John Houseman (born Jacques Haussmann; September 22, 1902 – October 31, 1988) was a Romanian-born British-American actor and film producer who became known for his highly publicized collaboration with director Orson Welles from their days in the Federal Theatre Project through to the production of Citizen Kane. He is perhaps best known for his role as Professor Charles Kingsfield in the 1973 film The Paper Chase, for which he won a best supporting actor Oscar. He reprised his role as Kingsfield in the subsequent TV series adaptation of The Paper Chase. Houseman was also known for his commercials for the brokerage firm Smith Barney. He had a distinctive Mid-Atlantic English accent, in common with many actors of his generation.
Houseman was born in Bucharest, Romania in 1902, the son of May (née Davies) and Georges Haussmann, who ran a grain business. His mother was British, from a Christian family of Welsh and Irish descent. His father was an Alsatian-born Jew. He was educated in England at Clifton College, became a British citizen and worked in the grain trade in London before emigrating to the United States in 1925, where he took the stage name of John Houseman. He became a U.S. citizen in 1943. Houseman died of spinal cancer in 1988 at his home in Malibu, California, at age 86.
Robin McLaurin Williams (born July 21, 1951) is an American actor and comedian. Rising to fame with his role as the alien Mork in the TV series Mork & Mindy, and later stand-up comedy work, Williams has performed in many feature films since 1980. He won the Academy Award for Best Supporting Actor for his performance in the 1997 film Good Will Hunting. He has also won two Emmy Awards, four Golden Globes, two Screen Actors Guild Awards and five Grammy Awards.
Williams was born in Chicago, Illinois. His mother, Laura McLaurin (née Smith, 1922–2001), was a former model from New Orleans, Louisiana. His father, Robert Fitzgerald Williams (September 10, 1906 – October 18, 1987), was a senior executive at Ford Motor Company in charge of the Midwest region. His maternal great-great-grandfather was senator and Mississippi governor Anselm J. McLaurin. Williams is of English, Welsh, Irish, and French ancestry. He was raised in the Episcopal Church (his mother practiced Christian Science). He grew up in Bloomfield Hills, Michigan, where he was a student at the Detroit Country Day School, and later moved to Woodacre, Marin County, California, where he attended the public Redwood High School. Williams studied at Claremont McKenna College (then called Claremont Men's College) for four years. He has two half-brothers: Todd (who died August 14, 2007) and McLaurin.
Plot
In November 1937, high school student and aspiring thespian Richard Samuels takes a day trip into New York City. There, he meets and begins a casual friendship with Gretta Adler, their friendship based on a shared love and goal of a profession in the creative arts. But also on this trip, Richard stumbles across the Mercury Theatre and meets 'Orson Welles' (qv), who, based on an impromptu audition, offers Richard an acting job as Lucius in his modern retelling of Julius Caesar, which includes such stalwart Mercury Theatre players as 'Joseph Cotten (I)' (qv) and 'George Coulouris' (qv). Despite others with official roles as producer 'John Houseman (I)' (qv), this production belongs to Welles, the unofficial/official dictator. In other words, whatever Welles wants, the cast and crew better deliver. These requests include everything, even those of a sexual nature. Welles does not believe in conventions and will do whatever he wants, which includes not having a fixed opening date, although the unofficial opening date is in one week's time. In turn, Welles realizes that his name will either be strengthened or ruined in the theater community by this production. Richard is taken under the wing by the production's Jane-of-All-Trades, Sonja Jones. Known as the Ice Queen by the male cast, Sonja deflects much of the unwanted sexual attention by jokingly implying that she and Richard are having a fling, which Richard wants nothing more than to be the truth. As the end of the week and opening night approaches, Richard, having seen Welles' behavior, has to decide if acting in this production is worth it at any cost.
Keywords: 17-year-old, 1930s, actor, actors'-equity-association, actress, ambition, ambulance, ambulance-siren, apology, applause
All's fair in love and theater
Orson Welles: Cinna is Shakespeare's indictment of the intelligentsia. He's a lofty, Byronic figure.
Orson Welles: Where is thou ukulele?::Richard Samuels: I think some asshole... doth... stole it
Orson Welles: Do you know Booth Tarkington's "The Magnificent Ambersons?" Tarkington was a family friend. The character of Eugene, the inventor, is based on my father who died when I was fifteen. My mother when I was nine. "Ambersons" is about how everything gets taken away from you.
