Completed Oral Histories

The Oral History Program documents the lives and careers of individuals who have worked in various areas of the motion picture industry. To date, our interviewers have conducted more than 70 in-depth oral histories on subjects ranging from art direction and film editing to censorship and Academy history. A number of interviewees were also questioned in detail about their contribution to the filmmaking effort during World War II.

Ken Adam (production designer)

Interviewed by Jennifer Peterson, 2002.
150 pages. Call number: OH144

Acclaimed production designer Ken Adam (born 1921) discusses his long career in the British and American film industries, particularly his work on six James Bond films and his collaboration with Stanley Kubrick. Mr. Adam, who was born in Germany, describes breaking into the British film industry after serving in the Royal Air Force, and his eventual work on such landmark motion pictures as “Around the World in 80 Days,” “Dr. No” and “Dr. Strangelove.” He also recollects his Academy Award winning production design for Kubrick’s “Barry Lyndon” and Nicholas Hytner’s “The Madness of King George.”

Adele Balkan (costume designer)

Interviewed by Barbara Hall, 1997. (excerpts available online)
Includes appendix, illustrations.
221 pages. Call number: OH128

Miss Balkan (1907-1999) talks about her extensive career as a costume designer and illustrator, working with renowned figures such as Travis Banton and Edith Head at Paramount Pictures and Charles LeMaire at Twentieth Century-Fox, and fashion designer Irene at her salon in Bullock's Wilshire. In addition to discussing her work on dozens of films including “Notorious,” “The Great McGinty,” “The Farmer's Daughter” and “Mighty Joe Young,” Balkan outlines in great detail the workings of the studio wardrobe department. Balkan also describes her experience working on two epic films shot on location, “The Ten Commandments” and “The Greatest Story Ever Told.”

Margaret Booth (film editor)

Interviewed by Rudy Behlmer, 1990.
Includes appendix.
171 pages. Call number: OH104

Miss Booth (1898-2002) talks about her long career as a cutter and editorial supervisor at the MGM studios, and her subsequent work for Ray Stark and other producers. Films discussed include “Mutiny On the Bounty” (1935 and 1962), “Romeo and Juliet” (1936) and “The Way We Were.”

Robert F. Boyle (production designer)

Interviewed by George Turner, 1992.
291 pages. Call number: OH126

Mr. Boyle (born 1909) discusses his work as a draftsman and assistant art director at Paramount in the 1930s, and his early work as an art director on Hitchcock's “Saboteur” and “Shadow of a Doubt.” He goes on to describe his World War II service as a combat cameraman, his post-war work at RKO and his years in the Universal art department, where he designed many westerns and other genre pictures. He discusses working again with Hitchcock on “North by Northwest,” “The Birds” and “Marnie,” and talks about collaborating with a number of other directors including Norman Jewison, Richard Brooks and Don Siegel. In addition, the oral history contains a great deal of information about the field of production design, including discussions of matte painting, scenic backings, special effects, and location shooting.

Henry Bumstead (production designer)
Interviewed by Douglas Bell, 2003-2005.
Includes illustrations.
891 pages.  Call number:  OH155

Within An Oral History with Henry Bumstead , the esteemed production designer (1915-2006) speaks of, among other topics, his early years in the film business, as a draftsman at Paramount Pictures, including an examination of many of his uncredited films during the era; his service in the U.S. Navy during World War II; as well as his lengthy, distinguished career working for such directors as Alfred Hitchcock (VERTIGO, TO CATCH A THIEF); George Roy Hill (SLAUGHTERHOUSE-FIVE, THE STING); Robert Mulligan (TO KILL A MOCKINGBIRD, SAME TIME, NEXT YEAR); and Clint Eastwood (UNFORGIVEN, MILLION DOLLAR BABY).

Edward Carfagno (production designer)

Interviewed by Barbara Hall, 1989.
Includes filmography, illustrations.
280 pages. Call number: OH101

Mr. Carfagno (1907-1996), who worked in the MGM art department from 1932 until the early 1970s, discusses the job of the studio art director, and describes working with many of MGM's top directors. The oral history includes detailed discussions of epic films like “Quo Vadis” and “Ben-Hur,” and is illustrated with stills from the MGM set stills collection. Mr. Carfagno also discusses his collaboration with director Clint Eastwood.

Robert Cowan (Academy history)

Interviewed by Barbara Hall, 1992-1993.
Includes illustration.
120 pages. Call number: OH121

Mr. Cowan discusses the role his brother Lester Cowan (1907-1990) played in the formative years of the Academy of Motion Picture Arts and Sciences. As Executive Secretary from 1931 to 1933 (he joined the staff in 1928), Lester Cowan supervised many Academy programs, including the first five Academy Award presentations and the activities of the Technical Bureau. Mr. Cowan also comments on Lester Cowan's resignation from the Academy staff, and his subsequent career as an independent producer.

