Voices From the Studio

January 27, 2009

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One of the great things about Koch’s Studio One DVD set, which I wrote about last month, is its wealth of bonus material.  Several interviews and documentaries, of different lengths and formats, offer an intimate portrait of how the eleven-season anthology series was produced. 

If there’s a complaint to be made, it’s that, out of these featurettes, only one – a brief 1987 interview with the director Paul Nickell – offers any information specific to the production of the Studio One segments in the DVD set.  This set me to wondering: would it be possible to supplement the ample DVD extras with some new stories about the seventeen episodes that many new viewers will now be discovering? 

So as I watched these Studio Ones, I contacted some of the surviving individuals whose names I recognized in the credits, and asked them what they remembered.  Here are some of their answers.

*

Charles H. “Chiz” Schultz is a television and film producer of some renown; he produced The Judy Garland Show and one of the great American independent films, Ganja and Hess.  Schultz began his career in the mailroom at CBS, and after working as a production assistant on a couple of shows (including Mama), he was promoted to “assistant to the producer” on Studio One.  It was a job that included budgets, schedules, casting, or, as Schultz put it, “a little bit of everything.”

During the live telecasts, Schultz was stationed in the control booth and charged with timing the show using a stopwatch.  “My hands were always perspiring,” Schultz remembered.  “I would always have to be careful not to drop the watch, because the sweat just poured, out of nervousness.”  If the broadcast appeared to be running long or short, Schultz would relay this information to the director and a decision would be reached: trim a scene, revise the script on the spot, or instruct the actors to speed up or slow down their delivery.

If something went wrong on the stage, Schultz and the others in the booth would look on helplessly.  “An actor would just blow his lines,” he recalled.  “Some of them would just go up.  There was just this stillness in the control room, hoping that another actor would jump in.  Which they always did.  They were always terrific professionals.”

Schultz worked on Studio One in 1955 and 1956, during the tenure of Felix Jackson, the anthology’s most talented producer.  Schultz greatly admired Jackson, an early mentor, as well as Florence Britton, the story editor who was essential to Jackson’s success. 

“Both she and Felix had a terrific story sense,” Schultz recalled.  “Florence was a great character, right out of the twenties.  She was a blonde and had a dutchboy haircut.  She always, at her desk, wore this incredibly large, wide-brimmed hat, and had a cigarette holder.  I was just in awe.  As a kid from Johnstown, Pennsylvania, I had never seen anything like her.”

Schultz praised Felix Jackson’s strength as a producer, particularly when he clashed with the blacklist.  Schultz recalled:

After I had been working at Studio One for a while, I was in the casting director, Jim Merrick’s, office, and he said, “I want to show you something.”  And he opened up the bottom right drawer of his desk and there was a telephone in there.  I said, “What the hell’s that?” 

He said, “Every time we get ready to cast Studio One, I have to pick up the phone, and I just push zero, or dial zero, and I hear a woman’s voice say, ‘Read the names.’  And I read her all of the names of the people that we’re about to cast, and after each name she either says yes or no.”  No one knew who was at the end of the phone.  And it was just a horror show.

There was a wonderful actress-dancer named Valerie Bettis, and we cast her in a show.  It was announced.  And we got this frantic call saying that we had to immediately get rid of her.  She was listed, she was obviously a communist.  All of this was crap.  It wasn’t true. 

Felix was so upset, and he wanted to clear her name.  So what he did was, he called the head of CBS and he said, “Oh, I’ve made a terrible mistake.  I cast a woman and I’ve just found out that she’s on the Red Channels list.  So I’ve just called a press conference and I’m going to let all the reporters know that Red Channels has blacklisted her.” 

The head of CBS said, “No, no, for Chrissake, don’t do anything like that.  Nobody knows there’s a Red Channels!  Go ahead, put her in, put her in, and we’ll take care of it.” 

So Valerie Bettis appeared on Studio One, and her name was cleared from that point on.  Felix tried to do that in every way he could.  He was passionate about justice.

Though Schultz’s duties never brought him in close proximity to Studio One‘s writers, he did get to know the show’s primary alternating directors well. 

