a work permit for Guilaroff we are forcing Guilaroff down their throats. And by using him we are casting aspersions on the art of hairdressing as practiced in England.
Their real antagonism stems from the fact that Guilaroff didn’t get along with some of the female members of the union the last time he worked in England. They vowed then that he would never get another special work permit.
O CTOBER 2, 1960
Elizabeth still ill. Dr. Carl Heinz Goldman, a leading Harley Street physician, attending her.
Still having problems with the script.
Met this evening with Sir Tom O’Brien, Member of Parliament and head of the British Motion Picture Producers’ Association, about Guilaroff. Sir Tom is a great character; jovial, a stout-drinker and an old friend. He wants to do everything possible to help us but says his hands are tied. This silly situation is getting desperate.
Speaking for myself, I can do without Guilaroff, who considers himself an authority on everything from hair to scripts and production, probably because he is paid like an executive—$1,100 a week plus $600 a week expenses.
O CTOBER 3, 1960
Two minutes and 15 seconds of sunshine today. It’s bitter cold. Elizabeth has a temperature of 100 degrees and can’t come to the studio for wardrobe tests.
Oliver Messel, the costume designer, is complaining about his position and authority; Sidney Guilaroff is complaining about hisposition; Mamoulian is complaining about the writers; Skouras called Rogell to complain about Mamoulian.
O CTOBER 5, 1960
Skouras cabled, indignantly denying he made any attack against me to Elizabeth. Added he was “worried to death” about our script, urged me to avoid friction and delays, produce a great picture.
To which I can only say, “Let’s get on with it.”
O CTOBER 8, 1960
Skouras called Rogell and told him he should get close to Liz and Eddie; he should play golf with Eddie and send flowers to Liz. Rogell told me of the conversation and said that he will wait for me to introduce him to them before beginning to try and win them over. Later in the day, however, Eddie called to tell me that Rogell phoned to ask about Elizabeth’s health.
Everybody is trying to play Liz. The Fox people believe I am using her too, but the fact is she and I are not as close as they think. I am not a member of her inner circle. I have always kept what I consider to be a proper professional relationship. I am not a sycophant or a hanger-on, which is why I think Liz respects our relationship, which has been a wonderful one as far as I am concerned.
O CTOBER 10, 1960
Went to Elizabeth’s suite at the Dorchester to say goodbye to Eddie, who is going to New York for a few days.
Guilaroff was there discussing her hair, and Oliver Messel was attempting a fitting. Each man had assistants and they had their assistants. It was a scene of mass confusion.
But Elizabeth was in tears. She didn’t want Eddie to leave. She kissed and hugged him before he left the room. When he left she ran to the room telephone again to have him paged in the lobby. She told him on the telephone again to be careful andhurry back. She said she was planning to stay up all night until he called her from California.
O CTOBER 11, 1960
Meeting tonight with the entire membership of the English Motion Picture Producers’ Association. The subject: Sidney Guilaroff. This is ridiculous. The Cold War continues, and we are all casualties.
TELEGRAM TO SIR TOM O’BRIEN:
DEAR TOM I CANNOT IMPRESS TOO STRONGLY ON YOU THE SERIOUS POSITION WE FIND OURSELVES IN THAT WITH THE RESIGNATION OF THE HAIRDRESSERS AND THE IMPOSSIBILITY OF GETTING REPLACEMENTS FROM YOUR ORGANIZATION THAT OUR CORPORATION IS BEING PUT IN AN UNTENABLE POSITION BECAUSE WE HAVE HAD TO SUSPEND OPERATIONS AND CONTINUE TO CARRY ON OUR PAYROLL AN ENORMOUS OVERHEAD STOP NATKE MUST IMMEDIATELY SUPPLY US WITH SUITABLE HAIRDRESSERS OR WE WILL HAVE TO CLOSE DOWN PERMANENTLY STOP EVERY HOUR COUNTS AS THE COMPANY CANNOT
Their real antagonism stems from the fact that Guilaroff didn’t get along with some of the female members of the union the last time he worked in England. They vowed then that he would never get another special work permit.
O CTOBER 2, 1960
Elizabeth still ill. Dr. Carl Heinz Goldman, a leading Harley Street physician, attending her.
Still having problems with the script.
Met this evening with Sir Tom O’Brien, Member of Parliament and head of the British Motion Picture Producers’ Association, about Guilaroff. Sir Tom is a great character; jovial, a stout-drinker and an old friend. He wants to do everything possible to help us but says his hands are tied. This silly situation is getting desperate.
Speaking for myself, I can do without Guilaroff, who considers himself an authority on everything from hair to scripts and production, probably because he is paid like an executive—$1,100 a week plus $600 a week expenses.
O CTOBER 3, 1960
Two minutes and 15 seconds of sunshine today. It’s bitter cold. Elizabeth has a temperature of 100 degrees and can’t come to the studio for wardrobe tests.
Oliver Messel, the costume designer, is complaining about his position and authority; Sidney Guilaroff is complaining about hisposition; Mamoulian is complaining about the writers; Skouras called Rogell to complain about Mamoulian.
O CTOBER 5, 1960
Skouras cabled, indignantly denying he made any attack against me to Elizabeth. Added he was “worried to death” about our script, urged me to avoid friction and delays, produce a great picture.
To which I can only say, “Let’s get on with it.”
O CTOBER 8, 1960
Skouras called Rogell and told him he should get close to Liz and Eddie; he should play golf with Eddie and send flowers to Liz. Rogell told me of the conversation and said that he will wait for me to introduce him to them before beginning to try and win them over. Later in the day, however, Eddie called to tell me that Rogell phoned to ask about Elizabeth’s health.
Everybody is trying to play Liz. The Fox people believe I am using her too, but the fact is she and I are not as close as they think. I am not a member of her inner circle. I have always kept what I consider to be a proper professional relationship. I am not a sycophant or a hanger-on, which is why I think Liz respects our relationship, which has been a wonderful one as far as I am concerned.
O CTOBER 10, 1960
Went to Elizabeth’s suite at the Dorchester to say goodbye to Eddie, who is going to New York for a few days.
Guilaroff was there discussing her hair, and Oliver Messel was attempting a fitting. Each man had assistants and they had their assistants. It was a scene of mass confusion.
But Elizabeth was in tears. She didn’t want Eddie to leave. She kissed and hugged him before he left the room. When he left she ran to the room telephone again to have him paged in the lobby. She told him on the telephone again to be careful andhurry back. She said she was planning to stay up all night until he called her from California.
O CTOBER 11, 1960
Meeting tonight with the entire membership of the English Motion Picture Producers’ Association. The subject: Sidney Guilaroff. This is ridiculous. The Cold War continues, and we are all casualties.
TELEGRAM TO SIR TOM O’BRIEN:
DEAR TOM I CANNOT IMPRESS TOO STRONGLY ON YOU THE SERIOUS POSITION WE FIND OURSELVES IN THAT WITH THE RESIGNATION OF THE HAIRDRESSERS AND THE IMPOSSIBILITY OF GETTING REPLACEMENTS FROM YOUR ORGANIZATION THAT OUR CORPORATION IS BEING PUT IN AN UNTENABLE POSITION BECAUSE WE HAVE HAD TO SUSPEND OPERATIONS AND CONTINUE TO CARRY ON OUR PAYROLL AN ENORMOUS OVERHEAD STOP NATKE MUST IMMEDIATELY SUPPLY US WITH SUITABLE HAIRDRESSERS OR WE WILL HAVE TO CLOSE DOWN PERMANENTLY STOP EVERY HOUR COUNTS AS THE COMPANY CANNOT
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