Owen Crump (screenwriter/head of Army Air Force's First Motion Picture Unit)

Interviewed by Douglas Bell, 1991-1992. (excerpts available online)
Includes illustrations.
157 pages. Call number: OH116

This oral history with Mr. Crump (1904-1998) is entirely concerned with his tenure as film production chief of the U.S. Air Force's most important production center of World War II, the First Motion Picture Unit (Fort Roach) located in Culver City. Also included in this history are the remembrances of Colonel Bob Elliott, his successor as Fort Roach commander, and William Graf, Fort Roach veteran and United States Army Air Force combat cameraman.

Marc Davis (animator)

Interviewed by Douglas Bell, 1997.
Includes illustrations.
397 pages. Call number: OH136

Marc Davis (1913-2000) speaks about his career in animation, spent entirely at the Disney Studios, beginning in the 1930s. Davis was a vital member of the production team behind Disney’s signature animated features, from “Snow White and the Seven Dwarfs” to “One Hundred and One Dalmatians,” and he discusses the creation of these films in some detail. The oral history also includes personal recollections of Walt Disney and the Disney studios, including the studio’s work during World War II; discussions of Disney animation techniques and personnel; and information concerning Mr. Davis’ extensive involvement, beginning in the 1960s, with the Disney theme parks.

Laraine Day (actress)

Interviewed by Barbara Hall, 1997.
Includes illustrations.
292 pages. Call number: OH125

Miss Day (1920-2007) describes her childhood in Roosevelt, Utah and Long Beach, California, as well as her early career on stage and at the Paramount and RKO Radio studios. She goes on to discuss at length her career at MGM, where she appeared in seven Dr. Kildare films as well as a number of other features. She also discusses films she made on loan to other studios, including “My Son, My Son!,” “Foreign Correspondent” and “Mr. Lucky.” After leaving MGM, Miss Day signed a contract with RKO, and she comments on her work at that studio as well, particularly on the film “The Locket.” She goes on to discuss her extensive television work in the 1950s and 1960s, as well as her radio and theater appearances.

Philip Dunne (screenwriter/director)

Interviewed by Douglas Bell, 1989.
Includes appendix, illustrations.
312 pages. Call number: OH102

The focus of this oral history is the work that Mr. Dunne (1908-1992) completed with the Office of War Information during World War II. It also includes material on Mr. Dunne's early life, discussions of the political climate in Hollywood at various times, and some material on his screenwriting and directing careers.

Hal Elias (publicist/executive)

Interviewed by Douglas Bell, 1991-1992.
Includes illustrations.
296 pages. Call number: OH122

Mr. Elias (1899-1993) discusses his career as a vaudeville reviewer, theater publicist, MGM exploiteer/publicist and MGM shorts department general manager. He reminisces about such figures as Louis B. Mayer, Howard Strickling, Pete Smith, Fred Quimby, and many of his fellow publicists, as well as about the founding of the Publicists Guild. He also talks about many of his colleagues in the MGM cartoon department and comments on his tenure at UPA studios in the late 1950s and early 1960s. Finally, Mr. Elias discusses his involvement in the Academy, especially his 37 years as a member of the Board of Governors.

C. O. “Doc” Erickson (production manager/producer)

Interviewed by Douglas Bell, 2001-2002
Includes illustrations
722 pages. Call number: OH137

A top production manager and executive producer, C. O. “Doc” Erickson (born 1923), comments on his 50-year career in the motion picture industry, during which he worked on such films as “Rear Window,” “Vertigo,” “The Misfits,” “Cleopatra,” “Chinatown” and “Blade Runner.” His role within the Paramount production department during the 1940s and 1950s is also discussed, as is the evolution of production management in feature films thereafter. Also recollected is Mr. Erickson’s work, during World War II, in an armament plant.

Rudi Fehr (film editor/executive)

Interviewed by Douglas Bell, 1992-1993.
750 pages. Call number: OH127

Mr. Fehr (1911-1999) discusses the entirety of his career, including his early life in Germany, both prior to and during the Nazi regime, his film experiences in Europe, his emigration to the United States, and his 40-year association with Warner Bros., where he edited such films as “Watch on the Rhine,” “Humoresque,” “Key Largo,” “House of Wax” and “Dial M For Murder.” In the mid-1950s, Jack Warner entrusted Mr. Fehr with the oversight of all Warner Bros. post-production concerns, and Mr. Fehr describes his work on most of the films Warner Bros. produced from 1955 through 1975. After leaving Warner Bros. in 1976, Mr. Fehr became involved with Francis Ford Coppola's American Zoetrope studios, and he comments on “One From the Heart,” “Hammett” and other Zoetrope feature films. Mr. Fehr also discusses editing another feature release, “Prizzi's Honor,” which earned him an Academy Award nomination.

