July 18, 2011
Although it’s been three months since his death, it’s the season of Sidney this summer in New York. On June 27, which would have been Lumet’s eighty-seventh birthday, a celebrity-packed memorial service at Lincoln Center’s Alice Tully Hall featured eulogies by Lauren Bacall, Gene Saks, Walter Bernstein, Marcia Jean Kurtz, Phyllis Newman, Christopher Walken, James Gandolfini, David Mamet, and others.
Starting tomorrow, the Film Society of Lincoln Center begins a week-long tribute to Lumet, with screenings of sixteen of his films. Among those being shown are his debut, the live television adaptation 12 Angry Men (1957), and Fail-Safe (1964), followed by a question-and-answer session with screenwriter Walter Bernstein. At ninety-one, Bernstein is perhaps the oldest living television dramatist of consequence, and of course he also scripted (anonymously, because he was blacklisted at the time) many live episodes of Danger and You Are There that Lumet directed during the early fifties.
After I wrote about Lumet’s directorial style in some of his live shows in April, I decided that it might be worthwhile to approach Lumet from another angle. Since then, I’ve been speaking and corresponding with some of the actors and craftspeople who worked with Lumet in the early years of his career. What follows, then, is a sort of oral history of Lumet as a live television director. Each of the speakers is identified below by their credits that were directed by Lumet, and their remarks are ordered in a loose chronology based on the sequence of their initial collaborations with him.
Actress, Danger (1951)
Married to Sidney Lumet, 1949-1955
His was a quintessentially American story. He was the ultimate self-made man. Sidney was always going forward. He had a tremendous positiveness about him, and a practicality. He was the most immediate person that ever lived. Everything had to be solved, could be solved, would be solved.
Sidney and I met when we were eighteen. He was a friend of my brother’s, and I was just starting out as an actress. Actually, we met in a play called A Flag Is Born, and I replaced my brother as Young King David. That was his last acting part. He replaced Marlon Brando.
He lived with his sister at the time. He had moved out of his house when he was about twelve, with his sister Fay. Fay brought him up. Sidney was not close to his father [Baruch Lumet]. But I liked his father. He was sweet, or seemed sweet, but tough. A 2nd Avenue Jewish actor, who lived in California by this time. He lived in a motel, and he always kept his door open so he would always have visitors come in whenever they wanted.
Sidney and I got an apartment together on Fifteenth Street. We still weren’t married. My parents were in shock, for this expensively educated girl to go off and live with an actor! I modeled, and that paid the rent. Sidney took job as a teacher at the High School For Performing Arts for $65 a week, and he adored it.
At about the same time, we had a workshop, an actors’ workshop. I said, “Sidney, there isn’t anyone to direct. Why don’t you be a director, too? I mean, you’re so good. You can do everything.” So he became a director. And we just had a jolly good time. We just loved theater, and never thought of the big picture. Making it wasn’t in our mind; in our mind was, what wonderful work can we do?
Sidney was kicked out of the Actors Studio, in the first round of dropouts, because they didn’t think he was going to be anything special. This was Bobby Lewis, who had been his mentor when he was a cute little child. Bobby, who was this nasty old queen, was disappointed that he grew up to be heterosexual and not beautiful.
His real break came once I was doing a commercial for Colgate Toothpaste. Our best friend at the time was another unemployed actor named Yul Brynner, who used to play guitar at parties. I was doing this commercial at CBS Studio, and suddenly Yul comes down on a break and sees me. He said, “Hey, Rita, how are you doing? How’s Sidney?” And, “How would he like to come in and be a director of television?” I said, “What a great idea. Call him tonight and ask him.” I went home and I said, “Yul’s going to call and ask you to come in as a director at CBS. It’s a new medium.” He said, “I’m not interested. I really like being a teacher.” I said, “I don’t think you’re right, Sidney. I think this is an opportunity.”
Anyway, Yul called, and Sidney said, “I’m not interested.” I stood behind him and I said, “I’m going to leave you if you don’t say yes!” It was a very funny conversation. He said, “All right, I’ll come down.” And he went down to 42nd Street the next day to see what it was all about, and just fell in love with it. He immediately came in as Yul’s assistant.
The intensity of the control room was just his tempo. The whole complication of having to direct the cameras and the actors all at the same time just appealed to him. He was very quick, very bright, very immediate, very tactile. He loved running between the control room and the floor and the actors. Within four months, Yul Brynner went off to be the king in The King and I, and Sidney went on to fill in for him as a director. Within eight months, he was one of the biggest directors at CBS.
I didn’t act much for Sidney, except at the workshop, and then on Danger a couple of times. One time I played a walk-on, and one time I played the lead. But I had my own career. There was a Life magazine article about six of us – the six leading television actresses. One of them was Grace Kelly, before she was a big star. I met her on the set of You Are There. That’s where I was introduced to her, on the floor, by Sidney. She was playing Dulcinea in Don Quixote.
I was at CBS all the time. I’d sit in the control room and just make fatuous notes. Sidney was in such total control of everything. He had a producer by the name of Charlie Russell. Charlie was a typical advertising agency, buttoned-up guy who adored Sidney. Anything Sidney said, went. We also became very good friends with Marlene Dietrich because Sidney sort of discovered Maria Riva, who was Marlene’s daughter. Very nice girl, and he would use her a lot. Marlene would cook us Sunday night supper all the time, and Marlene just adored Sidney. She thought the world began and ended with him, and she flattered him into thinking he was a great director.
Sidney had a main chance aspect to his personality. Sidney had the kind of personality that attracted people and then formed a little clique, a little coterie, around him. He used the same cameramen all the time, and his ADs. He had that “love me, I’m a talented child actor” [quality]. Sidney was very stubborn. Sidney always had to win his points. He never compromised himself, or he never compromised to make the circumstances easier for himself. He was a tough little fighter. That’s what was interesting about him – he was a really strong person who was also very anxious to please, and make other people happy.
We decided to get married because we got tired of living in one room with a bathroom in the hall. We both figured out that my parents, who were good middle-class parents, would furnish an apartment for us. Maybe we’d lift ourselves up if we had a little bit more security, because we had a decent place to live! So we got married. It was a lovely wedding, actually. It was at my mom and dad’s house. Yul Brynner was there, and [his wife] Virginia Gilmore, and our other close theater friends. Sidney finally bought a blue suit for the wedding, a navy blue suit, three-button. That’s the first suit I think he’d ever owned. His typical look was a sweater and sneakers and dungarees.
Then we moved up to 110th Street after we got married. It was only a studio apartment, just a little bandbox apartment, but really it was home. He was a lousy cook, but I was worse. Once we got married, I think he gave me The Gourmet Cookbook as a Christmas present. I started digging in and doing all those things. It was a young, fun marriage. We didn’t break apart until the world became serious, and Hollywood money and all that stuff became involved.
Production Designer, Danger (1951-1953); You Are There (1953-1955); 12 Angry Men (1957); Studio One: “The Rice Sprout Song” (1957); Play of the Week: “The Iceman Cometh” (1960); Associate Producer, Playhouse 90: “The Hiding Place” (1960)
Sidney and I first met on Danger. First of all, he was my age. We were exactly the same age. He had this amazing background in theatre which I envied, with the Group Theatre. His father was a great actor in the Jewish theatre, and he [Sidney] was an incredibly fine actor.
On Danger, I was the set designer and he was the assistant director. The director was Yul Brynner and the producer was Marty Ritt. And John Frankenheimer was the commercial director! Sidney was a wonderful assistant director. He loved Yul, and I think it was reciprocated. He was right on time. I think, in his head, he was able to conceive and anticipate –a live television room was the equivalent of everything you do in film post-production. You were editing, bringing effects in, bringing sound in, bringing music in, all simultaneously. So the director, literally, had to say “Take one” or “take two” or “take three,” take whichever camera, plus when the effects went in and the sound effects went in. And the assistant director had to anticipate this, and Sidney was awfully good at it.