“Frank Schaffner always dressed in a suit and vest, ramrod straight, almost like an army general.  Like Patton, in a way.  Very stern,” Schultz said. 

“But he had a crazy, wonderful sense of humor.  I had been there maybe three weeks when he came into my office, he didn’t say a word, he walked up to me, reached out, took my tie, pulled out scissors, and just cut it in half.  And walked out of the room.  That was Frank.  You never knew what to expect.”

Schaffner went on to become an Academy Award-winning movie director, not only of Patton, but also of The Best Man, Planet of the Apes, and Papillon.  Paul Nickell, by contrast, fell into obscurity following his Studio One decade.  Nickell had a minor career as an episodic television director (Ben Casey, Sam Benedict) before moving into academia.

“Paul Nickell was a very nice man,” Schultz told me.  “I never knew Paul too well.  I always had a feeling he was sort of out of the loop in a funny way.  A very quiet person, and I think he had his own personal problems.” 

Schultz pointed out the intriguing fact that Schaffner and Nickell divided the Studio One scripts in a way that matched their personalities.  Nickell “went for the love stories, softer stuff.  He was kind of a soft person himself.” 

Schaffner, on the other hand, “was wonderful with war stories.  Men’s stories,” said Schultz.  “He never wanted to do a love story, he never wanted to do a comedy.  He wanted to do serious dramas, and particularly with a male cast.”  Indeed, while Nickell and Schaffner split Reginald Rose’s many Studio One plays, all of the Rod Serling segments were directed by Schaffner.

*

It’s a bit harder to find actors who remember single performances they gave more than a half-century ago.  It might seem that a live broadcast would so jangle the nerves that the memory would be retained forever – but then, some actors appeared in scores or even hundreds of live shows.  And perhaps the most terrifying ordeals before the live cameras tended to blank out memories instead.

Helen Auerbach was the ingenue in “Dark Possession,” the bright young woman who initiates some amateur sleuthing into the identity of a blackmailer who seems to be tormenting her older sister (Geraldine Fitzgerald).  Auerbach didn’t remember anything about “Dark Possession” – not even after I told her about the new DVD collection, and she watched the show again. 

“That’s the kind of part I got,” Auerbach said of her “Dark Possession” character.  “I was thin and sort of wimpy, and I generally got what we called at the time ‘second sad’ parts.”  That was “second” as in second lead, or second-billed: never the juiciest role in the script.

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Helen Auerbach in “Dark Possession”

Auerbach, who gave up acting professionally after she moved to Europe with her family in 1961, did remember that she had appeared opposite her “Dark Possession” leading man, Leslie Nielsen, in another Studio One from two years earlier, “The Hospital.” 

Even more than Nielsen, Auerbach remembered the director of both those shows, Franklin Schaffner.  “He was absolutely the most stunning guy, and very, very nice.  He was gorgeous, with his beautiful leather jackets,” Auerbach said. 

Method-actor leather jackets, like Brando in The Wild One, I wondered?  “No,” Auerbach explained, “Very soft, like suede.  Pale-colored suede, like a shirt, almost.  He seemed to wear that a lot.  And as far as being a good director, I couldn’t possibly know whether he was or not, I was so young!”

Auerbach also described her technique for avoiding those nerves that plagued live television actors.  “The most curious thing about it that I keep remembering is putting a couple of chairs together backstage, and going to sleep,” she explained.  “Somehow it was the way I controlled being nervous: I used to take a nap very shortly before we went on air.”

“In subsequent acting things, the very idea of that is so astonishing, because the nerves just got worse and worse.”

*

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Chester Morris and Frances Sternhagen in “The Arena”

Frances Sternhagen became famous well past middle age, for her roles as Cliff Claven’s possessive mother on Cheers, and John Carter’s patrician grandmother on ER.  But she was only in her mid-twenties when she appeared on Studio One, as a no-nonsense, seen-it-all Washington secretary in Rod Serling’s “The Arena.”