Orson Welles: Look at us, Runyon. Me without my story and you without your girl. We can't ever tell what will happen at all, can we? Once I stood in Grand Central Station to say goodbye to a pretty girl. I was wild about her. In fact, we decided we couldn't live without each other, and we were to be married. When we came to say goodbye we knew we wouldn't see each other for almost a year. I thought I couldn't live through it - and she stood there crying. Well, I don't even know where she lives now, or if she is living. If she ever thinks of me at all, she probably imagines I'm still dancing in some ballroom somewhere... Life and money both behave like quicksilver in a nest of cracks. And when they're gone we can't tell where - or what the devil we did with 'em...
John Houseman: This is an infinitely rewarding partnership, Orson. You go around smashing everything, you disenfranchise every friend, every supporter we have. And then I'm left desperately trying to clean up your mess. Because I am the one who ends up making the apologies, making the corrections, and making the ten thousand phone calls...::Orson Welles: And I'm out acting in "The Shadow" and "The March of Time" and every other piece-of-shit radio show in this city, just to pour my money into this son-of-a-bitch theater that you're supposed to be running.::John Houseman: That I'm 'supposed to be running?' I am killing myself trying to run it!
Joseph Cotten: Welcome to quadruple-space, kid.::Richard Samuels: What's quadruple space?::Joseph Cotten: You know in a novel, when the main characters are finally about to shtup? They can't describe it or otherwise they can't print the book. They just go, 'He hugged her hard, and they fell into bed.' Period. Quadruple space.::Norman Lloyd: The next paragraph the sun is rising and the milkman is knocking the bottles together.::Joseph Cotten: All the good stuff happens in the quadruple space.::Norman Lloyd: Fertilizer's hoping to make his next thirty years one long quadruple space.::Joseph Cotten: Forty.
Sonja Jones: Mercury. This is she... Oh, Mr. Ingram, Orson left just two minutes ago... he took an ambulance to beat the traffic... Well, you know, according to Orson there's no law on the books that says you have to be sick to take an ambulance. Of course, that's according to Orson, which probably means it isn't really true but it ought to be...
Richard Samuels: Well, I wish you luck.::Sonja Jones: I won't need luck. I don't believe in luck.::Richard Samuels: I don't think I do anymore, either. It's kind of a relief, isn't it, not believing in luck?::Sonja Jones: I don't want to keep Mr. Selznick, waiting, do I? How do I look?::Richard Samuels: Like a girl who's going to give me one blindingly beautiful parting kiss.
Sonja Jones: Orson wants to stay with me tonight.::Richard Samuels: Stay with you tonight?::Sonja Jones: I'm in no position to refuse.::Richard Samuels: What are you talking about?::Sonja Jones: I have to watch out for myself. That's what my whole life has taught me again and again.
[first lines]::Dr. Mewling: By the year of 1592, Shakespeare was already an actor, and a playwright. Records of how his stage career began have not survived. We do know that in 1594 he joined a theater troupe. Called... anyone remember? Not everyone at once now. The Lord Chamberlain's Men.
Plot
Coming to Hollywood as a celebrated boy genius featuring a spectacular career arc in New York including his "War of the Worlds" radio hoax, Orson Welles is stymied on the subject for his first film. After a dinner party at Hearst Castle, during which he has a verbal altercation with Hearst, Welles decides to do a movie about Hearst. It takes him some time to convince co-writer Herman Mankiewicz and the studio, but Welles eventually gets the script and the green light, keeping the subject very hush-hush with the press. When a rough cut is screened, Hearst gets wind of the movie's theme and begins a campaign to see that it is not only never publicly screened, but destroyed.
Keywords: 1940s, actress, anti-semitism, bankruptcy, based-on-documentary, based-on-true-story, censorship, director, film-director, film-industry
Welles's Mother: Orson, come into the light. Never stand in the shadows -- you were made for the light. Always remember that.
[last lines]::Herman J. 'Mank' Mankiewicz: All stars burn out, Orson. It's the flame that counts.::Orson Welles: [toasts] To the flame.::Herman J. 'Mank' Mankiewicz: To the flame.
William Randolph Hearst: There is nothing to understand. Only this: I am a man who could have been great, but was not.
