Dustin Who? for MADIGAN'S MILLIONS

From: SO YOU WANT TO MAKE MOVIES

My Life As An Independent Film Producer

by Sidney Pink

...Paul Rosen, who worked tirelessly trying to find someone new for the MADIGAN role, called to tell me he had arranged for me to go to the Village to see a theater-in-the-round play titled EH! He said the play wasn't very good, but there was a young actor in it who was getting raves from the local critics who frequented these offbeat theaters. He was a 28-year-old actor playing a lead role that ran the gamut from youngster to octogenarian through the course of the play. Paul warned me particularly not to walk out after the first act, that I must stay to see this actor's performance as the 80-year-old...

The play was awful, but the leading man who was dominating that stage was an incredible performer. He was not handsome, though I hesitate to use the word ugly because he had a magnetism that precluded a description that would connote anything repulsive. He superseded his material, and he exerted a personal radiance that was impossible not to feel...

The actor's name was Dustin Hoffman...

I told Paul any deal made would have to included options for three additional films. I felt that if I were going to take the risk of introducing such an unorthodox actor, I should share in the rewards if any were forthcoming. Paul agreed and said he would be back to me as soon as possible...

It took several days before Paul got back to me. He said that while Dustin was not wild about either the script of the part, he was willing to go ahead with it in order to make his first trip to Europe and to get his feet wet in the world of motion pictures. His only previous film experience had been a walk-on role and a few TV appearances. I was delighted with the news, and I had Paul Rosen draw up a contract while Prager and Dustin got together on the script. Now it was time to discuss my new find with Dick Pack and get his approval of Dustin Hoffman as the lead.

I met with Dick and relayed my total certainty his immense talent would take him straight to the top. Stoically, Dick sat listening and then told me he didn't give a damn about how I felt about this unknown. The WBC contract required two "name" per picture, and to him Dustin was a nobody. He would accept George Raft as one of those names, but in order to get approval for Dustin, I would have to provide a name female co-star. Dick Pack finally had me in a corner; he knew that this would be almost impossible because of the rigid requirements of the Italian and Spanish coproduction laws. I had to get an Italian or Spanish leading lady acceptable to Westinghouse who would be available for the starting date we had already set for MADIGAN.

This time Pack went too far; I was mad as hell and I realized I could never have a peaceful, happy future with Westinghouse as long as Dick Pack was there. I had naively expected he would at least agree to take one flyer with me, given the strength of the pictures we had delivered and McGannon's expressed faith in us. Actually Dick faced no great risk, since Westinghouse had already demonstrated lack of interest in selling to anyone but its own stations.

I was hurt by Dick's unwillingness to accept my judgment, but even more by his new demonstration of the desire to play despot. He was hurting his own company. If I was right about Dustin, we would have three more pictures with a future superstar, and Westinghouse would enjoy the same fruits as we. Dick really had no right to take the position he did, and it was then and there I made my final decision to terminate the contract at the finish of RAGAN.

I wanted Dustin in the picture, so I was determined to find an actress acceptable to Westinghouse. I submitted a list of possible Italian leading ladies in our price range, but the only name Pack found acceptable was Elsa Martinelli. She had just finished THE INDIAN FIGHTER, a film with Kirk Douglas, and in the Pack book, that made her a name. Paul Rosen took it from there, but Elsa Martinelli was nowhere to be found.

Paul was ready to give up when I found the answer. My Italian agent friend, Ivy Bless, knew the whereabouts of every actor in Rome, so I took a chance and flew to Rome. Because of our personal friendship, Ivy disclosed that Elsa was in hiding somewhere in Paris. She was trying to escape the Italian paparazzi who were hounding her for the story of her latest flaming affair. It took three weeks to find her in Paris, but with Elsa, a deal was only a matter of money; she had no interest in scripts. So I paid her pound of flesh and returned to New York to sign the Hoffman contract.