For Sternhagen, “The Arena” was an instance a particular actor’s nightmare: missing a call.  “I was about two hours late for the shooting,” she told me.  “I was pregnant and I was sick, and my husband had thought that I needed to sleep and had turned off the alarm.”

The stagehands dressed Sternhagen “as quickly as they could” and she made it onto the air without missing a cue.  “But I was so mortified that I couldn’t even apologize to Frank Schaffner, and of course he didn’t speak to me,” Sternhagen recalled.  “I wrote him a letter after it was over and never heard anything.  But I thought, ‘Oh, that’s probably why I haven’t gotten another job from Frank Schaffner.'”

Sternhagen recalled her co-stars, Wendell Corey and Chester Morris, as old hands, swapping stories at the table where the actors read and rehearsed the script.  “They were very kind when I finally arrived,” she added.

*

When a live TV broadcast ran longer than it was timed in rehearsals, one thing that often got sacrificed was the closing credits.  (Conversely, if an end credit roll lasts for four minutes, it’s safe to guess that the show ran short.)  Rod Serling’s “The Strike” was such a show, but fortunately the DVD liner notes include a long list of supporting actors – some of them very familiar faces – to fill in for the missing screen credits.

One of those supporting players was Cy Chermak.  Then a young New York actor struggling to make a living, Chermak would soon turn to writing and then producing.  At Universal in the late sixties, he oversaw a succession of hit shows, including The Virginian, Ironside, and The Bold Ones.  Later Chermak was the show-runner of CHiPs for most of its lengthy run.

In “The Strike,” Chermak plays one of several radio operators in the stranded platoon commanded by James Daly’s Major Gaylord.  “It was a nice part,” Chermak recalled in an e-mail.  “I worked the radio with an actor named Fred Scollay.  I pretty much keep repeating the same lines over and over as I was trying to contact another unit.”  Tasked with contacting the unit’s out-of-range headquarters, Chermak’s radio man repeats a call sign that becomes a sort of nerve-wracking chorus as tension in the icy cave mounts.  One of Rod Serling’s biographers, Gordon F. Sander, singled out Chermak’s refrain – “Razor Red, this is Razor Blue CP, come in, Razor Red” – as the most effective detail in “The Strike,” a device that drew upon Serling’s use of “aural details” during his radio writing days.

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Cy Chermak (left), James Daly, and Fred J. Scollay in “The Strike”

Like Chiz Schultz, Chermak recalled the physical effects of the stress of performing live.  “The final camera shot [in "The Strike"] was a close-up of me as the camera moved in,” he recalled.  “As it did I got nervous and developed a tic in my face.” 

After the broadcast, the director, Franklin Schaffner, told Chermak that he loved this touch.  Schaffner had assumed that the young actor’s tic was a clever improvisation rather than an involuntary spasm.

“The Strike” wasn’t the first time that Studio One had cast Chermak (who had in fact served in the army, as a drill instructor, from 1951-1953) in the specialized role of a battlefield technician.  Six months earlier, also for Schaffner, he had appeared in the famous 1953 segment “Dry Run,” with Walter Matthau as a submarine commander, a show for which the entire studio was flooded.  “I played a bow planesman,” Chermak wrote.  “Simply repeated commands given me like, ‘Up ten degrees,’ and ‘Dive, dive, dive!'”

*

“If you’re talking about Studio One, my goodness, that was one of the benchmarks of the drama series of television,” said Kim Swados, who alternated as the series’ set designer from 1952 until about 1954.  Swados, assigned to director Paul Nickell’s unit, worked on every other show.  Willard Levitas, whom Swados praised as “a brilliant designer,” created the sets for Franklin Schaffner’s segments.

According to Swados, the two-week process of creating an entire set for a show began with a reading of the script, then consultations with Felix Jackson and Nickell.  Once the producer and director approved of his ideas, Swados said, “my responsibility was to draw them up and get an okay on the budget and from the director, and then supervise them in the shop and then the setup.”  The stage crew erected the sets on Saturday, and Swados remained on hand to make changes during Sunday’s technical and dress rehearsals.  During the broadcast, Swados often watched from the control booth, seated behind the director.  