What happened was this: Yul and Marty had some kind of fight with either the agency or the sponsor, I don’t know which. I have in my mind an image of a photograph they sent me of both of them throwing the Danger card into a trash can and holding their noses as they both quit. I’m not sure why. The position of the director was open. Sidney did not get it automatically. It was given to Ted Post and Curt Conway, and they did it for a while. And Sidney was, I guess, looking for it or trying to get it, although these two guys were relatively well-known directors. And sooner or later, he got the show, as a director.
Rita Gam and my wife were close, and Sidney would come up to the house. We would go over my floor plans and he would figure his shots out. I remember him in my kitchen one day when Curt Conway and Teddy left and he was going to start directing. He wanted to really be sure he knew what he was doing, and so he came here. But otherwise we didn’t really socialize. We just were different people.
I knew, when I did something with Sid, it was experimental. We did a lot of experimenting in those days. Generally on Danger, but especially on You Are There, in terms of visual effects. I had to create with rear screen and other effects all kinds of things that they do with computer generated scenery now. If the director didn’t use it correctly, it would get all screwed up. I always knew I could depend on Sidney. He would keep the perspective correct, he would keep the people in proportion to the picture in back.
Danger was a regular weekly detective show, but You Are There I had to create everything from the Oklahoma land run to Genghis Khan and the burning of Saint Joan. We did a show called “Mallory on Mount Everest,” and he and I guess Charlie Russell got some stock footage of the real Mallory on Mount Everest. The rule in those days was you could never use white. Blue was the equivalent of white on television. Nobody was ever allowed to wear a white shirt or anything like that. I had a wonderful lighting director at the time working with us, Bob Barry. I said to Bob, “You know, we can’t paint the snowflakes blue. Let’s just see what happens if we put everything white.” Now, I needed the cooperation of the director and the technical director and everybody else to do that, because they had all the dials and tools at their disposal to change the intensity of the light and stuff like that. Sidney didn’t fight me. He said, “Let’s give it a go. Let’s try the white.” I mean, another director would say, “You’re not supposed to do that. It’ll give us a lot of trouble.” So we did the scene white, literally white. What happened was because it was so hard for the TV cameras, because it was so bright, it suddenly became the same as the stock footage they had from these old movies. It integrated beautifully. And I got my first Emmy in 1954 for “Mount Everest.”
I’d go to a rehearsal with Sidney and the production assistant would have taped out on the floor my entire floor plan. They would block the show, and Sidney would indeed be the camera. One time I think it was either Jack Klugman or Jack Warden, where Sidney would go right up to his nose, nose to nose, for the famous close-up. And I remember Klugman or Warden saying, “Sidney, what lens are you on?” They were good days.
Associate Director, Studio One (1957-1958)
Sidney was wonderful. He’d get very intense, but never lost his temper. First of all, he was very good with the way he dealt with people. But more than that, he was never at a loss. In live television, there were so many things that always went wrong. Once I remember him climbing up a ladder to fix something, and the stagehands would let him do that. He deserved it, and they gave it to him.
But you knew he was an actor’s director. They all loved working with him. Because Sid was spontaneous. Some directors would map it all out at home over a week, and they wouldn’t budge. That’s the way they were going to do it. Sid would block well, but he was ready to make a change whenever he had to. He wasn’t locked into it.
Actor, Danger; You Are There; The Alcoa Hour: “The Sentry” (1956); Studio One: “The Deaf Heart” (1957); Fail-Safe (1964); Family Business (1989)
He was a guest in our home, with George C. Scott and his wife [Colleen Dewhurst], and Sidney and his wife, at an event that we had in our Forest Hills home. We were dear, close friends for many years.
I don’t know how many people did this with him, but I rehearsed two of his scripts in the same week. One in the afternoon and one in the evening. You Are There was shown on Sunday, and then Danger, which was the other one, was shown during the week, and the rehearsal periods were the morning for one and the afternoon for the other. Isn’t that amazing? I worked with him at least eight times in live television, and another couple of movies, including Fail-Safe, where I played the radio operator in that bomber that bombed Moscow.
He was an actor himself before he started directing, and he brought all that experience to his television work. It was always personal, always just the two of you. He would give you a hint of what was in his mind, and see what you did, and adjust that if he felt he had to.
Van Dyke Parks
Actor, The Elgin Hour: “Crime in the Streets” (1955); The Alcoa Hour: “Man on Fire” (1956)
The reason that I ended up in live television was to pay for my board and rooms at the Columbus Boychoir School. I had no ambition to be an actor. My parents were quite dubious about it, my father especially. There was no show biz mom or so forth. A tutor would go up with me to New York City when I had a show. But it paid for my tuition. I was probably getting about $450 a week for participation in a show by the time I met Mr. Lumet.
On the show “Crime in the Streets,” which was directed by Sidney, my elder brother was being played by John Cassavetes, and I said something to him that was confrontational or accusatory. It was then his job to slap me on the face, and then I was to start crying and say, “But, Frankie, you’re my brother.” I learned to jerk my head to the left, because of course he would pull his punch and not hit me. Well, it came to the show, the live show, and he landed one across my nose and I started to bleed. Cut to commercial. The blood is gushing from my nose, and I cannot remember the specifics of what was done to staunch that flow, but it did not stop. And of course when we came back from commercial, [the setting] was the next day! I was doing everything I could to keep from bleeding. Cassavetes felt awful, but not as bad as I did.
Sidney was tremendously invitational. Bob Altman is so famous for his what seems like laissez-faire attitude toward actors. Sidney Lumet was equally empowering, drawing on his subjects’ invention and contributions. He was not disciplinary in any way.
Writer, Studio One: “The Rice Sprout Song” (1957)
I met Sidney Lumet at the first day of rehearsal for a Studio One play, “The Rice Sprout Song.” We rehearsed, in those days, in Central Plaza, formerly and later to be reborn as a concert hall on 2nd Avenue in the fabled Lower East Side of Manhattan. But in 1957, it was – floor by floor – a ladder of rehearsal halls served by a large, creaky elevator. Food service was from Ratner’s Kosher restaurant on the main floor. Studio One seemed to have dibs on the 4th.
While a production assistant taped the outlines of the sets on the floor, the cast sat around a large table, Sidney at the head. He was very energized, and obviously enjoyed the opportunity to engage his actors, almost all of whom were only recently freed from the blacklist. The first two days of rehearsal never moved from the table to actual blocking of scenes. Of the leading actors, only John Colicos, a Canadian, was not ethnically at home on 2nd Avenue. And Sidney, who began as a child actor in the Yiddish Theater, was more at home than any of them.
He took pleasure in telling of his European trips and great meals with his wife, Gloria Vanderbilt, as if to underscore what a great distance this little Jew had traveled. And yet he reveled in the Lower East Side. He took us to Moskowitz and Lupowitz, to Sam’s Roumanian Restaurant, a vivid and informative guide. But most of all, he loved telling stories of the Yiddish theater.
On the third day, he began the more serious business of directing the play. There were strange overtones: after all, these actors had all suffered for their political leanings toward the Left, and the play itself was a bitter diatribe against the Chinese Communist government.
Plagued by technical problems that in turn disrupted the actors’ performances, “The Rice Sprout Song” became one of the legendarily disastrous live television broadcasts. Mandel related that story in my video interview with him for the Archive of American Television, and also wrote about the incident for Television Quarterly.
I showed Sidney the article before I sent it in for publication. I asked him to tell me if he felt anything was unfair or untrue. He told me he didn’t have exactly the same feelings as I did about the resultant show, but he had no problem with what I’d written.
Sidney negotiated himself the opportunity to direct the film 12 Angry Men. I heard about this both from my friend Frank Schaffner, who had directed that property for Studio One, and from Jerome Hellman, Frank’s agent and mine. Frank very much wanted to direct the film, and felt he had some claim to do so. Sidney (according to Hellman) was reaching the end of his commitment to his agent, and said that if the agent got him the assignment, he would stay with that agency. And so he got the job, pretty much devastating Frank and, I think, rupturing Frank’s relationship with Reginald Rose. I have to say, for myself, I think the film was pretty much a duplication of Frank’s direction of the television version.