While I was gone, Dustin was tested for a Warner Bros. movie and now refused to sign the three-picture option. His Warner deal never came through, but I had to give up those options in order to get him to do MADIGAN. I was furious, but he remained adamant. He would do the one picture, but with no commitment to anything beyond that. I wanted to drop him, but my instincts demanded I make a picture with the one actor I had ever seen with so much potential, so we signed.

The stupid ego of Dick Pack and his inability to see beyond his nose cost all of us a real fortune. The three options on Dustin that would have cost us $5,000 per week for the last option were almost like owning a platinum mine. After THE GRADUATE, Dustin received a staggering sum for his next picture. By the time our third option came around, his price was over one million dollars. I wonder how Dick Pack felt after the huge success of THE GRADUATE about his response of "Dustin who?" to my first recommendation of this actor.

Sergio Leone on ONCE UPON A TIME IN THE WEST

Sergio Leone: In the reconstruction of the locations, back here at Cinecitta, I was more meticulous than a Visconti. I even brought back just the right dust from Monument Valley of just the right color. I believe that the selection of the right details is a big help for an actor. When Fonda and Bronson arrived on the set, they were bowled over! They weren't even used to working with music, which for me is crucially important for the actors. It helps them enter into the type of tension I request. I wanted Bronson because he had the right face: he is the perfect avenger, obsessive - never stopping until he's achieved his purpose; Fonda because I wanted to reverse his usual persona.

I needed the archetypes, but I wanted to play around with them, too.

The most wonderful actor, however, was Jason Robards, an actor of European cut, so gentle and responsible. Truly superb.

Fonda, of course, was a myth for me. The first few days on the set, he asked me disconcerting questions about details: "Which hand do you prefer that he drinks with? How does he tap the ash from his cigarette?"

I sensed that there was something on his mind that he wasn't expressing, so I took him aside and I told him that I wanted him for the role because he was an extraordinary actor; a legendary character who I'd admired forever. And how could I allow myself to suggest little bits of behavioral business to an actor of his stature?

Fonda responded, and this is verbatim: "Dear Sergio, I belong to that old generation of actors who never allowed themselves any initiative; who only left that for the director alone, and the only initiative taken was at the level of deciding - from the (Olympian) heights of one's superstardom - whether this or that movie was worth doing. Once committed to a project, however, one put oneself entirely in the hands of the director. In my long career, the only person I've ever shot (and then just once - in the knee) was my old friend Jimmy Stewart. Now yhou want me to exterminate an entire family. Since I like your films, you must know what you're doing. I accepted this part enthusiastically, but I want to leave all responsibility of my role up to you, so that if it's a success, all credit goes to you, and if it fails, you'll be the only one to blame."

Fonda was humble; professional as they come. He knew instinctively how to play for the lights, the camera... Just where to stand...

More casting decisions for Sidney

From: SO YOU WANT TO MAKE MOVIES

My Life As An Independent Producer

by Sidney Pink

The character of Madigan required an older actor, someone associated with gangster roles and preferably to fill the desires of WBC, a name actor. Paul Rosen suggested George Raft for the part, and there was unanimous agreement. He was perfect casting and fit every possible need for all of us. At eighty, George was still one of the most recognized names in Hollywood and certainly there was no one more associated with gangster roles than he. Not even the immortal Edward G. Robinson was more famous.

Predictably, Pack was on cloud ninety-nine when this casting possibility arose. Paul tracked down George, who was then connected with one of the famous London gambling clubs, and he agreed to accept the part. With George Raft signed, we were off to an auspicious start for the new Westinghouse contract.

It was Dick Pack who cast RAGAN for us. He wanted to find a vehicle for Ty Hardin, who was in Spain doing BATTLE OF THE BULGE. Ty made a name for himself in television with a western series and of course this sat well with Dick. Ty was a real ladies' man - blond, tall, very virile-looking with a grin like young Gary Cooper's. He fell in love with Europe, especially Rome and Madrid, along with the apparently inexhaustible supply of young lovelies who shared his innumerable one-night stands.

