Bringing Up Oscar: The Story of the Men and Women Who Founded the Academy by Pawlak Debra Ann

Author:Pawlak, Debra Ann [Pawlak, Debra Ann]
Language: eng
Format: mobi
Publisher: Pegasus Books
Published: 2012-01-10T05:00:00+00:00

MGM moved into the former Goldwyn studio located on Washington Boulevard in Culver City. Originally built by producer Thomas Ince in 1915, the complex sat on more than forty acres. MGM also inherited the Goldwyn trademark—a roaring lion surrounded by a banner emblazoned with the words “Ars Gratias Artis” or “Art for Art’s Sake.” Publicity man Howard Dietz had come up with the logo in 1921. A Columbia University graduate, he was inspired by an image of a lion, the university’s mascot, which appeared on the cover of The Jester, a school publication. He then incorporated the Latin phrase, something one of his professors liked to write on the blackboard. Of course, no one actually heard the lion roar until the advent of sound.

MGM formally opened its doors on April 26, 1924. The official ceremony took place on the studio’s front lawn with all the pomp and circumstance that Mayer, along with the U.S. Army and Navy, could muster. As Fred Niblo hosted the event, planes flew overhead showering flowers on the crowd that included over 300 military men in uniform. Congratulatory telegrams came from U.S. President Calvin Coolidge and the current Secretary of Commerce, Herbert Hoover. Even Harry and Jack Warner sent their good wishes. Mayer, flanked by his assistants Rapf and Thalberg, took center stage, which was bedecked in the patriotic red, white, and blue. In his melodramatic fashion complete with tears, the new headman promised the group: “This is a great moment for me. I accept this solemn trust, and pledge the best that I have to give.”

Mayer’s good friend and poker partner, Edwin J. Loeb, along with newly hired Loeb attorney George Washington Cohen, assisted with legal matters surrounding the new company. The twenty-nine-year-old Cohen and his wife, Carolyn, had recently welcomed their first son, Donald. Loeb soon introduced Cohen to the legalities of moviemaking. Cohen kept one foot in the law firm and the other in Hollywood for the next twenty years.

With Mayer holding the title of first vice-president, he earned $1500 per week. His associates, Thalberg and Rapf, each pulled in $650. There was one difference, however. While Mayer and Thalberg were allowed 20 percent of the overall profits, Rapf was given 25 percent of the profits from just three of his films. Thalberg and Rapf had adjoining offices identical in size. They shared a projection room and their secretaries worked together in the same office space. In the beginning, the two were very much equals and worked as a team to launch MGM.

Mayer, Thalberg and Rapf hired writers, directors, actors, cameramen, set designers, and prop men. They established entire departments for make-up, wardrobe, and publicity. Mayer controlled the budgets, handled the politics and basked in the hype. Thalberg, with his flair for storytelling, supervised day-to-day production from start to finish. He often worked more than sixteen hours each day, cramming all he could into every moment. Rapf also oversaw daily production and continued flushing out major new talent like Lucille Fay LeSueur and

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