Gene Fowler Jr. (film editor/director) and Marjorie Fowler (film editor)

Interviewed by Douglas Bell, 1990.
306 pages. Call number: OH111

In this joint oral history, Gene Fowler (1917-1998) and Marjorie Fowler (1920-2003) discuss their work as film editors working with directors like Fritz Lang, Samuel Fuller and Nunnally Johnson, who was also Mrs. Fowler's father. Films discussed include “The Ox-Bow Incident,” “Woman in the Window,” “Run of the Arrow”, “The Three Faces of Eve” and “Elmer Gantry,” as well as films Mr. Fowler worked on as a film editor in the Army Signal Corps during World War II. Mr. Fowler also describes directing pictures like “I Was a Teenage Werewolf,” “Showdown at Boot Hill,” “I Married a Monster From Outer Space” and “Oregon Trail.”

William A. Fraker (cinematographer)

Interviewed by Mae Woods, 2005 (excerpts available online)
Includes illustrations.
823 pages. Call number: OH145

William A. Fraker (1923-2010) recounts his four-decade career as a cinematographer, including his acclaimed work on "Rosemary's Baby" and "Bullitt," and his rewarding collaborations with directors Floyd Mutrux, Steven Spielberg, Martin Ritt, Andy Bergman and Charles Shyer. He also discusses his early career, when he frequently worked with Conrad Hall, and his forays into directing, with particular emphasis on "Monte Walsh." In addition, Fraker describes his involvement with the American Society of Cinematographers, the issues he faced as its president for three terms, and his ten years on the Academy's Board of Governors.

Richard Goldstone (producer)

Interviewed by Douglas Bell, 1991-1992.
Three volumes. 1168 pages. Call number: OH119

This in-depth oral history examines all phases of the multi-faceted producing career of Richard Goldstone (1912-2007). Mr. Goldstone describes starting as a writer in the MGM short subjects department in 1933, shortly after his graduation from UCLA, and later becoming the production supervisor of the department. He also gives a detailed account of his World War II service, which included producing films for the U.S. Air Force at the First Motion Picture Unit in Culver City. Mr. Goldstone discusses his first feature production credit, the acclaimed 1948 boxing drama “The Set-Up,” and the features following his return to MGM, including “The Tall Target,” “The Outriders” and “The Devil Makes Three.“ He also talks about his work for Dudley Pictures, where he produced and co-directed the Cinerama feature “South Seas Adventure” and his role as producer of other projects, including the films “No Man Is An Island,” “The Sergeant” and “The Baby Maker,” and the television series Adventures in Paradise and Peyton Place.

Alexander Golitzen (production designer)

Interviewed by Barbara Hall, 1990.
Includes filmography, illustrations.
259 pages. Call number: OH108

Mr. Golitzen (1908-2005) talks about his early career as a sketch artist at MGM and at the Goldwyn studios and his long affiliation with Universal Pictures, first as a unit art director and later as supervising art director for the studio. Films discussed include “Foreign Correspondent,” “Scarlet Street,” “Letter From an Unknown Woman” and “Spartacus,” as well as a number of Goldwyn films from the 1930s and many Universal westerns and adventure films.

M. L. Gunzburg (founder and president of Natural Vision 3-D Corp.)

Interviewed by Douglas Bell, 1990-1991.
372 pages. Call number: OH115

In this oral history, Mr. Gunzburg (1910-1991) recounts the story of Natural Vision, his corporation organized for the development of equipment for the production of three-dimensional motion pictures, and for the distribution of Polaroid viewing glasses through an exclusive contract with that corporation. Natural Vision was involved in the production of “Bwana Devil,” “House of Wax” and “The Charge at Feather River” during a period when Hollywood was fascinated by 3-D. Mr. Gunzburg also discusses his early life in Los Angeles and his career as a screenwriter.

Curtis Harrington (director/producer)

Interviewed by Douglas Bell, 2000, 2004.
Includes illustrations.
389 pages. Call number: OH139.

Curtis Harrington (1926-2007) recollects his life as a director and producer of short films, feature films and television. Mr. Harrington discusses his early career as an avant-garde filmmaker and his creative association with Kenneth Anger, as well as his subsequent turn toward commercial features and his affiliation with producer Jerry Wald in the 1950s. He describes making his first feature, “Night Tide,” which was an underground hit, and directing such well-regarded films as “Games,” “What’s The Matter With Helen?” and “The Killing Kind.” Mr. Harrington also discusses his television directing credits, and the production of his 2003 film “Usher.”