[Addressing the RKO shareholders]::Orson Welles: Good afternoon. Today a man from Germany invaded Greece. He's already swallowed Poland, Denmark, Norway, and Belgium. He's bombing London as I speak. Everywhere this man goes he crushes the life and the freedom of his subjects. He sews yellow stars on their lapels, he takes their voices. In this country, we still have our voices. We can argue with them, and we can sing, and we can be heard because we are, for the moment, free. No one can tell us what to say or how to say it, can they? Gentlemen, I am one voice; that is all. My picture is one voice, one view, one opinion, nothing more. Men are dying in Europe now, and Americans soon will be so that we can surmount the tyrants and the dictators. Will you send a message across America that one man can take away our voices? So, who is Mr. Hearst, and who is Mr. Welles? Well, Mr. Hearst built a palace of brick and mortar, and little wars and corpses piled high. Mr. Welles built a palace of illusion. It's a, what we call a matte painting, it's a camera trick, it's nothing. Nothing but a dream. Today you have the chance to let the dream triumph. Thank you.
Orson Welles: Everything I am, everything I could be is in that picture.
Orson Welles: I expected better of you, Mank.::Herman J. 'Mank' Mankiewicz: Me too, but I got used to it.
Herman J. 'Mank' Mankiewicz: What about Marion?::Orson Welles: Another animal in his zoo.::Herman J. 'Mank' Mankiewicz: That is love to him. "I love you, I built you a beautiful cage."
Herman J. 'Mank' Mankiewicz: Every man loves, Orson. Or has loved.
William Randolph Hearst: My battle with the world is almost over. Yours is just beginning.::Orson Welles: Kane would've taken the tickets.
[In the lobby, opening night]::Herman J. 'Mank' Mankiewicz: Rosebud's a sled! Rosebud's a sled.
Plot
1937. Four years before Citizen Kane. Orson Welles is the budding "Wonderboy" of the theater. But at a rehearsal for "Doctor Faustus," not everyone holds him in such esteem. The crew is overworked and surly. The producer, John Houseman, wants to take control. But help arrives from an unlikely source.
Keywords: independent-film
Plot
In 1930s New York Orson Welles tries to stage a musical on a steel strike under the Federal Theater Program despite pressure from an establishment fearful of industrial unrest and red activity. Meanwhile Nelson Rockefeller gets the foyer of his company headquarters decorated and an Italian countess sells paintings for Mussolini.
Keywords: 1930s, actor, actress, anti-communist, art, artist, bare-breasts, based-on-play, based-on-true-story, beaver
Art is never dangerous -- unless it tells the truth.
Gray Mathers: Get in the car! Now!::Countess LaGrange: Perhaps you've mistaken me for a spaniel.
John Houseman: As the producer, I can fire anybody I want, and I am fucking fired!
John Houseman: I've always said the play would be better on a bare stage.::Orson Welles: Actually, Hallie said that.::John Houseman: No, I said it first.::Orson Welles: No you didn't.::John Houseman: Yes I did.::Orson Welles: No, you didn't!::John Houseman: Yes, I did!::Orson Welles: No, you DIDN'T!::John Houseman: Yes, I BLOODY WELL DID!::Orson Welles: Oh, *fine*, Jack! You win, you've got the biggest creative dick, okay?::John Houseman: Thank you.
Marc: I am faithful to the ideals of the party.::Orson Welles: I am faithful to the party of ideas.::John Houseman: You are faithful to the idea of a party.
Diego Rivera: You're a piece of work. A Jewish fascist!::Margherita Sarfatti: And you, a wealthy communist!
Bertolt Brecht: But where are the artists? Artists are the worst whores of all!
Security Guard: Mr Rivera, Mr Rockefeller has told us to give you your comission check. Your services are no longer required.
Tommy Crickshaw: If you guys are going to kill my joke at least kill it right.
Congressman Starnes: You are quoting from this Marlowe. Is he a Communist?::Hallie Flanagan: I am very sorry. I was quoting from Christopher Marlowe.::Congressman Starnes: Tell us who Marlowe is, so we can get the proper reference, because that is all we want to do.::Hallie Flanagan: Put in the record that he was the greatest dramatist in the period immediately preceding Shakespeare.
Orson Welles: No one should be afraid of an idea!