The last time I saw Sidney was at an Motion Picture Academy function in 2002 or 2003. We had a brief conversation about my HBO film Conspiracy. He said he had voted for it in every catagory for which it was nominated (for the Emmy). Which, you will have no problem understanding, thoroughly endeared him to me. He had become a prodigious worker, a man who sought the substance beneath the surface of each film he led. I would have preferred that he not write what he directed, when he reached that stage in his life where he wanted to do both. But my admiration for him is immense.
Bob Markell (continued)
Production Designer, Danger (1951-1953); You Are There (1953-1955); 12 Angry Men (1957); Studio One: “The Rice Sprout Song” (1957); Play of the Week: “The Iceman Cometh” (1960); Associate Producer, Playhouse 90: “The Hiding Place” (1960)
We both learned about film because You Are There went to film for thirteen shows. We went to the old Edison Studios, in the Bronx, and we shot these final thirteen shows, before it was taken away from us and sent to Hollywood. The first one we did was the Hindenburg disaster. Sid had never done a film prior to You Are There, and he was fabulous with the film camera.
12 Angry Men was my first feature, and it was Sid’s first feature. I went and took pictures of the exterior of the courthouse [as the basis for the backdrop behind the jury room windows]. The drop came in from Hollywood and it was a translucency, not a transparency, so that they could drop it in and the lights could go on and stuff like that. When it showed up, everybody who was from Hollywood was very upset. They said, “Gee, that’s not good. In Hollywood, the lines are sharper, the details are stronger.” They may well have been correct, but it had to be used anyway, because we had it up.
I was hoping that Sidney would recognize that it was okay, and would back me up more than he did. Henry Fonda was also the producer, and it was his money, and he was getting antsy once in a while. Boris Kaufman was a very famous photographer. He’d just come off of Kazan’s movies. He even got the [Academy] Award for On the Waterfront. And so I was left hanging. I was the guy who was kind of blamed if anything went wrong and they had to go into overtime. If I put myself in Sid’s position, he couldn’t back me up the way he should have, or that I felt he should have. And I understood. But I was hoping for more than that.
In [television] or stage, you’d get together and try to fix it. I suddenly realized that in film, you looked for a fall guy. And I was the fall guy. [Associate producer] George Justin kept saying to me, “Fight back. Tell him.” I said, “I can’t. I don’t know what to say.”
My problem with Sidney actually was that he gave me a second show [Lumet’s next film, Stage Struck, which he filmed in color in 1958] to do after 12 Angry Men, and I started working on it. Meanwhile, Fonda was giving him a hard time, and blaming me. I got a call from George Justin, who was also on the show, saying, “You know, of course, that you’re not on that second show, that it’s being taken away from you.”
I said to George, “Who is going to be the designer? Who is taking my job?” He said they’d gone to [another designer with experience in live television]. Well, it was his first movie, and I knew that he had trouble with color recognition. But I found that I couldn’t say to George, “George, he’s the wrong guy,” because it would sound like I was being ugly.
Later, I’m designing “The Rice Sprout Song,” and I’m going in for my first meeting with Sidney. I hadn’t seen him for a while since he dumped me. I walk in. I say, “Hi, Sidney.” Sidney looks up and he says, “How come you never told me he was colorblind?” I said, “Oh, Sidney. I knew you’d get me one way or the other.” Then he and I laughed. I said, “I was trying to figure out what you’d end up saying to me when I walked in.”
But that’s show business, and I was really not angry at Sidney at all. We worked together a lot, even after the movie. We did a Studio One, a Playhouse 90, and “The Iceman Cometh.” The sad thing was that we totally lost touch with each other. He never really went back to his live television people, because he was on a course himself, meeting new people, new wives, new this, new that.
Fred J. Scollay
Actor, Danger; You Are There; Kraft Theatre: “Fifty Grand” (1958); Kraft Theatre: “All the King’s Men” (1958); Playhouse 90: “John Brown’s Body” (1960); A View From the Bridge (1962)
He was a little crazy, but very nice. He was an ex-actor himself. He acted when he was younger, and he really had great empathy for actors. He knew the pressure that we were under. Everything was live then. You didn’t get a break.
One thing actors loved about the guy is he let you do stuff. He’d see something in what you were doing in a scene and he’d say, “Oh, boy, let’s elaborate on that.”
He was, not loose, completely, but he’d say, “What do you want to do in that scene?” And then he’d look at it and say, “That’s good. Let’s use it.” Or, “Let’s try something else.” Like in one show, I got some bad news, and I got a little woozy. He said, “Let’s have you faint.”
So it was creative fun in working with him, because you contributed something. There were some directors who said, “In the book it says, ‘Turn left,’ so you’d better turn left.” I don’t mean to denigrate anybody, but some directors had a very standard, by-the-book [approach] – they really didn’t have the creative [impulse].
[On Danger] he hired a young, real fighter, a professional fighter, and Jack Warden played the fighter, and fought with this guy. Sidney said to Jack, “The kid’s a little nervous, so when we start doing the show, give him a little belt.” So Jack gave him a little belt and the guy went crazy, almost killed Jack.
He was a lot of fun. A situation on the set, because of the tension, would make things a little more tense, and he’d throw a donut at you or something like that, or trip you, something to break the tension. I did A View From the Bridge. He directed that. One of the actors was told to go down the street – Sidney said, “Go down there” – and at the end of the scene the guy never came back. So Sidney would break up. He’d never get mad at anybody.
He gave me my first big break. He cast me in something, a leading role before I was getting leading roles, and I really appreciated that. The name of the show was “Fifty Grand,” with Ralph Meeker. That was my first big part. I walked on the set and we started reading the script, and I kept saying, “They made a mistake. This is one of the lead roles. When are they going to find out they got the wrong guy?” I did a lot of extra work. I was a very busy extra. And out of the blue he called and said, “I’ve got a part I want you to do.” No audition or anything. He said, “I want you to do it. Now here’s a rehearsal schedule.”
When we did “All the King’s Men,” I had the third part. He gave a big shot in that. There was Neville Brand who played the lead, and Maureen Stapleton, and I had the third role. But in the credits, Bill Prince got third billing and I had fourth or or fifth or something. So he got a very nice review for me doing my part! He got my review. They thought, well, he got the third credit, he must have been the actor that played that part. That was kind of heartbreaking.
[Technically] he was perfect. He’d say, “Cut two seconds.” Or, “We’ve got to cut four seconds out of this scene.” He had a mind like a clock.
Associate Producer, Kraft Theatre (1958)
David Susskind was in charge of Kraft Theatre. He was executive producer, and Herridge was producer, under him. Susskind had his own outfit, and Herridge was like a lone hippie. Susskind was the suit and the tie and Mister Executive, and Herridge was the creative artist, almost a Greenwich Village type. The two were just real opposites. I think Susskind brought him in because he respected the work that Herridge had done, and I don’t think he knew much about him. Sidney got along well with [both of them]. He knew how to handle people.
Sidney was extremely short, and the first day when the cast was assembled and waiting for him on the floor, Sidney came down and he had taken a newspaper and folded it into a little Napoleon-like hat and put it on his head. He was wearing this ridiculous little Napoleonic hat, and he put his hand in his shirt like Napoleon, and he walked on and he said, “Okay, I hope you all know who’s boss.” It was just hysterical. People just screamed with laughter, and Sidney laughed. Everyone loved Sidney.
When he was working, he was just the opposite. He was intense. He was super-serious. Technically brilliant. He would check every shot with the camera person during rehearsal, and in the control room he was like a hawk watching that everything was right. He knew his lighting, he knew his camera, he knew his lenses, and he certainly knew performance. I don’t know anyone who could get better performances out of anyone. Franklin Schaffner was a brilliant director, but very remote from his cast. He really kept an arm’s length. But Sidney was a hugger, an embracer. He kissed everybody. Sidney combined everything good.
“All the King’s Men” was a very intense shoot, because it was a two-parter. Neville Brand had done features, and was the second most decorated hero to come out of World War II, and a really rough [type]. I liked Neville a lot. Sidney had to work with him and really got an extraordinary performance out of him.