Arthur Hiller (director)
Interviewed by Mae Woods, 2005-2006.
Includes illustrations.
660 pages.  Call number: OH150
Arthur Hiller reviews his five-decade directing career which began in radio and live television in Canada.  He describes his American debut on “Matinee Theater,” followed by stints on “Playhouse 90,” “Alfred Hitchcock Presents,” “Naked City,” “Route 66,” and other popular series.  His work on a Walt Disney film soon put him on the studio A-list, and he went on to direct thirty-three features.  Hiller admits “The Americanization of Emily” remains his favorite and recounts a dynamic collaboration with Paddy Chayefsky on it and later on “The Hospital.”  Hiller details the production of “Love Story” from passed-over original screenplay to international blockbuster.  Other films discussed in depth include “The Out-of-Towners,” “The Man in the Glass Booth,” “The In-Laws,” and “Making Love.”  He also chronicles his years at the helm of the Academy of Motion Picture Arts and Sciences, Directors Guild of America, and the Artists Rights Foundation.

Sam Jaffe (agent/producer)

Interviewed by Barbara Hall, 1991.
402 pages. Call number: OH109

Mr. Jaffe (1901-2000) discusses his early years in the movie business, starting in 1916 at Paramount in New York and continuing through his work as a production manager with B. P. Schulberg Productions and at Paramount in the 1920s and early 1930s. He also shares his observations and recollections of being a top Hollywood agent for 25 years, and describes producing films like “The Sullivans” and “Born Free.”

Richard Kahn (public-relations executive)
Interviewed by Douglas Bell, 2003.
Includes illustrations.
787 pages.  Call number:  OH153

Born in 1929, longtime public-relations executive Richard Kahn is a former Academy President and an innovative member of the Academy Board of Governors.  Within An Oral History with Richard Kahn he discusses, among other topics, his U.S. Navy service during the war in Korea; his rise to prominence within the Columbia Pictures publicity department during the 1950s and 1960s, as well as many of the Columbia films which his department advertised and marketed during this era, and Columbia’s early endeavors in new technologies, such as closed-circuit television and videotape; his subsequent tenure, during the 1970s, as an executive at Metro-Goldwyn-Mayer; as well as his notable service to the Academy of Motion Picture Arts and Sciences.

Hal Kanter (screenwriter/director/producer)

Interviewed by Barbara Hall, 1992-1994.
417 pages. Call number: OH123

Hal Kanter (born 1918) talks about his long career, which has included screenwriting and directing, as well as work in the Armed Forces Radio Service, and on radio and television series. He discusses being a comedy writer on various radio programs, including The Bing Crosby Show, and his work on the television series The Ed Wynn Show and The George Gobel Show. He describes working with Bob Hope, Martin and Lewis, and Elvis Presley, as well as with producer Hal Wallis on numerous films including “About Mrs. Leslie,” “The Rose Tattoo” and “Loving You.” He also discusses his many years as a writer on Academy Awards shows.

Herbert Kline (documentary filmmaker)

Interviewed by Douglas Bell, 1997
Includes illustrations.
309 pages. Call number: OH134

Pioneering documentarian, screenwriter, and director Herbert Kline (1909-1999) reviews his life, as it was defined by the events leading to World War II, and by the blacklisting subsequent to the war. Mr. Kline recalls his tenure as the editor of “New Theatre and Film,” and comments upon progressive theater and Communism in America in the 1930s. He goes on to recount his experiences as a documentary filmmaker on the front lines of the Spanish Civil War (where he made “Heart of Spain” and “Return to Life”) and during the Second World War, and his career at MGM, where he worked on such films as “Journey for Margaret,” “The Kid from Cleveland” and “The Fighter.” Mr. Kline also describes his subsequent blacklisting in the 1950s, and his later return to credited filmmaking as the director of documentaries like “Walls of Fire” and “The Challenge...A Tribute to Modern Art.”

Howard W. Koch (producer-director-executive)
Interviewed by Douglas Bell, 1999.
Includes illustrations.
142 pages.  Call number:  OH149

Producer-director-executive Howard W. Koch (1916-2001) was a former Academy President, longtime Academy governor, and an eight-time producer of the Academy Awards telecast.  In An Oral History with Howard W. Koch he speaks of his earliest days in motion pictures, as an assistant director at Metro-Goldwyn-Mayer and other studios during the 1940s; his work as a producer-director at Bel-Air Productions during the 1950s; as well as his work with Frank Sinatra, and as vice-president in charge of production at Paramount Pictures, during the 1960s.  However, this history was primarily designed to gain Mr. Koch’s thoughts regarding the Academy of Motion Picture Arts and Sciences, as well as its Academy Awards and Oscarcasts.

