Ten Percent Of Jimmy Stewart

Written by Stephen Schochet

Jimmy Stewart was seen one night in 1933 in New York performing on stage as a female impersonator by an MGM talent scout. He was signed to a contract to come to California to work forrepparttar prestigious studio. Studio Head Louis B. Mayer expressed doubt when he first saw him,"He's so skinny! A beanpole." Efforts were made to put weight on him,repparttar 124162 133 pound actor was constantly sharing butterfingers candy bars with Ann Miller which seemed to fatten her up more than him.

If Mayer was unimpressed by his new star's physique, his behavior was a refreshing change compared to some ofrepparttar 124163 prima donnas at MGM likerepparttar 124164 usually drunk Spencer Tracy, orrepparttar 124165 demanding to be alone allrepparttar 124166 time Greta Garbo. Stewart never complained about his salary or workload. Whateverrepparttar 124167 task be it screen tests or B-movies, he was always on time and knew his lines, although sometimes his trademark stammering lead to extra takes. If they loaned him to a lesser studio like Columbia, he was just happy to be working. Slowly, inrepparttar 124168 late thirties with great performances in Frank Capra movies like You Can't Take It With You (1938) and Mr. Smith Goes To Washington(1939), Stewart's star rose as didrepparttar 124169 respect for his talent. He became known as a swinging lady's man around town. Mayer was surprised and delighted by his Academy Award forrepparttar 124170 Philadelphia Story (1940) as well as his humble gesture of sendingrepparttar 124171 Oscar statue home to Indiana, Pa. for his father to display inrepparttar 124172 Stewart family hardware store.

Kate Hepburn Stories

Written by Stephen Schochet

Katherine Hepburn came to Los Angeles in 1932 and like Calista Flockart, had a theater person's snobbish view towards Hollywood. In person, she impressed no one with her looks and style, and executive David O. Selznick worried about her "horse face". She finished her first film, Bill Of Divorcement with John Barrymore and told him," Thank God we're finished. I never want to act with you again". The Great Man replied," My dear girl. I wasn't aware that you had".

Many of Miss Hepburn's co-stars couldn't stand her. The movie Stage Door (1936) called for her to make a speech which would cause Ginger Rogers to cry. The director Gregory La Cava knew that Conservative Ginger Rogers hated Liberal Hepburn, so he called Ginger torepparttar set alone. "Babe I got terrible news. Your mother called, your new house burned down." After filming Ginger's tearful reaction, La Cava excused her, and Hepburn was called torepparttar 124161 set to make her speech.

Another film that gave Hepburn problems wasrepparttar 124162 comedy Bringing Up Baby (1938) with Cary Grant. She didn't at first understandrepparttar 124163 concept of playing comedy straight, lettingrepparttar 124164 script dictaterepparttar 124165 humor. Her meddling and constant suggestions drove director Howard Hawks to distraction. Finally he confronted her onrepparttar 124166 set. "Katie, will you please shut up!" Hepburn replied calmly," Howard, you shouldn't talk that way to me. I have many friends onrepparttar 124167 set. They might arrange for an accident to happen to you." Hawks looked up intorepparttar 124168 rafters at one ofrepparttar 124169 film techs manning a huge spotlight. "Hey Joey, who would rather drop that light on, me or Miss Hepburn?" "Get out ofrepparttar 124170 way, Mr. Hawks."

Hepburn at one point was declared box office poison and thought her career would be saved by playing Scarlett O'Hara in Gone With The Wind, which she was willing to do for free. Mindful of whatrepparttar 124171 reaction fromrepparttar 124172 South would be to a New Englander playingrepparttar 124173 role, David O. Selznick cruelly rejected her by saying," I can't imagine Rhett Butler chasing after you for 10 years."

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