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Post by BATouttaheck on Jun 15, 2020 21:49:47 GMT
Doghouse6Thanks for the sleuthing ... seems that IMDb doesn't actually research their trivia
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Post by Prime etc. on Jun 15, 2020 22:00:23 GMT
Vincent Price was under contract with AIP and had problems with it. It led to a funny anecdote as told by the director of Cry of the Banshee:
"These after-picture parties are usually so boring, so I requested that everyone dress in costumes, we had hundreds of these period costumes left over. I wanted everybody in costume, including Arkoff and Nicholson. I think we had a naked (or semi naked) girl pop out of a huge cake. But Vincent really didn't want to come if Arkoff was there. He did finally agree, and when we were looking for the knife to cut the cake, Vincent said, "Take the knife that's in my back and use that!"
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Post by Doghouse6 on Jun 15, 2020 23:37:34 GMT
Speaking of Selznick, as notorious as he was for his memos, meddling and mercurial temperament, he was equally so for signing artists to exclusive contracts, then loaning them out more than he used them. During his seven years under contract to him, Alfred Hitchcock directed ten features, only three of which were made for Selznick. The director was actually happier working at other studios, which tended to allow him more autonomy than his nominal employer, but bitterly resented the fact that Selznick would charge other studios many times what he was paying him, and pocketing the difference while the director received nothing but his regular Selznick salary.
I wouldn't be surprised that the situation was the same for Ingrid Bergman, who made eleven pictures during her Selznick contract, only two of which were for him.
That might have been good business for Selznick in the short term, but his instincts were not always so hot. In exchange for Clark Gable and partial financing for Gone With the Wind, MGM had negotiated distribution rights to the film. Before production was completed, Selznick ran short of money, but neither MGM nor banks would pony up any more dough, so he secured a loan from John Hay "Jock" Whitney, a close personal friend and venture capitalist (among other things). By 1942, Selznick was again in need of cash, and sold the film's copyright to Whitney for $800.000. Whitney turned right around and sold it to MGM for well over $2 million.
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Post by snsurone on Mar 5, 2021 21:47:57 GMT
Dead Reckoning (1947) Humphrey Bogart was borrowed from Warner Bros. for this film. This annoyed Bogart because in addition to his regular contract fee, Columbia paid Warner Bros. extra for the loan-out of one of its biggest stars. Reminds me of the pre-20th century slave trade.
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Post by marshamae on Mar 6, 2021 1:49:34 GMT
Warner Bros. loaning out Bugs Bunny, Daffy Duck etc Universal loaning out Woody Woodpecker MGM loaning out Droopy to Disney for Who Framed Roger Rabbit--it takes place in the Golden Age! (and in the film Disney had loaned out Dumbo and "half the cast of Fantasia" to RK Maroon--"they work for peanuts"). This was a case where apparently Spielberg was singularly important since Warner Bros had previously vowed they would never allow it. Only the owners of the Casper and Tom and Jerry and Popeye characters said no. This shows the flaw in saying no. The other animation studios said yes , Roger rabbit was a huge hit and renewed interest in classic toons. The ones who refused got left behind, failing to be part of a huge advertisement .
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Post by Prime etc. on Mar 6, 2021 11:51:46 GMT
I believe this is the first time Bugs Bunny was actually loaned out. I think it would be subjected to cancel culture so watch it while you can.
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Post by snsurone on Apr 5, 2021 19:41:28 GMT
An un-PC cartoon like that would NEVER be shown in theaters or on TV today. But Bugs was funny in his brief cameo.
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Post by london777 on Apr 6, 2021 4:10:54 GMT
May have ended in the movie business, but a similar situation exists in professional soccer in Europe.
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Post by snsurone on Jun 4, 2021 9:50:17 GMT
That's true of major league sports in the US, too. How many times have we heard of a player being "traded" to another team, whether he liked it or not? It often necessitated the player and his family pulling up roots and relocating to cities far from where they had lived for many years.