Julian "Bud" Lesser (producer)

Interviewed by Douglas Bell, 1990.
Includes illustrations.
175 pages. Call number: OH107

Mr. Lesser (1915-2005) reviews his experiences growing up in Hollywood as the son of influential film producer Sol Lesser. He also describes his service as an important film distribution officer for the U.S. Marine Corps during World War II, his career as both a film and television producer, and his involvement with the Academy Documentary Committee.

Karl Malden (actor)

Interviewed by Douglas Bell, 2005.
621 pages. Call number: OH140

The highly respected actor Karl Malden (born 1912) recalls his career in theater, motion pictures and television. The discussion focuses on some of the films and activities not described in detail in Mr. Malden’s 1997 memoir, When Do I Start? These include his performances in films like “The Gunfighter,” “Take the High Ground!,” “The Great Imposter,” “Billion Dollar Brain,” “Hot Millions” and “Wild Rovers,” and his work as the director of the 1957 production “Time Limit.” From 1989 to 1992, Mr. Malden was President of the Academy of Motion Picture Arts and Sciences, and he shares his experiences as a member, as well as a leader, of the organization.

Gloria Morgan (script supervisor)

Interviewed by Teri Fox, 1996-1997.
Includes illustrations.
126 pages. Call number: OH129

Mrs. Morgan (born 1910), daughter of film and theater composer Louis Gottschalk, describes her career as a script supervisor at RKO, beginning in the 1930s in the shorts department with producer Lou Brock. She also discusses working with directors Mark Sandrich and George Stevens, and on such feature films as “Flying Down to Rio,” “Melody Cruise,” “Winterset” and “Breakfast For Two.” Mrs. Morgan goes on to talk about her brief stint working at the Disney Studios as a sound editor, and relates her experiences as a script supervisor for television programs in the 1960s and 1970s.

Kathleen Morris (Academy history)

Interviewed by Barbara Hall, 1990.
32 pages. Call number: OH103

Kathleen Morris discusses her first husband, the artist George Stanley (1903-1970), who designed and executed the Academy Award statuette. She recollects details about Mr. Stanley’s background and training, and describes how he was commissioned by Cedric Gibbons to sculpt the statuette. She also talks about attending the first Academy Award presentation in 1929 with Mr. Stanley.

Carlton Moss (screenwriter/director)

Interviewed by Douglas Bell, 1990-1991.
Includes appendix, illustration.
425 pages. Call number: OH120

Mr. Moss (1909-1997) discusses his work in radio and in the Federal Theatre Project, where he worked with John Houseman and Orson Welles. He also talks about working with film producer Oscar Micheaux in the 1930s. He describes in detail the writing, production and reception of “The Negro Soldier,” a groundbreaking U.S. Army film about black troops in World War II, and discusses his experiences in Europe making the film “Teamwork.” Mr. Moss also talks about his post-war career in educational film, and comments extensively on the subject of African-American film and filmmakers, and the issue of racism in the motion picture industry.

Marcia Nasatir (studio executive/producer)
Interviewed by Mae Woods, 2006-2007.
Includes illustrations.
541 pages.  Call number: OH154
Marcia Nasatir (born 1926) candidly reviews her career beginning with her move from New York publishing to Hollywood where she has worked as a literary agent, studio executive and producer.  Hailed as the first female VP upon joining United Artists in 1974, she describes many obstacles faced by women in the film business.  Among the noteworthy UA films discussed are “Carrie,” “Rocky,” “Coming Home,” and “Apocalypse Now.”  Nasatir chronicles her tenure as head of Carson Productions and the making of “The Big Chill.” She shares the ongoing frustrations of trying to launch new film projects as an independent producer, as well as recounting the saga of those she produced: “Hamburger Hill,” “Ironweed,” “Vertical Limit,” “Death Defying Acts” and several television movies. 

Hal Needham (director/stuntman)

Interviewed by Mae Woods, 2004-2005
Includes illustrations.
401 pages. Call number OH141

Hal Needham (born 1931) discusses his colorful career as a stuntman, stunt coordinator and second-unit director for film and television. He also talks about his work as a director of a series of light-hearted action films starring Burt Reynolds, including the box office hit “Smokey and the Bandit.” In addition, Mr. Needham describes co-founding the company Stunts Unlimited, and his efforts to improve stunt technology and safety procedures for stunt performers. He also discusses developing the Shotmaker camera car and crane, which garnered the Academy's Scientific and Engineering Award in 1986.

