Production
Faced with potential unemployment from the sale of Ealing Studios to the BBC in 1954, director Alexander Mackendrick began entertaining offers from Hollywood. He rejected ones from the likes of Cary Grant and David Selznick and signed on with independent production company Hecht-Hill-Lancaster, enticed by their offer to adapt George Bernard Shaw’s play The Devil's Disciple. After the project collapsed during pre-production, Mackendrick asked to be released from his contract. Harold Hecht refused and asked him to start work on another project – adapting Ernest Lehman’s novellette Sweet Smell of Success into a film.
Lehman’s story had originally appeared in a 1950 issue of Cosmopolitan, renamed "Tell Me About It Tomorrow!" because the editor of the magazine did not want the word "smell" in the publication. It was based on his own experiences working as an assistant to Irving Hoffman, a prominent New York press agent and columnist for The Hollywood Reporter. Hoffman subsequently did not speak to Lehman for a year and a half. Hoffman then wrote a column for The Hollywood Reporter speculating that Lehman would make a good screenwriter, and within a week Paramount called Lehman, inviting him to Los Angeles for talks. Lehman went on to forge a notable screenwriting career in Hollywood, writing Executive Suite, Sabrina and The King and I.
Read more about this topic: Sweet Smell Of Success
Famous quotes containing the word production:
“The repossession by women of our bodies will bring far more essential change to human society than the seizing of the means of production by workers.”
—Adrienne Rich (b. 1929)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“The problem of culture is seldom grasped correctly. The goal of a culture is not the greatest possible happiness of a people, nor is it the unhindered development of all their talents; instead, culture shows itself in the correct proportion of these developments. Its aim points beyond earthly happiness: the production of great works is the aim of culture.”
—Friedrich Nietzsche (1844–1900)