Then when we finally finished the whole thing, Herridge invited everyone up to my apartment for a wrap party. Herridge never wanted anyone to go to his place. I worked with Herridge for years and I never even knew where he lived. I had this really seedy apartment four flights up on West 56th Street. It had a convertible couch with a spring sticking out, and my coffee table was a mirror over four sewer pipes. Everybody came. Susskind came. Sidney brought Gloria Vanderbilt, who was then his wife. The apartment was just jammed. People were having a good time. Music was playing. Maureen Stapleton passed out onto Gloria Vanderbilt’s lap. I remember that because Maureen was fairly large at the time, and she was just out. Vanderbilt was sort of very sweet but also you could see she was like, oh my god, how do I get out of this?
Then a friend of mine whom I had invited, a young actress, Georgine Hall, was dancing with the production designer, and he tripped and she fell backwards onto the coffee table, and he on top of her. All the shards went up into her back. We got her up and she went into the bathroom and said, “Let me check how I am.” I went in to see how she was. When I opened the door, she was just kind of soaked in blood. So I gave her some towels and I said, “Wrap up. I’m going to get you to Roosevelt Hospital right away.” I came out and I said, “I’ve got to take Georgine to the hospital. We’ll be back as soon as we can.” It was about midnight, or maybe eleven o’clock. I ran out of the apartment with Georgine, got a cab, went to Roosevelt Hospital, and stayed with her until they had stitched her up, and never gave a thought about the party. All I cared about was Georgine.
Georgine lived in Princeton. I said, “You’ve got to stay over here. You can’t go back to Princeton.” We went up to the apartment and the door was locked, so I opened it. And everyone was there! It was three in the morning, and Neville was standing by the door. He said, “You know what, Chiz? All these sons of bitches, the minute you left with her, wanted to run. They were scared. And I told them they stayed until we found out how she was.” Neville had stood in front of the door and kept everyone in until three o’clock in the morning. I’ll never forget that as long as I live. People were just – I mean, Sidney and you can imagine Gloria Vanderbilt were just so kind of pissed off, but in a way I guess sort of respected what Neville had done, maybe, to say, “We’ve got to make sure that woman’s okay. Don’t run from this.” That was his code. I think it came right out of the war, out of battle. You don’t leave unless all your buddies are accounted for. I can’t imagine what went on while we were gone, during those three hours.
Actor, You Are There; The Doctor’s Dilemma (Off-Broadway, 1955); Studio One: “The Deaf Heart” (1957); The DuPont Show of the Week: “Beyond This Place” (1957); Fail-Safe (1964); Power (1986)
There was a play called “The Deaf Heart,” with Piper Laurie, which I did for Studio One. My son was about to be born at that time. We reached the dress rehearsal. My wife had gone to the hospital, and was ready to give birth. But it was a dress rehearsal, and I didn’t see any easy way out. Sidney came over to me on the set and said, “What are you doing here? You belong with your wife. Get out of here.” I remember thinking, “Well, yes, of course, that’s exactly how I feel.” But, you know, the pressures you were under with live television in those days. It was like going over Niagara Falls in a barrel. The rules got suspended somehow. But not him. He just excused me from the dress rehearsal, had the dress rehearsal with an understudy, and I came in for the live television presentation. I mean, that was taking a huge chance on his part. But he was a gambler.
I was always aware, even as a young, inexperienced actor, that he was on my side. He once said to me, “If I can’t get it with love, I don’t want it.” I was a complete partisan of Sidney Lumet because I just wasn’t used to that. I wasn’t used to directors who thought of themselves as cooperating in a creative process with the actor, and loving what he was getting from the actor. He would say, “Keep that in.”
In Fail-Safe, I finished a take and he said, in a very quiet voice, “I don’t want a better one than that.” I was walking on air after that one.
We were a company. We were rehearsing for two weeks in a warehouse on the West Side, and we got to know each other as actors and as people. We were playing frisbee out on the floor, and everybody became quite friendly, and quite helpful to other actors. I was still relatively young when I did Fail-Safe, but I can remember the encouragement I got from people like Walter Matthau.
Sidney did an interesting thing. He offered me several parts in it, and I understand he did it to other actors in the company, too. He said, “Which one would you like to play?” He let us have some choice in the matter, which was unusual, to say the least. And I chose a different part. I wasn’t particularly close to Colonel Cascio. Then, after thinking it over, he said, “I’ve decided for the balance of the company that you should play Colonel Cascio.” And he said it in such a gentle, persuasive way that of course I accepted with enthusiasm. I wanted to play Walter Matthau’s part. It was very similar to a part I had just played on Broadway, and I thought, “I know how to do that one. That’s easy for me. I know how to have fun with that.” I was wrong. If you see the finished film and you see what Walter did with the role, you’ll know that I was too young for that part.
We were having problems with how [Colonel Cascio] breaks down. The character breaks down at one point and actually attacks his commanding offer, because there was a violent diagreement about the choices that have to be made. He’s in favor of being tough on the Russians and even dropping the bomb, and when he is overruled, he goes crazy. Authentically crazy. And I had trouble with that one. So Sidney and I got together and we tried several things. One thing we came up with – and it was kind of a mutual thing, but I suspect that I got most of it from him – was just a violent physical convulsion. Locking of the jaw, trembling, to the point where I was out of control physically before actually doing the deed. I don’t know if it worked or not. But it was a physical solution to a mental problem, and it seemed to work for me.
He directed me on stage, too. He directed Doctor’s Dilemma, the Bernard Shaw play, at the old Phoenix Theater. I played a very small part in it; it was my first part with him. There again, I was in his rooting camp forever from that production, because of the care he took with the young actors. Because I had done that with him, and I had done some Shakespeare at the Shakespeare Festival, Sidney used to say that Beatrice Straight and I were his “classical actors.” He had another category called his “New York actors.” And we tried very hard, Beatrice and I both, to break out of that category! We wanted to be among these “New York actors” as well, because he was famous for his New York movies, and his understanding of New York. I would have been thought of [by Lumet] as the senator, or perhaps some extreme right-wing character or someone who had some familiarity with language. I always wanted to be among the “New York actors” as well, because I thought I could do it. I couldn’t change his point of view. But I saw his point.
Actor, Danger; Kraft Theatre: “Three Plays by Tennessee Williams” (1958)
Sidney was always intense, and charming, and somehow that made for a very good working combination. I worked with him on a show called Danger, and he had this great brilliance and intensity. He was all over the place. He knew everything. He enjoyed it like a Baryshnikov. He fiddled. Physically, he flew, and in his mind flew. He thought at twice the intensity of anybody else. Keeping the house in order, and keeping this actor here and that actor there, and enjoying the unexpected that came from his actors. But always at an intense, high decibel.
I joined a group that he and Ted Post were the head of, when at a certain point Bobby Lewis threw his class out of the Actors Studio. Eli [Wallach] and a bunch of people went to work in a separate group, and Sidney was the head of it. We did all kinds of exercises and all kinds of scenes, and he directed me in a lot of them. It was a very important experience for me, a big growth experience.
He was a Method director, of course. All of us were part of that – Stella, Lee Strasberg, Sandy Meisner – we all came out of that new acting. What I remember is you doing it, not that he talked to you beforehand. The comments he would make would be small pushes in one direction or another, but never anything he sat down and talked to you about. That’s not the way he worked.
[“Three Plays by Tennessee Williams” was] deep in the blacklist, and I wasn’t working on television at all. I don’t know how Sidney pulled strings, or David Susskind, the producer, but it was like a miracle that they managed to get me on. Then I did it, and I didn’t like myself in it at all. I had done that play on stage, and I’d done it brilliantly. It had come out of the group that Sidney and I were in, with Sidney directing. A lot of times when you do something for the second time, you lean on what you’ve done before, and so it wasn’t fresh.
When I went into directing myself, and I hit a problem, we were both doing post work at the same studio, I would run into him there, and anything I had a problem with I knew I could ask him about it. He was, as he always was, generous, open, interested in any problem. He was that kind of friend, that’s all.
Looking back, I had no idea how privileged I was to be working with young people who were all so energized and gifted and talented, and who had no barriers in front of them. Sidney kind of exemplified the “no barriers.” He exemplified leaping first before anyone, and taking all kinds of chances. He maintained that all of his life, that almost childhood thing of leap before you look. There was an excitement and a courage about him that nobody else had.