Ty was a great personality and a charmer but no actor. I was almost reluctant to go with him as the leading man in a picture with only one lead, but Dick Pack was so insistent that I finally agreed. Since I was able to create a very unusual villain role that would co-star the always trustworthy Gustavo Rojo, that satisfied me. Paul couldn't find an American director who would accept the script, so I was forced to find one in Europe.

The problem of a suitable leading man for MADIGAN was haunting all of us, and I knew I couldn't leave New York without completing the cast. In desperation I called Jack Gilardi and Mark Newman, hoping they could help find someone who fit our vision of the part. Stanley Prager tried to get Alan Arkin to do it, but he passed after reading the script. He rightfully felt it was improper casting for him. He had not yet made a real name for himself, but he had a good mind for scripts then, and I cannot understand what has prompted him to do some of the losers he has appeared in recently.

While we were awaiting some news from the West Coast, Paul Rosen snared another good name for us to play the lead with Bosley in THE BANG-BANG KID. Guy Madison became a star under the aegis of Warner Bros., appearing in such box-office hits as THE CHARGE AT FEATHER RIVER, and was now a familiar name in the Hollywood star list. But in the midst of that soaring career, he abruptly left for Europe and took starring roles in the spaghetti westerns and potboilers being shot in Rome. He was in great demand there because his name was virtually assured a worldwide release. Paul felt he would be perfect in the role of Bear Bullock, and who could argue that point? We signed him, and now we had our final casting for THE BANG-BANG KID except for the female lead, who had to be European.

Tonino Delli Colli on Steve Reeves

Tonino Delli Colli: Steve Reeves didn't have much strength. Before we filmed, he would blow up his muscles one by one, with a series of small exercises. He did the job to make money, not because he cared about the work. He just took care of business and put some savings aside, and in fact after the films he became a businessman. He had a secretary who became his wife, and who was a relative of Jacqueline Kennedy. I don't know where she was from, but that's how the story was spread around. However, Steve Reeves was not an actor. Rather he was a muscleman who took his muscles seriously because they were his bread and butter, and he knew very well that if he wore a shirt and tie, he wouldn't be worth a cigarette butt.

A new executive for Sidney

From: SO YOU WANT TO MAKE MOVIES

My Life As An Independent Film Producer

by Sidney Pink

The Westinghouse people gave in first. After reading the upgraded scripts tendered to them for approval, they realized we really intended to deliver higher quality, and they were impressed by our choice of director and the casting of Tom Bosley. It was quite apparent even to them that additional money given to us would show up on the screen, and they would benefit as much as we did. We had very little trouble in getting an additional $30,000 per film, but Westinghouse did throw in a couple of conditions.

Pack felt that I was carrying too much on my own shoulders, and if anything should happen to me, the entire program would collapse. He felt we needed to protect the program as well as Westinghouse by adding an executive producer who would take over the reins of the production if I should falter. He also felt the onus of complete personal supervision was a burden that should be shared with someone capable of handling that much responsibility. He demanded an equal voice in the choice of that person, although it was agreed he would be our employee on our payroll and directly responsible only to us.

Then Dick unloosed his curve. Strangely and almost miraculously, he had just the perfect man for me. Mitchell Grayson. Mitch was an old friend and compatriot of Dick's earlier days spent in little theater and writing classes who had continued his career into motion-picture production. He was available, having just completed a production job with my old friend Eli Landau. I checked with Eli, who was lavish in his praise of Mitchell Grayson...

I am certain Dick Pack felt he had planted a mole in my organization and accomplished what he had failed to achieve with Howard Barnes. He felt he would be privy to everything going on in Our organization, including my personal thoughts. He was dead wrong. Mitch and I became fast friends, and although I had occasion to question his judgment, I never doubted his loyalty or integrity. On the contrary, as he perceived the nefariousness of Dick's dealings with us, he began to confide to me the confidential reports and requests he received from Pack. Dick helped me more than he knew or intended...