Joseph Newman (director)

Interviewed by Douglas Bell, 1990-1991.
Includes illustrations.
Three volumes. 1031 pages. Call number: OH117

In this in-depth oral history, Mr. Newman (1909-2006) talks about his long and varied career, which began at MGM when he was 15 years old. He discusses working as a script clerk, assistant director, second unit director and shorts director at MGM, and his subsequent career as a director, beginning in 1942 with “Northwest Rangers.” Mr. Newman also describes his four-year stint in the Army directing training and morale films, and his return to Hollywood and his directing career. Films discussed include “711 Ocean Drive,” “Red Skies of Montana,” “The Human Jungle,” “This Island Earth,” “Fort Massacre,” “The Big Circus,” “The George Raft Story” and “King of the Roaring 20s.” Mr. Newman also discusses moving into television directing for The Alfred Hitchcock Hour and The Twilight Zone.

Frank Pierson (screenwriter/director)
Interviewed by Mae Woods, 2008.
Includes illustrations.
545 pages.  Call number: OH151

Frank Pierson (1925-2012) candidly reviews his 53-year career as a writer and director, from his first stint as story editor on “Have Gun, Will Travel” to his work as an Academy Award-winning screenwriter.  Among the films discussed are “Cat Ballou,” “Cool Hand Luke,” “The Anderson Tapes,” and “Presumed Innocent,” with extensive commentary on “Dog Day Afternoon” and his rewarding collaboration with Sidney Lumet and Al Pacino. Pierson chronicles the challenges of his early work as a director (“The Looking Glass War,” “A Star Is Born,” “King of the Gypsies”) and his great enjoyment directing provocative cable movies in his later years.  In these pages, Pierson speaks about creative issues, his many unrealized projects, his involvement with the Sundance Institute and AFI Conservatory, and his tenure as president of the Writers Guild of America and the Academy of Motion Picture Arts and Sciences. 

Leo C. Popkin (producer/exhibitor/director)

Interviewed by Douglas Bell, 2003-2004.
Includes illustrations.
418 pages. Call number: OH142

Leo C. Popkin (born 1914) provides an account of his varied career as an exhibitor and producer, in partnership with his brother Harry, as well as his work as a screenwriter and director. The Popkins were successful Los Angeles exhibitors and promoters, notably via their ownership of the Million Dollar Theater, and Mr. Popkin recounts incidents of their decades as showmen. He also discusses their company, Million Dollar Productions, which produced a number of black-cast films in the 1930s and 1940s, several of which were also directed by Mr. Popkin. He also recalls the Popkin brothers’ transition into mainstream production, particularly with the well-regarded films “D.O.A.,” “The Thief” and “The Well,” which were made in association with Clarence Greene and Russell Rouse.

Peggy Robertson (script supervisor/assistant to Alfred Hitchcock)

Interviewed by Barbara Hall, 1995.
Includes illustrations.
402 pages. Call number: OH131

Peggy Robertson (1916-1998) discusses her career as a script supervisor in the British film industry during the 1940s, and her first assignments working with Alfred Hitchcock as his script supervisor on “Under Capricorn” and as an assistant on “Stage Fright.” After a stint working for American producer Sol Lesser in London, Mrs. Robertson moved to the United States and reunited with Hitchcock, and she describes working closely with him on all of his films from “Vertigo” to “Family Plot.” As Hitchcock's assistant, Mrs. Robertson was also a valuable associate between film projects, when she looked for story properties and dealt with correspondence, talent, and publicity, and her oral history provides an intimate look at Hitchcock from the perspective of one of his closest long-term collaborators.

Donald C. Rogers (post-production executive)

Interviewed by Douglas Bell, 2000-2001.
Includes illustrations.
477 pages. Call number: OH133

This oral history with Donald C. Rogers (born 1931) provides his observations on a distinguished career in post-production. Mr. Rogers describes working, beginning in the 1950s, at Twentieth Century-Fox, Todd-AO, and Goldwyn Sound, companies where he participated in the production of films like “South Pacific,” “The Diary of Anne Frank,” “Spartacus,” “The Sound of Music,” “Chinatown” and “Star Wars.” He also discusses his career as a post-production executive at Warner Bros., and his work on films like “Raging Bull,” “Raiders of the Lost Ark” and “Unforgiven.” A member of the Academy’s Sci-Tech Committee, as well as for several terms the Academy Board of Governors, Mr. Rogers also comments on the Academy and its role in the technology of motion pictures.

Hans J. Salter (composer)

Interviewed by Warren Sherk, 1993.
Includes filmography.
179 pages. Call number: OH114

Mr. Salter (1896-1994) recollects his long and productive career, which dates back to 1922. He discusses conducting in movie theaters in Vienna and Berlin, the early sound years when he was composing and compiling music at UFA, and his emigration to America. A composer in the U.S. from 1938, Mr. Salter worked on hundreds of scores, ranging from horror movies and Deanna Durbin musicals to westerns and period films.

