By Peter Lev
The Fifties: reworking the reveal, 1950-1959.
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The Fifties: reworking the monitor, 1950-1959.
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Additional info for Transforming the screen, 1950-1959
Also, since studios in the early 1950s retained The American Film Industry in the Early 1950s many of their contract personnel and technical departments, independent producers were encouraged (and in some cases required) to use studio crews and faciIities. Independent production was really a partnership between producers and studios, with much depending on contract provisions and working relationships between the principals. Everything was open to negotiation, so that even regular studio contracts for top talent began to include profit participation and the ability to do outside films.
Samuel Goldwyn was the dean of American independent producers. He had entered the film business in 1912, at age 28, and by 1916 had formed his own production company. ) Goldwyn released his films primarily through United Artists (1919 to 1939) and RKO (1939 to 1952). An energetic, combative producer, he bought excellent story properties (including many novels and Broadway plays) The American Film Industry in the Early 1950s and hired top writers, directors, actors, cinematographers, and art directors to realize his projects.
The shareholders of Monterey were Hawks, his wife, Slim, and his agent, Charles Feldman; the working capital came mainly from a group of private investors. REDRIVERwas an excellent film that drew large audiences, but it did not make a profit for Monterey because Hawks went wildly over budget. ~Independent production often camed a high degree of risk. In the early ig5os, Hawks divided his time between a studio contract at Twentieth Century-Fox and various independent ventures. Even the studio contract shows how the industry climate had changed, for it provided the director with profit participation, story approval, and the right to make one film per year elsewhere.
Transforming the screen, 1950-1959 by Peter Lev