All of the interviews above were conducted between May and July 2011, by the author and by telephone, except in the cases of Rita Gam (in person, in New York City) and Loring Mandel (by e-mail).
March 25, 2009
Even among movie buffs, Collin Wilcox is not as well known as she should be. Maybe it’s because of her gender-neutral name (taken from a Canadian uncle; her parents were confident of a boy), or because from the very beginning of her career she disappeared into her characters with a lack of vanity rare for a young actress.
Collin had one famous film role, as Mayella Ewell, the redneck teenager who falsely accuses a black man of rape, in To Kill a Mockingbird; her stormy witness-stand breakdown provides the movie with its startling, sad climactic twist. But her movie resume includes juicy roles that you’ve probably forgotten, even if you remember the films: two for her friend James Bridges (The Baby Maker and September 30, 1977, both criminally unavailable on DVD); one for Mike Nichols (lost amid the chaos as one of the nurses in Catch-22); the late sixties cult items The Name of the Game Is Kill and The Revolutionary; and finally on the losing side of science as the marine biologist in Jaws 2. (“Sharks don’t take things personally, Mr. Brody.”)
Before she ever made a feature, though, Collin was a busy television actress, one of the pool of A-list guest stars who made the rounds of the major TV dramas. Already a success on Broadway, she made her first splash on TV in a live adaptation (directed by Robert Mulligan, who would remember her for Mockingbird) of Carson McCullers’s The Member of the Wedding. Collin played Frankie, the twelve year-old southern tomboy, a role originated by Julie Harris in the stage and film versions of the novel.
Over the next two decades Collin appeared on The Defenders (three times), Dr. Kildare, Ben Casey, Judd For the Defense, The Waltons, Little House on the Prairie, and dozens more. But she may be best known for a pair of genre classics that both aired in early 1964. The first was one The Twilight Zone‘s ironic rants against conformity, “Number 12 Looks Like You,” which presciently envisioned a society where mandatory plastic surgery resculpts everyone to match a generic ideal of beauty. (In case you haven’t been watching reality TV or the CW lately, we more or less have that now.) “Number 12” put Collin in the unflattering role of the plain girl surrounded by beautiful people (Suzy Parker, Pam Austin, Richard Long), although her own offbeat good looks offered a rebuke to the plasticized prettiness of the others; as one TV fan said to me, “What was wrong with her? I liked her better the way she was!”
Three weeks after “Number 12,” Collin appeared as Pat Buttram’s jailbait, backwoods bride in “The Jar,” an Alfred Hitchcock Hour adaptation of Ray Bradbury so spooky that it still turns up regularly on TV aficionados’ lists of all-time favorite episodes (including mine). Collin has a ball, drawing on all the tools she set aside for “Number 12″‘s Marilyn Cuberle, slinking around in skimpy outfits and suppressing every sign of her own sharp intellect. The result is a frank sensuality that could only slip into sixties TV via performance; had it been scripted, it would have been censored.
Last year, Collin shared some remarkable stories surrounding her work in “The Benefactor,” a milestone Defenders episode about abortion. Since then we’d remained in touch, and Collin has become one of my favorite people – not just for her courage in discussing a painful incident from her past, but also because she uses words like “peachy” and hails from my own home state of North Carolina (where she now lives).
When I decided to inaugurate a series of interviews with some of my favorite classic television actors for this blog, Collin was an obvious choice. We spoke at length about the early years of her career last fall, after a delay necessitated by the presidential election: Collin had turned over her theater space to the local Obama campaign. Only after spending some time celebrating the fact that (for the first time in my lifetime) North Carolina’s electoral votes had gone to a Democratic candidate did we turn our attention to Collin’s life and to some of her many television roles.
Tell me about your television debut.
Brenner was the first thing that I ever did. I was told to go in, and there was a doorman, of course, and he pointed upstairs, to a big, winding staircase. So I bopped into the room that I was told was my dressing room, and I had my little box of stage makeup with me. I started applying my makeup, and I heard a huge commotion several floors down, and there was the producer and the director and the AD and a whole bunch of people. I heard my name several times and I went, “Hey, I’m up here!”
They thought I was late. They were really furious, and the makeup artist came to my rescue. She said, “If you don’t stop yelling at her, she won’t stop crying, and I’ll never get this makeup off and the other makeup on.” So they did. They didn’t know that I didn’t know that I wasn’t going to put on my own makeup. They’d asked for an experienced ingenue. There’s no such thing as an experienced ingenue!
Marty Balsam was playing my father, and we had the scene [with] the two of us on a settee. They said, “Okay, Marty’s closeup next.” They gave me a little box to sit on. They started to shoot, and I went, oh, gosh, I’ve got to get in there, so I just jumped into his one-shot, on the sofa next to him. I thought they’d made a mistake!
Was that the first time you’d ever been in front of a motion picture camera?
Yes, it had to have been, because those two scenes are so engraved in my memory. It was so traumatic.
As mobster’s daughter Elizabeth Joplin on Brenner (“Family Man,” 1959)
Was The Member of the Wedding a breakthrough for you?
Well, it was huge for me, because of course I’d read Carson McCullers and absolutely adored her. It’s any ingenue’s dream part, and I just loved everything about it. And like every other young actress in New York, I was going to have that part.
I cut my hair really, really, really short – this was just for the first audition – and I got those long dish towels and I had my husband bind my breasts, which wasn’t very much to do, but at least then I was totally flat-chested. Then the night before, I took iodine and I made freckles across my nose in different places, knowing it would fade the next morning and really look like freckles. Oh, and I went to the audition barefooted. I did the whole bit.
Robert Mulligan quite liked me, and he had me come back, and then I came back for the third time. And Claudia McNeil did not take to me. I don’t think she took to many people, but she certainly didn’t take to me. I thought, “I’m going to lose this – no, no, I’m not going to lose it!” She was in the room too, with Robert and maybe with someone else. I was doing the “we of me” speech, and I leapt up on Robert’s desk and did it up there, and then I leapt into Claudia’s lap and hugged and kissed her. I got the part.
Was The Member of the Wedding your first live TV role?
I think there was one before that, and I’m damned if I know what it was called [“Barefoot Soldier,” for Kraft Theater]. Sal Mineo was the male lead. He was a union soldier, and I was the southern girl. It was live, a three camera thing.
I remember another faux pas I made. We had a scene – it was a love interest thing, kind of cute – and we had a scene where we were supposed to be sitting around the pond. It a big huge tub with plastic and water in it, and all landscaped around. I was barefoot in a dress hiked up probably much higher than it should have been hiked up, and swishing my feet around in the water, and my toes caught on something. I’m a country girl, so it was natural for me to feel things with my toes, and I started to worry with it. I mean, just play with it and go on with the scene. And behind camera, I felt this frantic movement around me. I looked down and the water was going down at a huge rate. I’d pulled the plug out!
That was the same fall, ’57, as when I had got married, which was a terrible mistake, and lived in New York, which wasn’t a terrible mistake.
The late fall of 1957. I started going on auditions, and in December I got a role in The Day the Money Stopped. Harold Clurman was the director, and Brendan Gill had adapted from it Maxwell Anderson’s book. Richard Basehart was in it, and Kevin McCarthy, and Mildred Natwick. That was a great experience.
It was kind of like its title: The Day the Money Stopped. It was in and it was out. But that year George C. Scott and I won the male and female award – Clarence Derwent, I think it was called – as the best supporting actress and actor on or off Broadway.
Prior to that you had performed in Chicago, right?
Yeah, I went to school at the Goodwin Memorial School of Drama there, and then I went back to Chicago to become a member of Compass, the first improvisational group in this country, maybe anywhere, with Mike Nichols, Elaine May, Shelley Berman, the late Severn Darden, Barbara Harris. Then I played the ingenue in Arthur Miller’s two-act version of A View From the Bridge, that starred Luther Adler.
The marriage that you mentioned, was that to Geoffrey Horne?
