Way Down - Robert Turman - Way Down (Cassette)
SK::Or a documentary. So, he's done all right by the movies. And the movies would have done all right by him but he seems he's just one of these people who is determined to be poor. TCM: One thing that I think was interesting was that Dustin Hoffman didn't rush into another major motion picture which seems to be the obvious reaction these days with anybody that becomes successful right away.
And it was almost two years before he was in another film which was Midnight Cowboy. Did you come across any research about that decision? SK::First of all, I think the success of the movie and the fact that he instantly became an almost iconic symbol of that new lost generation. I think And don't forget, he came out of the theatre. And there's the age old thing about That was still an issue. And I don't think it was a coincidence that he went SK::No, I didn't.
SK:: I had no idea. It was only when meeting Ernest Lehman, Ernie Lehman and getting to know him a little bit that you realize he was still carrying the scars of working for [Harold] Hecht and [Burt] Lancaster's company.
It was only then that I realized TCM: It's a very sympathetic portrayal of him and of course I have huge admiration for him as a screenwriter I always knew or read that Burt Lancaster was a very powerful and volatile personality but I don't think I ever realized - at least until I read this article - what a mean-spirited, SOB he could be.
SK::Oh yeah. Well, I think he was kind of a troubled guy I remember someone said I don't know if it was Kirk Douglas who told me this And it was someone who was formidably male too TCM: Ernie [Lehman] was actually lucky to have gotten out of it although he had an ulcer by the time he left. Unhealthy, as I was taught to say in therapy.
TCM: It's interesting that the stuff that was going on in the office behind the scenes with these three guys was also happening on the screen with. SK::That's true Harold Hecht had a very, kind of periphetic career. I think he started out as a dancer or a tap Way Down - Robert Turman - Way Down (Cassette). He wound up as a literary agent. He liked to have his afternoon "snoot. I think someone described him as one of the chief informers. I mean he was just a nasty piece of work They had this beautiful North Canon Drive office which used to belong to the William Way Down - Robert Turman - Way Down (Cassette) Agency and it was kind of a great place.
And they also maintained an apartment, I think, on Wiltshire Blvd where they could all meet women other than their wives. It was apparently a Way Down - Robert Turman - Way Down (Cassette) of showplace TCM: I guess a lot of that was going on in Hollywood then SK::But for them to actually have a production company with its own apartment for trysts.
I mean that's gotta be somewhat unique. SK:: I think so. I'm partial to this film because he's And those eyeglasses are like a terrifying weapon.
You know, I'm partial to his very early and very late work. He's kind of wonderful in that. And on the other hand he's so energetic. Oh, and I don't want to forget That's very powerful. SK::I remember watching that film with my mother when I was working on it. And even she didn't know any of the background thought that his relationship with his sister was incredibly creepy Susan Harrison's character. It's a remarkable performance and I think that what happens in films like that is that it sort of elevates everyone's performance.
Tony Curtis just takes your breath away in that part. TCM: The one weak link for me and it's partly because of the character as written but it's the Susan Harrison character. There's not a lot there, even from a performance standpoint. You don't really know anything about this person. She's almost an enigma. And I was curious of how they came to cast her. SK::It's curious, isn't it? You know, she re-emerged very soon after the piece came out on an early reality show where her daughter was involved in some controversy.
And when her daughter either held a press conference or was starting to be stalked by the press - I wish I could remember what the show was - People Magazine, for example, showed a photograph of this young woman accompanied by this little old lady and it said "Former actress Susan Harrison" and it was her. So she was an eighteen year old actress, very pretty, from the Bronx.
She didn't have any real experience as an actress. I think she was kind of a beatnik chick. She worked at the Limelight which was a Greenwich Village coffee house. But she had - I think we say in the piece - she had the look of a startled deer which sort of appealed to them. And I did meet a man - he recently passed away - who was a photographer who took pictures of a lot of ingenues in both Europe and Hollywood in that period.
And he had an astonishing number - I think he must of kinda been in love with Susan Harrison - of photographs of her as a young woman. But to think of this young, inexperienced, somewhat frightened, psychologically delicate person in the clutches of Hecht and Lancaster - that's scary enough. And Tony [Curtis] and other people thought that she wasn't gonna make it, that somehow she wasn't going to survive the shoot without having a breakdown.
So I think that kind of bewilderment and fragility that you see on screen - I don't think that was an act. TCM: And nothing much happened after that. She sort of vanished SK::Well, I think it kind of traumatized her, sort of Way Down - Robert Turman - Way Down (Cassette). There was one anecdote - it was sort of this climatic scene and "Sandy" MacKendrick, the director, asked her And she actually admitted that her way of killing herself would be to throw herself off a high building.
And I think what no one knew was A photographer was shooting her in a house behind the Chateau Marmont and she fell like ten feet off a kind of platform - so he told me that story and it was kind of shocking. So she had a kind of death wish in a way but she survived because she lived to appear in People Magazine as a little old lady SK:: Right, that's true. But he was very well thought of.
And you know that old expression about Hollywood, it's the only place where you could die of encouragement. So he kind of fell for them. They made him a lot of promises. But it was clear to everyone that he was kind of a brilliant guy. The funny thing is, he used to actually tell people that he was conceived in California.
Yeah, he was born in Boston but he was most likely conceived in California. So he used to tell people that his mistrust of Hollywood was prenatal.
TCM: Unfortunately after working for Lancaster, it sounded like Lancaster had him blackballed from working on other films in Hollywood for years. I was always curious why he didn't go back to England where he'd had a successful career But maybe he wanted to sta in California where he liked the climate better. SK::Yeah, I think he did and also he was starting a family. And the other thing that was going on - he did return to England and made a couple of films - but he came back at the end of the sixties.
The poor guy, he spent like ten years, developing a movie about Mary, Queen of Scots and he was just about to make it and Universal cancelled on it.
He used to say that "the deal" is the real product in Hollywood but that the movie is the by-product of the deal. So when the California Institute of the Arts came along and make him an offer to head up its film program, he took it, like a lot of talented directors for [whom] there just isn't enough work So, in a way, he was almost say Turned out to be his masterpiece, I think. SK::Oh, that's so exiting I mean he was typing this stuff up in the back of a truck in the middle of filming it.
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