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Post by snsurone on Jun 21, 2021 17:22:32 GMT
Speaking of Selznick, as notorious as he was for his memos, meddling and mercurial temperament, he was equally so for signing artists to exclusive contracts, then loaning them out more than he used them. During his seven years under contract to him, Alfred Hitchcock directed ten features, only three of which were made for Selznick. The director was actually happier working at other studios, which tended to allow him more autonomy than his nominal employer, but bitterly resented the fact that Selznick would charge other studios many times what he was paying him, and pocketing the difference while the director received nothing but his regular Selznick salary. I wouldn't be surprised that the situation was the same for Ingrid Bergman, who made eleven pictures during her Selznick contract, only two of which were for him. That might have been good business for Selznick in the short term, but his instincts were not always so hot. In exchange for Clark Gable and partial financing for Gone With the Wind, MGM had negotiated distribution rights to the film. Before production was completed, Selznick ran short of money, but neither MGM nor banks would pony up any more dough, so he secured a loan from John Hay "Jock" Whitney, a close personal friend and venture capitalist (among other things). By 1942, Selznick was again in need of cash, and sold the film's copyright to Whitney for $800.000. Whitney turned right around and sold it to MGM for well over $2 million. Howard Hughes did the same thing. The best example was Jean Harlow, who, after achieving stardom in HELL'S ANGELS, was shifted from one studio to another. She really wanted to "find herself" in films, but she could not adequately learn to act with one-movie deals all over Hollywood! It was finally when her contract with Hughes ended, that she signed with MGM, and there consolidated her stardom. Sadly, she died a scant five years after being contracted to Metro.
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Post by Doghouse6 on Jun 21, 2021 17:55:41 GMT
Speaking of Selznick, as notorious as he was for his memos, meddling and mercurial temperament, he was equally so for signing artists to exclusive contracts, then loaning them out more than he used them. During his seven years under contract to him, Alfred Hitchcock directed ten features, only three of which were made for Selznick. The director was actually happier working at other studios, which tended to allow him more autonomy than his nominal employer, but bitterly resented the fact that Selznick would charge other studios many times what he was paying him, and pocketing the difference while the director received nothing but his regular Selznick salary. I wouldn't be surprised that the situation was the same for Ingrid Bergman, who made eleven pictures during her Selznick contract, only two of which were for him. That might have been good business for Selznick in the short term, but his instincts were not always so hot. In exchange for Clark Gable and partial financing for Gone With the Wind, MGM had negotiated distribution rights to the film. Before production was completed, Selznick ran short of money, but neither MGM nor banks would pony up any more dough, so he secured a loan from John Hay "Jock" Whitney, a close personal friend and venture capitalist (among other things). By 1942, Selznick was again in need of cash, and sold the film's copyright to Whitney for $800.000. Whitney turned right around and sold it to MGM for well over $2 million. Howard Hughes did the same thing. The best example was Jean Harlow, who, after achieving stardom in HELL'S ANGELS, was shifted from one studio to another. She really wanted to "find herself" in films, but she could not adequately learn to act with one-movie deals all over Hollywood! It was finally when her contract with Hughes ended, that she signed with MGM, and there consolidated her stardom. Sadly, she died a scant five years after being contracted to Metro. Similar behaviors, indeed but, as an educated guess, arising out of differing, shall we say, pathologies. Films were Selznick's only professional interest and, not long after successful production stints at both RKO and MGM, he reached the pinnacle of that success before the age of 40 with Gone With the Wind, and cast about in futility thereafter for a way to top - or even match - it. For Hughes, on the other hand, moviemaking was only one of many industrial irons in the proverbial fire, and his short attention span - coupled with other eccentricities that only grew with the years - rendered his commitment to a career in films spotty at best, visiting its effects over time not only on Harlow but on Jane Russell, Robert Mitchum, Terry Moore and virtually the entire RKO studio after his acquisition of it. Figures of films' classic era displaying complicated personal weirdness always makes them the most interesting.
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Post by Prime etc. on Jun 21, 2021 18:47:55 GMT
Another studio loan out: Toho lent out Mechagodzilla for READY PLAYER ONE.
INDIAN IN THE CUPBOARD - it was a Paramount-Columbia film--but it had Darth Vader, Robocop, the T-rex from Jurassic Park...
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