No, I’m talking about the first one, Walter Beakel, who is deceased. He was a director. I met him in summer stock in Rhinelander, Wisconsin. One of those things where you do about fourteen plays in one summer. He was down from New York. After that summer was over, he replaced a director at Compass, and Barbara Harris was going to leave in a few months, so he brought me in as Barbara’s replacement. Then it folded, and people went their separate ways.
After the summer stock tour of A View From the Bridge on the straw hat circuit, I rushed home to do The Fourposter with my groom to be, and then went to New York.
Walter and I were getting married here in Highlands, and we were also in rehearsal for the two-character play The Fourposter, that Hume Cronyn and Jessica Tandy did on Broadway to great success. We were doing it in my parents’ little theater here, the community theater where I started. A reheasal was called, and I got to the theater and the theater doors were locked and there was no one there and I was sitting there fuming and calling everybody totally unprofessional, and my mother drove up and said, “Collin, rehearsal’s at the church, dear.”
I had one thing on my mind – that play. The only reason I married Walter was he said if I didn’t marry him, he’d leave and we wouldn’t do the play. That’s why I married him! I was very mature. We were a couple of weeks away from opening, and he’d been pressing me to marry him, and I said, “Walter, I really respect you, you’re a terrific director and a really good teacher, but I don’t want to marry you. I’m not in love with you.” He said, “That’s okay. Doesn’t matter.” He’d made up his mind he was going to marry me.
Another of your early roles in New York was on Play of the Week, in “The Velvet Glove” with Helen Hayes.
Do you remember a character actor named Larry Gates? He was in it also. Larry Gates had worked down at my parents’ theater in the forties, and so I knew him from being very small. I knew him, and here we are in New York and we’re both in the same TV show with the magnificent Helen Hayes, who had the oddest habit of looking at your forehead when she talked to you. It was because she was so short she was afraid her eyes wouldn’t be seen. It was a little disconcerting but one got around it.
What I remember most from that shoot is that Miss Hayes said something that absolutely tickled Larry so much that he peed in his pants, and he had to take his trenchcoat and tie it around himself and wear it that way for the rest of rehearsals. Isn’t it weird the things you can remember? I don’t remember anything else about that, except that I played some really kind of boring little scullery part. I did it because Miss Helen Hayes was in it.
Even that early in your career, were you choosy about the parts you took?
Yep. I was never interested in being a star.
You were a serious actress, instead?
Well, see, I was of the theatah, dear, and one took one’s acting very seriously. You know, you’d think you were a rocket scientist or something. Particularly back then, doing the work was very, very important, and of course that just got intensified when I became a member of the Actors Studio.
How did you get into the Actors Studio?
Walter was old friends with Geraldine Page, and she became sort of a mentor. I guess she came with Walter to The Day the Money Stopped. She said that I absolutely had to audition for the Actors Studio, and she was sure that I would get in. And I wanted to study with someone, and why not the great Lee Strasberg? Three auditions, and you’re in or not. For life.
What did you learn from Strasberg?
He gave me the voice of my own intuition. He taught you how to be emotionally available to yourself, if you were willing. I already had the technique. I’d been on stage for a long time. It just deepened what I already have, which is basically being an intuitive actor.
Let me ask about some of your better known TV appearances from early on. One was The Twilight Zone.
Oh, The Twilight Zone. My own father was very much like what you hear about her father – the way Marilyn talks about her father. One of his lines, that she quotes, was, “When everyone’s beautiful, no one will be beautiful.” My father was an educated, compassionate man, and I thought about that when I was doing that role. You know, I was totally on the side of Marilyn – thinking, this is awful, this could lead to 1984, with a stretch of the imagination.
What do you remember about the rest of the cast and crew of “Number 12 Looks Just Like You”?
Suzy Parker was such a great beauty. I was just enamored of that kind of beauty, and she gave me all kinds of beauty tricks. I mean, she was a model. She said, “Now, keep a little pot of rouge by your bedside, and your brush, and just put some on your cheeks before your husband wakes up.”
The director was Abner Biberman. Between playing the role and being chased around on the set by that man – and I had on some skimpy clothes, particularly that hospital thing. Fortunately he was really heavy, and I could get into small places that he couldn’t!
Biberman was really that obvious about trying to grab you?
Oh, yes. He had directed me in a play previous to casting me in this. Oh, god, it is an awful play, called The Family Way. Jack Kelly was my co-star. That’s where Biberman knew anything about me, really. I thought I was working with a man who was frothing at the mouth all the time – he had quite a temper – but he chewed Tums or something, so this frothy white stuff came out of the sides of his mouth when he was talking.
When you were a young actress, did men often chase you around sets like that?
Yes. And there was no such [term] then as sexual harrassment, and you didn’t talk to anyone about it. Because you probably felt, well, it’s my fault. I must be flirting. I don’t feel like I’m flirting, I don’t want to be flirting, I just want to act! It was . . . annoying, to say the least.
I will not name this actor, but he was a really big star. After Twilight Zone, I flew to Italy to join my fiance, Geoffrey Horne, who was shooting a film in Rome. Then on the flight coming back, the stewardess, as we called them then, came up and said, “So-and-so would like you to come and join him in first class.” I said, “Okay!” and flounced up there and sat down next to him. I had on an angora, like a really nice little fuzzy sweater, and he reached over and cupped my breast and he said, “You don’t mind my doing this, do you?”
And I said, “I really do.”
He said, “Well, I respect you for that,” and went on cupping my breast. And he was on the aisle seat! It was like that then.
How did you get out of that?
I said, “I’ve got to go tinkle.” It really embarrassed me. Of course I never came back, and of course he wasn’t going to chase me all the way down there to second class.
As pushy reporter Lisa Rand on Run For Your Life (“The Treasure Seekers,” 1966)
The way you described yourself in relation to Suzy Parker highlights an interesting aspect of your career, in that even though you were attractive, you often found yourself playing characters like Marilyn Cuberle: the plain, girl-next-door type.
I know it.
How did you feel about that at the time?
Well, somehow I knew, from a very young age, that I was a character actress, and that I was just going to have to go through this ingenue stuff until I got to some juicy character parts. Yeah, there were times when I thought, this is ridiculous. But usually, you see, the parts were better than the bip-boppity-boo little cute sexy ones.
Also, I had a very flexible face. Whatever the character was, I could look that way. I wasn’t really interested in how the character looked. I was interested in the character.
You did play a pretty unforgettable sexpot, albeit a sort of stereotypical backwoods one, in the famous Alfred Hitchcock Hour “The Jar.”
That was a wonderful, wonderful shoot. Norman Lloyd put together this incredible cast. I mean, it was just a wonderful cast of people, and the script was wonderful and just so Ray Bradbury. Hitchcock was crazy about it.
It was [Norman’s] pet project, it really was, and we were all very excited because we had a ten-day shoot, which was such a luxury. Norman kept such a wonderful excitement on the set. I just loved everybody, and we all loved the piece that we were doing. Pat Buttram! Waiting for setups I got to sit and listen to Gene Autry stories. Now where else would I ever have heard Gene Autry stories?
Jim Bridges [who adapted Bradbury’s story] and I became really close friends. I was in a couple of movies that he did, and a play that he wrote, and that’s where we met, on the set of “The Jar.” He was there most of the shooting time.
Your second Hitchcock Hour was a strange, modern-dress version of “The Monkey’s Paw.”
Oh, I hated that. I think I didn’t like my part, and I certainly didn’t like my costumes. And I was terrible! We came across it quite a few years ago, and my husband, who didn’t know anything about theater when we were married almost thirty years ago, but I said, “You have to go into theater, darling, because otherwise you’ll bore me and then I’ll leave you, and I’d much rather stay with you.” He went into theater; he’s a brilliant improvisationalist and now is a great film buff, and has an eye. So we’re watching this, and he turned around and said, “Collin, you are awful in this. What were you doing?” I said, “I know. It’s just terrible!”
You were on Dr. Kildare twice, both times playing unfit mothers.
Oh, and one of those unfit mothers [in “Sister Mike”], Mary Badham played my daughter. Her parents really didn’t want her to go on with acting. They wanted her to have a normal little life. But this role came up and because we’d been in To Kill a Mockingbird together – we didn’t have any scenes together [in Mockingbird], but we saw each other on the set, and I had a nice relationship with the children.
