
(caption) There was only . . . Baxter, Intermission, p. 313.
(caption) You gave me the greatest . . . Lasky, What Ever Happened to Hollywood?, p. 305.
Page 396
Mr. DeMille believed . . . Heston, In the Arena, p. 133.
EPILOGUE
I had a frightful . . . “Biography Notes, June 3, 1957,” p. 150, BYU.
For my father . . . “Pastor Rasbach Interview, 4/28/58” Box 20, Folder 12, p. 4, BYU.
A man is no better . . . DeMille, “After Seventy Pictures,” p. 100.
I don’t see myself . . . “Biography Notes, 23 May 1957,” p. 23; Box 30 Folder 1, BYU.
I used to hear . . . Betty Lasky to the authors, January 30, 2014.
Page 400
I won’t let . . . “Biography Notes, May 16, 1957,” p. 1; Box 30 Folder 1, BYU.
Page 401
It is the story . . . DeMille, “Forget Spectacle,” p. 7.
I am carrying on . . . DeMille, “Enthusiasm at 73.”
I don’t know if . . . “Biography Notes, April 16, 1957,” p. 1; Box 30 Folder 3, BYU.
I hope that your latest . . . DeMille, “After Seventy Pictures,” p. 99.
Colossal . . . “Biography Notes, April 16, 1957: Discussion of Points,” p. 14; Box 30 Folder 3, BYU.
The Ten Commandments will not send . . . “Biography Notes, April 16, 1957,” p. 5; Box 30 Folder 3, BYU.
A church can be . . . “Pastor Rasbach Interview, 4/28/58” Box 20, Folder 12, p. 16, BYU.
I believe in prayer . . . Ibid., p. 3.
The relationship . . . Ibid., p. 18.
Mrs. De Mille is . . . Ibid., p. 12.
Page 402
You remember the experience . . . Berg, Goldwyn, p. 484.
chromium heads . . . “Revelations” Story Files, BYU.
I am appalled . . . Niven, Bring On the Empty Horses, p. 327.
I know I’m . . . Orrison, Written in Stone. p. 108.
What am I . . . DeMille, Autobiography, p. 440.
Page 405
Motion pictures have been . . . DeMille, “After Seventy Pictures,” p. 102.