“We never had any sets fall down, thank goodness, but sometimes a door would stick,” Swados said of the on-air gaffes that made live television an adventure.  A more common mishap, he recalled, would be a camera failure, which would require the director to change his original plan and cut to one of the two other cameras while the third cameraman worked frantically to repair his machine.

Among the shows he designed, Swados’ favorites included period pieces with a continental flavor starring Michele Morgan (1953’s “Silent the Song”) and Claude Dauphin (1954’s “Cardinal Mindszenty”).  For the Morgan segment, Swados created an all-white set and outfitted the actors in white gloves, so that they appeared as disembodied figures against his backdrop.

But Swados’ sharpest memories were of the Studio One superproduction, also cited by Paul Nickell (in the DVD interview) as a turning point for both the series and his own career: the September 1953 adaptation of George Orwell’s “1984.” 

“It’s the one I am very proud of,” Swados told me.  “It was done as a stark, documentary-like, very frightening attempt to explore the anxiety that Mr. Orwell had about fascism and about how terrible it was to [live in] that kind of evil society.”  Swados added that

One of the big problems that we had was with Big Brother.  I was asked to design a poster for him, which I did, and they had a marvelous idea, the director, Paul Nickell.  We made twenty or thirty copies of the poster that I had done in charcoal, with “Big Brother Is Watching You.”  They were used as cards or shields, very much like what Hitler did with the swastika.  It was quite frightening and unnatural when you saw ten or fifteen or twenty of these things in confrontation. 

I remember that the worst thing that a person was frightened of, which is taken of course from the text of the book, was a door that had 101 on it.  That was the door that you were sent through to confront the worst fear of your life.  We had a big discussion about what the door should look like.

Swados went on to become the art director on The Deer Hunter and The Amityville Horror, as well as the television series Dallas.  A production injury left him disabled and forced him to retire in the mid-eighties.

Now living in Kansas, Swados looks back on his live television days with unbridled fondness.  “It was a brand new discipline, where nobody really knew what was right to do and what wasn’t right to do,” he told me.  “That was indeed the age of what was referred to as golden days of television.”

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Kim Swados’ Big Brother sketches surround Eddie Albert in “1984”

*

Thanks to David Kalat, Stuart Galbraith IV, Frank Marth, and of course to the individuals interviewed for this piece.  For more stories from Chiz Schultz (and from Kim Swados’ counterpart, the late Willard Levitas, among others), take a look at the most essential of the interview segments on the Koch DVD, a ninety-minute recording of a Museum of Broadcasting panel discussion on Studio One.

Story editor Earl Booth died on December 3 in Chagrin Falls, Ohio, at the age of 89.

Booth, like Nina Laemmle (whose obit has been updated), was one of a handful of people in early television who worked primarily as a story editor without also spending a large part of their careers as freelance writers.  It was a skill similar to that of a book editor, one without an equivalent in movies or in the modern television. 

Booth honed his talent for working with writers and shaping their material with near-consecutive stints on more than a dozen series, on both coasts, over the course of his twenty-five year career: Appointment With Adventure (1954-1955), Justice (1954-1956), Brenner (1959), The Asphalt Jungle (1961), Adventures in Paradise (1961-1962), The Nurses (1962-1965), The Doctors and the Nurses (1964-1965), Coronet Blue (1965), Hawk (1966), Judd For the Defense (1967-1969), Storefront Lawyers (1970-1971), Cannon (1972-1973), and finally Marcus Welby, M.D. (1974-1976). 

I had hoped to interview Booth for years before I tracked him down in Ohio in October.  Booth was already ill with lung cancer and unable to speak on the phone for more than a few minutes at a time.  His daughter, Laurie, very kindly volunteered to help facilitate an interview by e-mail, and Earl passed along a witty, precise essay in response to my first set of questions.

With Laurie Booth’s permission, I am reprinting Earl’s remarks verbatim here:

I’ll begin by providing you with a very uneventful biography.  I was born in Chico, California September 2, 1919.  Just in time to watch my entire family – father’s side and mother’s side, get crushed by the ’29 crash.