With Westinghouse relatively peaceful for the moment, we resumed the task of our final casting, the completion of which would allow us to return to Madrid and get back to work. Our relations with the Trade Bank (Larry Meyers) were at their best, and I became a stockholder. My line of credit with the bank was in excess of one million dollars, and in the sixies that was a lot of money. From the menu of hot dogs and Nedick orange drinks to a million-dollar credit line in less than two years! Where else but in showbiz could such miracles be achieved? I was the talk of the industry, a great deal of it bad because of my alliance with the great enemy, television. The praise from Paul Rosen, however, was making it easier for us. Such was the esteem in which he and Famous were held that he was slowing turning the tide of resentment to one of respect for our accomplishments.

Paul finally managed to pin down Cameron Mitchell for TREASURE OF MAKUBA, who accepted the $25,000 offer for our standard six-week contract, and of course we received immediate approval from Pack. I also called Rory, who accepted the offer to return to Madrid and work with Jim Philbrook again. We had a little trouble with Pack on this one because he didn't want two Rory Calhoun vehicles on the program. An appeal to McGannon resolved that disagreement because, as I knew, the McGannons liked Rory. EMERALD OF ARTATAMA was now cast as well. That left RAGAN, additional names for THE BANG-BANG KID, and MADIGAN'S MILLIONS as the final casting problems.

Merry Christmas everybody!

A star for THE BANG-BANG KID

From: SO YOU WANT TO MAKE MOVIES

My Life As An Independent Film Producer

by Sidney Pink

Now that I had my director, casting became much easier. MADIGAN proved to be the most difficult, so we concentrated on THE BANG-BANG KID. The script called for two leading men, both of whom were vital to the plot line. The story took a new and fresh approach to the traditional Western. Howard Berk had written a love story based loosely on THE TAMING OF THE SHREW. The action takes place during the late 1800s in Limerick, a small Montana town where a silver mine offers the only employment available in that part of the state. The owner of the mine and everything else in the town is a young cowboy-turned-entrepreneur by the name of Bear Bullock, who is desperately in love with Gwenda, the blond daughter of the mayor of Limerick. Like the shrew, Gwenda perversely repulses his advances, and the more he offers, the more shrewish she becomes.

Desperate to impress her, he buys a castle in Austria and has it transported block by block to be reconstructed in Limerick. His hopes are dashed by her complete and utter disdain for this magnificent flourish, and Bear Bullock becomes mean. He decides to repay her by enslaving the townsfolk, so he hires the fastest gunman in the West, Killer Kissick, to accomplish his purpose. The town exists in a veritable state of siege, with Kissick threatening the inhabitants on a daily basis. Mineworkers' wages are cut to bare subsistence level, and Bullock lets it be known he will change it all if Gwenda accepts his marriage proposal. She adamantly refuses despite the pleas of the townspeople (including her father), so things keep getting worse in the town of Limerick.

In total frustration, the mayor and the town merchants advertise far and wide for a gunfighter to come to Limerick and rid them of the scourge of Killer Kissick. The reward of $2,500, an almost staggering sum for that era, attracts many candidates, but all fall to the fast guns of Kissick. Just when everything looks darkest, a mild-mannered roly-poly man arrives in Limerick to accept the job. He is laughed at until he opens his steamer trunk, and out comes a robot that is the absolute mirror image of his creator. The robot, named The Bang-Bang Kid, is indeed the fastest gun in the West, but it has one flaw - it doesn't work all the time. This was the basic plot of a very well-written script that should have been a one-of-a-kind movie.

Stanley and Paul agreed on the one actor they were certain would be perfect for the part of the bumbling inventor of the robot, Tom Bosley. This fine actor and musical comedy star won Broadway's highest honors for his magnificent portrayal of Fiorello La Guardia in the musical play FIORELLO. It was not a good time for Tom, and he was not working as much as he should have been. If I were back in the business today, class people like Tom would be in every damned thing I would produce. He was professionalism at its best, and what a joy to work with!

When I saw Tom for the first time, I knew he was the personification of Howard Berk's vision of that role. We signed him fast and at a fee I was surprised he would accept. THE BANG-BANG KID was to be shot in August. We still had the troublesome MADIGAN to cast, and it was slated to begin in April.