Lela Simone (sound and music supervisor)

Interviewed by Rudy Behlmer, 1990-1991.
325 pages. Call number: OH112

Miss Simone (1907-1991), an accomplished musician who began her career as a concert pianist, describes her important role as part of MGM's legendary Freed Unit, where she assisted in the production of motion pictures like “On The Town,” “Show Boat” and “Gigi.” She offers keen observations about many of the writers, directors, actors, dancers and choreographers who worked within the Freed Unit.

Fredrick Y. Smith (film editor)

Interviewed by Douglas Bell, 1990.
257 pages. Call number: OH113

Film editor Fredrick Y. Smith (1903-1991) recounts his youth in California and in Asia, and his early career as a studio projectionist for First National Pictures in Burbank. He describes becoming a film editor, working in Britain and France in the early 1930s, and returning to the U.S. to MGM, where he remained – excluding his service as a combat cameraman for the U.S. Navy in World War II – until the early 1950s. He also discusses later editing assignments at other studios.

Murray Spivack (music and re-recording mixer)

Interviewed by Charles Degelman, 1992.
222 pages. Call number: OH118

Mr. Spivack (1903-1994) discusses his early career as a percussionist in New York, which led to a job as a sound effects man at RKO in 1929, where he worked on many films including “King Kong.” He talks about leaving RKO and going on to jobs at Fox and Republic before being hired at Twentieth Century-Fox, where he eventually became the chief music mixer and the head of the rerecording panel. He also describes working as a freelance music and re-recording mixer on many of the big films of the 1950s and 1960s, and winning an Academy Award for his work on “Hello, Dolly!”

Daniel Taradash (screenwriter)

Interviewed by Barbara Hall, 1996.
664 pages. Call number: OH130

Mr. Taradash (1913-2003) discusses his early work as a playwright in New York and his years in the U.S. Army at the Signal Corps Photographic Center during World War II. He goes on to describe his career as a screenwriter on films such as “Knock on any Door,” “Rancho Notorious,” “Picnic,” “Bell, Book and Candle” and “Storm Center,” which he also directed. Mr. Taradash gives a thorough account of his Academy Award-winning work as the screenwriter of “From Here To Eternity.” In addition, he discusses his extensive involvement with the Writers Guild of America and his tenure as president of the Academy of Motion Picture Arts and Sciences.

Albert E. Van Schmus (Production Code Administration staff member)

Interviewed by Barbara Hall, 1990-1992.
Includes appendix, illustrations.
385 pages. Call number: OH110

An assistant director at RKO and Enterprise in the 1940s, Mr. Van Schmus (born 1919) joined the Production Code Administration staff in 1949. His oral history explores every aspect of working with the Code, from the daily office routine to meeting with studio personnel. Many of the PCA case files, which are housed here at the library, are examined and discussed, as is the eventual transition from the Code to the ratings system.

Petro Vlahos (engineer)

Interviewed by Duane Dell’Amico, 2004
Includes illustrations.
209 pages. Call number: OH143

In this oral history, recorded under the auspices of the Academy’s Science and Technology Council, Petro Vlahos (born 1916) discusses his distinguished career as an engineer in the motion picture industry, including his many contributions to film and television technology. He outlines his work for the Motion Picture Research Council, his tenure at the Research Center of the Alliance of Motion Picture and Television Producers, and the accomplishments of his companies Ultramatte and Vlahos Motion Pictures, Inc. Mr. Vlahos also describes the many important innovations, particularly in the area of composite photography and traveling mattes, that led to his numerous awards and commendations, including the Academy's prestigious Gordon Sawyer Award.

Robert M. W. Vogel (studio executive)

Interviewed by Barbara Hall, 1990. (excerpts available online)
Includes illustrations.
372 pages. Call number: OH106

In this oral history, Mr. Vogel (1899-1995) describes his 40-year career as an executive at MGM, where he was head of the foreign department and in charge of foreign publicity, and served as Production Code liaison, among other responsibilities. He also discusses his years as an Academy member, particularly his work with the Foreign Language Film Award Committee and the Documentary Committee.

Harrold Weinberger (assistant director/production manager)

Interviewed by Douglas Bell, 1989-1990.
Includes illustrations.
159 pages. Call number: OH105

Mr. Weinberger (1900-1997) discusses his childhood in the early 1900s, his service in the Canadian Army in World War I, life in the Merchant Marines, his stint as an assistant director at MGM in the 1930s, his service as a combat cameraman for the U.S. Marine Corps in World War II, and his subsequent career as a production manager and assistant director.