There was a scene that I remember, on the bed. I think I was a prostitute; anyway, I was a derelict mother, that’s for sure. She was watching me put on makeup. You know that old cake mascara? You had a little cardboard box, and a strip of cake mascara and there was a little brush in the box, and you spit on the mascara and rubbed the brush and put it on your eyelashes. In the scene, I got ready to do that, and I spit, and Mary Badham had never seen it, and she just totally broke up, and we just kept it in the scene.
You appeared opposite Robert Culp in a rival medical drama, Ben Casey.
Here’s what I truly remember. It used to be fashionable, if you could get it just right, to just put a little bit of bella donna in your eye and then it’d make your pupils really big. Very dangerous to be doing, of course. I don’t know where I got bella donna – probably from my eye doctor – but I decided before my closeup I’d put some in my eyes.
Well, of course everything got really, really hazy. I could remember my lines and everything, but I couldn’t see that well. And then there was a script change – and I couldn’t read! I faked my way through it. I just had the script girl read it to me several times over, and made some excuse why I couldn’t read it myself. Can you imagine being that ridiculous?
Do you remember your appearances on The Untouchables?
I remember the one with Luther Adler, because my character had to come up to her front door, and then there were people shooting at her. What they did was wire the bannister, and they put too much juice in it, and I lost the hearing in my left ear for, I’d say, at least five months. It came back. Movie sets are dangerous!
On Gunsmoke, I was playing some prairie wife, and the locusts were coming. Now that was bad enough, that you’re sitting in a buckboard, plowing through the fields at a great rate, and all these – I guess they were rubber [bugs] – but masses of them are being blown in your face by a wind machine. But during this particular Gunsmoke, I had gotten a flu of some kind, and my fever was up to about 102. I could not even stand, and the A.D. said, “You’ll understand, Collin, I have to ask you if we can get this one last shot. We’ll lash you to the seat in the buckboard.” I said, “Sure.” They were going to kill me! But I agreed. I said, “Oh, sure.” Always be a trouper.
You were on The Fugitive twice, with David Janssen.
Always with The Fugitive, we shot in the most ungodly, tacky locations, it seemed. This one [“Approach With Care”] was around a rubber tire refuse place. There were towers of ancient rubber tires everywhere. I don’t know how five hundred people always found David Janssen, but they did, and they would arrive at the shoot. He had his great big trailer, and he would never sign autographs. They would even get to the point where they would start shaking the trailer.
During the mid-sixties you made several TV appearances together with your second husband, Geoffrey Horne. One was a Route 66 where Horne has a really showy part, and you make a little cameo as a glamorous girl who jilted him years earlier. Do you remember that?
I do. “Is It True That There Are Poxies at the Bottom of Landfair Lake?”
That’s very good – how did you remember that title?
Because I was on that shoot when President Kennedy was assassinated. I was there as a cameo, because Geoffrey wanted me there and we traveled together, and I didn’t mind doing a cameo. It was in Savannah. The announcement [of the Kennedy shooting] was made on the set, so the set closed down for the rest of the day. When we were in our hotel room that night, there was dancing and cheering like it was a Mardi Gras on the streets.
But worse than that was our experience when we all got back to the shoot the next morning. Everyone was really, really very depressed, and moving slowly. And the A.D. or the assistant A.D., who usually had a golf club with him – you know, taking swings at the [imaginary] turf – he said, and these are the exact words, “All right, everybody, back to work. The assassination was yesterday.”
You must have felt really out of touch, being far from home and in the deep south when that happened.
Yeah, it was absolutely horrible.
You also did an episode of The F.B.I. with Geoffrey and with Colleen Dewhurst.
Oh, I forgot he was in that! Working with Colleen was beautiful – what a great and fine and generous actress she was.
I’ve got the greatest story to tell you about that show. Geoffrey and I adopted three children. The mother had abandoned them and they’d been in McClaren Hall in California, where they put juvenile delinquents in the holding tank for kids whose parents had abandoned them, and then they went to a foster home. They were having to remove them from the foster home because the foster parents had twelve kids in there, and that was too many. So we adopted them, all in one fell swoop. The eldest boy was eight and a half, the girl was four and a half, and the baby was eighteen months.
The social worker brought them to the house. The baby was fine, but the two other kids looked as if they had seen the devil in front of them. I was standing there with my arms open and smiling at them and welcoming them. They had seen that episode, “The Baby Sitter,” and the big scene where Colleen snatches off my wig and I’m all bald and burned underneath! Well, imagine you’re these little orphans coming to your new home, and here’s this [same woman]? It took a little while to get over that. “No, no, no, no, your new mommy was just acting. It’s not me.”
As Verna the waitress (“She makes great pies”) on Longstreet (“Eye of the Storm,” 1972)
Did you like Los Angeles, and acting in Hollywood, after you moved west with Geoffrey?
You know, except for Rome, I really haven’t liked any place but here. The mountains are just so much a part of me. I loved Malibu and on the beach, but the L.A. kind of life, the show biz life, was never anything I wanted to be a part of. I always knew I’d come back here.
When did you move back to North Carolina?
1978. I left L.A. when those drive-by shootings were starting to happen. The women, except for me, were either carrying brass knuckles, or they had a pistol stuck in their pack at their side, or some other form of protection against attacks. And there was the cocaine rage during that time. If you walked into an office, the people in power were practically all doing cocaine. It was like you weren’t one of them if you weren’t doing that.
And then there was the other thing. I was in my mid-forties, and I thought, my god, have they all discovered I really can’t act? There weren’t many parts coming in. Plus, my youngest child, Michael, was still at home, and we’d had an earthquake that just absolutely terrified him. So I said, okay, let’s go home.
I met Scott several months after I’d been home, and we were married in August of ’79. We have five dogs and one cat and two kittens and two horses and a pony. We live in the log cabin I was raised in, and that I inherited. I grew up on the side of a mountain, and Frank Lloyd Wright said that the side of a mountain was the sweetest place to be.
Collin Wilcox passed away on October 14, 2009. More here.
December 19, 2007
Lonny Chapman died on October 12. He was a very good character actor with dark hair, beady eyes, and heavy jowls – he looked a lot like Richard Nixon. But because he had a strong Oklahoma drawl, Chapman became typecast not as a shifty politician, but as a curmudgeonly hick. His resume is full of ignorant, overall-clad farmers and crooked cracker sheriffs.
You wouldn’t guess, from the unimaginative way Hollywood used him after he moved to L.A. in 1968, that Chapman had been a stalwart New York theater actor with an astonishing list of credentials. A member of the legendary Actors Studio since its second year, Chapman performed in plays by William Inge, Tennessee Williams, and Horton Foote. Lee Strasberg, Daniel Mann, and Harold Clurman directed him on Broadway. He made two films for Elia Kazan, East of Eden and Baby Doll, the latter in a part tailored specifically for him by Tennessee Williams.
During the same time he began appearing on live television, starring in a short-lived series called The Investigator and later becoming a favorite of producer Herbert Brodkin and his staff, who cast Chapman often on The Defenders, The Nurses, and For the People (on which he was a regular, as a detective working for prosecutor William Shatner). He estimated his final tally of television roles at over 300.
I didn’t know Lonny well. But when I realized that he lived in the same Studio City neighborhood where I had an apartment briefly in 1999, I asked him to have lunch with me and brought along a tape recorder. It got off to a bad start, because he thought we were meeting at Art’s Deli and I thought it was Jerry’s, and by the time we ended up at the same place I didn’t have much time to spend with Chapman.
I never published the results of our hurried conversation, partly because Lonny was so taciturn that I didn’t think there was much meat to it. (When I asked about his World War II service, he said just one word, “Guadalcanal,” and changed the subject.) But as I reread it this week, I found more substance there than I had remembered, and I’m doubly glad I had the chance to record some of Chapman’s memories. Here are some of the highlights.
When did you begin acting?