I began to weather the depression by joining the Dramatic Society in Chico High School which began an interest that shaped my life.

After graduation I was given a scholarship to the Pasadena Playhouse which I attended three years.  Along came the Draft and World War II.  There also went 5 years of my life: Infantry, Military Police and eventually “Air Force” – I was a radio gunner on a B-24 in India.

Following my discharge I returned to the Playhouse, re-met old pals and we were soon off to New York City.  One of the above friends was a girl named Ethel Winant who had already gone to New York.

In the meantime I had begun to write mostly one-act plays and eventual television half-hours.  It was through Winant’s position at a talent agency that I made a sale.  Further attempts to sell were fruitless.  One day Ethel Winant called to tell me there was a job at Talent Associates if I wanted it.  The title was assistant story editor – the job really was script reader for the editor Jacqueline Babbin.

A few months went by and Jackie handed me the show Justice – starring Gary Merrill – so, I began to learn while I was producing.

Justice was followed by Appointment with Adventure – a very misguided attempt to do an action series on live TV. 

You may know that although these shows were produced by Talent Associates and broadcast on NBC, the real power was the ad agency Young and Rubicam.  You really answered to them.  Justice ran to the end of its contract and was cancelled.   Appointment with Adventure was soon in very deep trouble and cancelled.  After several months looking for material, I was also cancelled.

This happened at the moment I was moving into the Dobbs Ferry, New York house my wife Jean and I had built.  I spent months landscaping while waiting for the next call to duty.

Brenner was that call, from Arthur Lewis.  The exec was Herb Brodkin.  The show had originally been a Playhouse 90 that Herb had created called “The Blue Men.”  The experience was fun even though my relationship with Lewis took weeks to turn positive.  Jim Aubrey at CBS cancelled the show I think because it wasn’t “pretty” enough.  But I continued my contract with Brodkin by working now and then on various projects.  One of which was helping John Gay who was developing another Brodkin Playhouse 90

Arthur Lewis called from California asking me to be script editor on a TV version of The Asphalt Jungle.  This lasted the minimum 13 week run and I was stranded in California. 

Another writer friend, Art Wallace, had become producer of Adventures in Paradise.  I hated the show, liked Wallace and accepted the editorship.  The show eventually drew to a merciful end and I was back gardening on a new house in California Jean and I had bought.

Soon, Arthur Lewis called again to say he and Brodkin wanted me to work on The Nurses as editor.  I refused.  This went on for about 3 months.  The show eventually went on the air sans me.  Then I got a frantic call that they needed me and they were firing the present editor.   I could do it any way I wanted.  I accepted, flew to New York to find there were no scripts ready for the next shooting and very little promise of any thing else very soon.  Also, Arthur Lewis disappeared regularly and no one could find him.  So I was the producer with Brodkin’s help.

Unfortunately, that was as far as our interview got.  Booth’s illness took a rapid turn for the worse before we could cover the second half of his career. 

During my brief conversation with Earl, I focused mainly on the uniqueness of the craft of story editing.  I asked how, exactly, one became a success in that role.

“I spent a lot of time searching for new writers,” he replied.  “Writers with different and rewarding ideas, rather than the usual humdrum A, B, C writer people.  Most of those people went on to become very, very successful as screenwriters.”  Booth mentioned Alvin Sargent (Paper Moon, Julia, Ordinary People), who wrote for him on The Nurses, as someone whose talent he nurtured at a young age. 

“I was only able to do it because I worked for people who realized that it was how I got my best results,” Booth added.  “I eventually began to work only with two or three producers that completely understood how I worked.” 

One of those producers was Herbert Brodkin; another was Harold Gast, whom Booth had hired as a writer for Justice and Appointment with Adventure.  A decade later, Booth became Gast’s story editor on the acclaimed Judd For the Defense, and followed the producer to Storefront Lawyers and Cannon.

When I interviewed Gast shortly before his death in 2003, he echoed Booth’s praise, calling him “a very good story editor” and “a close personal friend.”

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