Haskell Wexler (cinematographer-director-documentarian)
Interviewed by Douglas Bell, 2002
Includes illustrations.
878 pages.  Call number:  OH147

Born in 1922, cinematographer-director-documentarian-activist Haskell Wexler was twice presented an Academy Award, for the cinematography of WHO’S AFRAID OF VIRGINIA WOOLF? as well as BOUND FOR GLORY.  Mr. Wexler discusses, within his oral history, his Merchant Marine service during World War II; his experiences as an industrial filmmaker, and in 1950s television; his work alongside such directors as Elia Kazan, Mike Nichols, George Lucas, Hal Ashby and John Sayles; his own direction of the feature films MEDIUM COOL and LATINO; as well as the numerous documentary, propaganda, music and informational productions which he has produced, directed or filmed since the 1940s.

J. Arthur Widmer (engineer)

Interviewed by Duane Dell’Amico, 2004
153 pages. Call number: OH138

In this oral history recorded under the auspices of the Academy’s Science and Technology Council, J. Arthur Widmer (1914-2006) discusses his important contributions to film technology, beginning with his work at the Kodak Research Laboratory and continuing as the Kodak liaison to the motion picture studios in the late 1940s. He also describes his work in the Warner Bros. lab and the Universal optical department, and explains his important innovations related to film stock, visual effects, and other key advancements in film technology.

Ralph Winters (film editor)

Interviewed by Jennifer Peterson, 2000
Includes illustrations.
386 pages. Call number: OH132

Academy Award winning film editor Ralph Winters (1909-2004) recollects his long career, which began at MGM in the 1920s and spanned more than six decades. Mr. Winters describes his early work as an assistant editor and an editor of trailers and shorts, and his transition into editing feature films like “Gaslight “and “On the Town.” He goes on to discuss his work as one of the top editors at MGM in the 1950s, when he edited many of the studio's biggest productions, including “King Solomon's Mines,” “Quo Vadis” and “Ben-Hur.” Mr. Winters also talks about his longtime collaboration, beginning in the 1960s, with director Blake Edwards, as well as his work with other filmmakers like Billy Wilder, and he comments on his involvement with the editors' union and the Academy.

Robert Wise (producer-director-editor)
Interviewed by Douglas Bell, 2004.
194 pages.  Call number:  OH148

Famed producer-director-editor Robert Wise (1914-2005) is the recipient of several Academy Awards, including the Irving Thalberg Memorial Award, for his creation of such films as WEST SIDE STORY and THE SOUND OF MUSIC.  Although his great filmmaking career is briefly discussed, particularly his early days as a film editor at RKO Pictures, Mr. Wise’s Academy Oral History instead concerns his relationship with the Academy of Motion Picture Arts and Sciences, including his terms as Academy President during the 1980s, as well as his lengthy service to the Academy Board of Governors, which began during the 1960s and extended into the 1990s.  Another particular focus is the 1980s relocation of the Academy’s Margaret Herrick Library into its current residence, the Center for Motion Picture Study in Beverly Hills.

Lothrop Worth (cinematographer/cameraman)

Interviewed by Douglas Bell, 1995.
Includes illustrations.
732 pages. Call number: OH135

Following four decades as a camera assistant, laboratory technician, sound mixer, operating cameraman, and cinematographer for films and television, Lothrop Worth (1903-2000) gives an account of his multifaceted career, which began in 1927 with Cecil B. De Mille’s “King of Kings.” Mr. Worth describes his early stint as a sound recordist at RKO and his work as a Paramount operating cameraman during the 1930s and 1940s, as well as his collaboration with Paramount cinematographer Theodor Sparkuhl, as both a camera assistant and an operating cameraman on numerous films, including “If I Were King,” “Beau Geste” and “The Glass Key.” Mr. Worth also expresses his views about the labor movement, in which he was active, and gives an authoritative account of his involvement with the 3-D system Natural Vision in the early 1950s. He also comments on his subsequent film and television credits as a cinematographer.

Eugene Zukor (studio executive)

Interviewed by Douglas Bell, 1992-1993.
Includes illustrations.
Two volumes. 653 pages. Call number: OH124

Mr. Zukor (1897-1994), the son of motion picture industry pioneer and Paramount founder Adolph Zukor, discusses his 40-year affiliation with Paramount Pictures, beginning in 1915 when he went to work in the studio publicity department. Mr. Zukor comments extensively on Paramount's corporate and financial history, including its success in the 1910s and 1920s, its extensive distribution and exhibition divisions, and its bankruptcy and reorganization in the 1930s. He also comments on the effects of the government's anti-trust suit against Paramount. In addition, Mr. Zukor discusses his service in the U.S. Navy during both World War I and World War II, his work in Paramount's talent department in the late 1940s and early 1950s, and his tenure at MGM in the early 1960s.

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