At the University of Oklahoma, I got into drama. That’s where I got the bug. I was going to be in athletics. I was going to be maybe a coach. I was a track man. Then I answered an ad in the Liberal Arts building for some tryouts, auditions, because they didn’t have that many men in the drama department. I went over and auditioned, and they gave me the leading role!
In ’48, I got my first Equity job in Mister Roberts. It was the Chicago company. It had opened on Broadway already, and they formed a Chicago company. I was in that for a year. John Forsythe played Mister Roberts. I was one of the sailors. I was the guy that looks through the glasses [binoculars] and sees the girls and gets into a fight and all that.
Not long after you went to New York, you joined the Actors Studio.
I was in the Actors Studio the year after it was formed. I didn’t get in the first time. Elia Kazan saw the audition and said, “I think you’re a little green.” He said, “I like you. You go down to this other off-Broadway group,” and he gave me their name and I went down and I got into this little off-Broadway group that was full of Actors Studio people. Then I auditioned again, and I got in. That was even before Lee Strasberg was there.
What impact did Strasberg’s teachings have on you?
Well, I think I learned a lot from Strasberg. I didn’t care too much for him on a personal level, but he was very good. Strasberg had a sense of . . . a theory of acting, all of the aspects of relaxing actors and using themselves, from his knowledge of the theatre. He’d rather talk about acting, great acting, and it rubbed off. I learned a lot from him. Because I was there all through the 50s. I was doing scenes, boy, I was up there almost every week doing a scene. In fact, he got tired of seeing me. He said once, “You again?”
Do you consider yourself a “Method” actor?
Well . . . . Not in quotes – the “Method.” I think I was brought up, once I got to New York, in the so-called “Method.” But I do other things. I don’t follow any rules like that.
Yeah, a lot of it. Although I taught acting at my own school for eight years in New York, and it was that way of working. Sense memory – using yourself. But sometimes you have to bring in other things. Whatever works for the actor, that’s what I believe in.
Your first big break on Broadway was in William Inge’s Come Back, Little Sheba, as Turk, in 1950.
Yeah, I knew Bill quite well. We drifted apart once we were out here. I liked him a lot. He was a very closed-in person. Very sad, a very sad person, yet very likeable. But he had a sadness about him.
I played that for almost a year. From then on, I was in twelve more Broadway shows.
Tell me about some of the highlights.
I was in two Broadway shows with Kim Stanley, written by Horton Foote. One was Traveling Lady; I played her drunken husband. The other one was The Chase, which they later made a movie of. A great actress. Being on stage with her was the greatest experience I ever had. She was so giving, so alive, on stage. I don’t know of any other actor in this business I that I enjoyed working with more. Of the moment, everything was of the moment. She didn’t change blocking, but every night the nuances were different from the night before. Not that she was making up different things; it would just come out different, because she was so great.
I was in the first Broadway revival of The Glass Menagerie, with James Daly, Lois Smith, and Helen Hayes. I played the Gentleman Caller. I did the first revival of The Time of Your Life in New York, with Franchot Tone. He gave the prop guy money to give him real champagne. He’d sit there and sip it throughout the show. Never missed a line.
The last Broadway show I did was a flop, General Seeger, by Ira Levin, with George C. Scott. He directed it and played the lead, and I had a fight with him. William Bendix played General Seeger, but he couldn’t get along with George. But George was directing this. The reason I didn’t think he was a good director was because he would act out the parts. He’d get up and act it out and play the whole scene. He never did it to me except once, when I was on the witness stand. It was in this courtroom scene, and I’m on the witness stand, and he got up there and delivered my lines. I walked out and walked to my dressing room. He didn’t see me, and he went through the whole thing, my part. But I wasn’t there to see it! I came walking back in, and he realized I hadn’t seen it, and he looked at me and he says, “You son of a bitch.” And that’s all he ever said about it. But he was one hell of an actor. He fired William Bendix, and took over the part.
Do you remember the first live TV show you did?
The first one was a series called Captain Video. That was my very first live TV show, in late 1949. They didn’t even have a regular union at that time – that was before AFTRA took over. Then I was in The Gabby Hayes Show, which was very early TV. Then all the big ones started – Studio One, Philco. I made the rounds – all of them.
Did any of those famous on-air mistakes happen to you?
Oh, yeah. Actors went up on their lines in the middle of a scene. I went up a couple of times. I’ll never forget this time on a show that was in three acts. The second act and the third act started similar. So I started it, and I realized I had started the third act [instead of the second], and if I continued we would skip a whole act. So the other actor looked at me [with wide eyes] and stiffened up, and I realized, so he asked me the question again and I got back on track.
When did you first come to Los Angeles?
For East of Eden. It was my first trip. I knew James Dean quite well. He was a fascinating kid. He was really talented, he had just a knack. He had the best relaxation of any actor I’ve ever seen. You didn’t even know for sure if he knew his lines or not.
Personally, what did you think of him?
I liked him. A lot of people didn’t care for him. I helped him discover Woody Guthrie. I was a big Woody Guthrie fan. He [Dean] never even knew who he was, and I had all his records. I introduced him to who Guthrie was. He wanted to do shoot a film, a movie [about] Woody Guthrie. He said, “I’ll go to Kazan first, and ask him.” I was standing there when he went up and asked him, “Lonny and I got this idea to shoot a movie about Woody Guthrie.” James Dean would have been a very good Woody Guthrie. Kazan was at that time, busy with his [House] Un-American Activities [Committee testimony]. I don’t think he wanted to touch a guy who’d been accused of being a communist, Woody Guthrie, a left-wing kind of guy!
Kazan was a great director. The best one I ever worked with.
Because he was so good with actors. He just had a way with actors. He wanted you to try things. He’d say, “What do you wanna do? Let’s see it. Don’t talk about it, don’t tell me what you’re gonna do, I want to see it. Go ahead.” And we’d rehearse it. If he didn’t like it, he’d say, “Why don’t you try this this time?” He wouldn’t say, “I didn’t like it.”
What about Hitchcock? How long did you work on The Birds?
I was on the film for four weeks. They had several times they went back to that restaurant; it wasn’t just one scene, and they didn’t shoot them all at one time. He’d go back, and then he’d go back there again.
Hitchcock was not an Actors Studio type of director.
Oh, no. He was very precise. He knew exactly what he wanted in every shot. He knew exactly what he wanted you to do, and he’d tell you. He was great – very sharp.
Who was your favorite of the television directors you worked with?
Leo Penn was probably the about best relationship I had, of the TV directors, because I knew him in New York, I knew him when he was an actor. He and I had been friends for years, and he was very easy to work with. Gives you a lot of leeway. I did a couple of Andy Griffith’s series with him, Matlocks, and some other things too. I directed Leo in a show in summer stock, when I had my stock theatre.
Were the parts as good in television?
I got some pretty good parts in television. I did a big guest-star thing on Bonanza one time, playing a drunken poet. I did a couple of Gunsmokes. The Big Valley, I used to do, and that Chuck Connors thing – The Rifleman.
Do you think your accent influenced the way you’ve been cast over the years?
Well, yeah, for a while, because I did some Okie-type parts, talking like Dennis Weaver did in Gunsmoke. That’s why I got cast in those kinds of things. Although, in stock, I played all kinds of stuff – Shakespeare, and everything. But in business . . . I don’t think there was a western, maybe a couple or three, [that I wasn’t in.] I made the rounds of all of them. I always played outlaws, or sometimes a sheriff.
That must have been less interesting than what you were doing in the theatre.
Yeah, it was. Although anything is interesting – I give myself to everything I do, whatever it is, if it’s the worst piece of crap in the world.
When you moved out to Los Angeles for good, did you do so reluctantly?
I was twenty-one years in New York, from the first time I had my first job, Mister Roberts. So, yeah, reluctantly. About 1967, I realized I hadn’t worked in New York, had a New York job, in three years. Every job I had was out here. I was a commuter.
Do you consider yourself fulfilled, or are there things about your career you would change?
Well, in films and television, I never got into that area where you could pick and choose. I never got to that. I would like to have got to that. I don’t mean becoming a big star, not that, but at least having a sort of a clout in the business. I never really got to that. I’m just an actor who worked a lot, in the ’60s and on into the ’70s.