Cassette Tape 24 -- Side A -- Lasky File -- January -May, 1953 -- 31 minutes and 15 seconds Sullivan's Label: 24a Lasky File January '53 to May 7 [MC298-5-1-018a] [N.B.--There is no Side B] [Sullivan -- this is a continuation of the Lasky files beginning January 14th, 1953] January 14, 1953 in Bachivillers. Dear Carson and Reeves, your excitement about the new project is just wonderful and I couldn't be more thrilled nor could Bill, as he has written you. We are all Ann Frank devotees, as I wonder who is not who has read her words. I don't mean to introduce any notes of discouragement whatever as I do believe this will be a most rewarding project, but I hasten to tell you that until terms and contracts are all worked out and plans definitely arranged here I don't think you should make plans to leave Paris. As you know, Cheryl is at the moment very much involved with Tennessee Williams' Camino Real which consumes all of her time, practically. I will, of course, in the meantime see if I can work out the arrangements with her so that as soon as her work on that play is done, we can all go right into this. As I say, this is not in any way intended as discouragement but merely to caution you against haste and leaving your wonderful home in Paris prematurely . I will make every effort to sit down with Cheryl in the next day or two, after which I will write you. All my love to you both, and as far as I personally am concerned, seeing you again soon will not be too soon. Floria P.S. -- Enclosed is Reeves' government check, just received. Also as you probably know by now from separate letters from David Warshaw, I have drawn a check for $4,500 as the next federal tax installment due to avoid any possible penalties for underestimation of the year's tax. Again, love to you both. January 23rd, 1953. To Carson and Reeves in Bachivillers. Dear Carson and Reeves, received your letter dated January 19th . I am still here at the old but busy stand, not fired, no promotion, but I still love you both as ever. You need never doubt that. I have also, however, written you. It must be all those snowbound days which prevent you from getting my letter to you which I wrote you on the 14th. If you have not, as yet, received it, let me know immediately as Reeves' government check was enclosed. I am sure that irrespective of whether or not the Ann Frank project is realized, the experience of seeing and speaking to Mr. Frank will have been more than worthwhile. Certainly even as a stranger who has gotten to know him from the diary, I would have been thrilled. As far as Meyer Levin is concerned, it has been a most unpleasant business, which I have been very close to, as for a time, I represented Meyer. In any event, to repeat what I wrote you in my last letter, Cheryl is completely engrossed in Camino Real and apparently has not even had a few minutes to discuss this, which is understandable. I hope, however, to get some concrete word on it in the next week and write to you. In the meantime, before definite plans are set, and before terms are arrived at, any work which you will do on this may be premature. As Cheryl herself has probably written you by now, the Levin thing is very disturbing to her and may even be a deterrent to her proceeding on this project. The same interference would make it unwise, perhaps, for you to do anything until the situation is in a more clarified state. Hold tight, enjoy the snow and the quiet. The best news always from you is that you are both well and happy. All my love, Floria P.S. -- We do sent everything airmail, but perhaps there is a delay anyway. You can be sure that even when we don't write that we are always thinking of you and the matters concerning you which come up here. February 5th, 1953. To Reeves and Carson in Bachivillers. Dearest Carson and Reeves, I know that you have, since my last letter, have heard from not only Cheryl but also Meyer Levin re: The Anne Frank Diary and so you are fully apprised of the problems that face Cheryl re: the project as a whole. At the moment, she is waiting for Meyer Levin's reaction to the letter which Otto Frank has apparently written to him. All decisions in the meantime should be held in abeyance, as Cheryl is likewise holding hers. As far as Heart is concerned, I have met with Mr. Alexander Cohen, the producer who had expressed interest in doing it. I was disappointed, however, in that he had promised to come up with a number of suggestions for directors or possible adapters, should you not undertake it, which he did not do. The only suggestion which he came up with was Robert Rossen, who did the movie All the King's Men which won a prize. There was no question about his capability. I believe he did run into the un-American activities problem on the coast and he is now here. I did think that Cohen should have come up with other suggestions which were possibilities for him to obtain if they were accepted. In the meantime, however, he has done another play, apparently a bad Reginald Denhan/Mary Orr comedy which closed shortly after it opened. Three performances, I think. As far a Cohen himself is concerned, he is a very pleasant fellow, still quite young. He apparently has some business sense. As far as his taste is concerned, however, I have not had any glowing recommendations. He plans to be in Europe shortly, at which time he may drop in to see you. I don't think, however, there is any harm in your seeing and talking with him, but I don't think you should by any means make any commitments with him until after we have corresponded after your meeting with him. As far as Ballad of the Sad Cafe is concerned, John La Touche, despite his many personal vows to me, never did come through with those observations and suggestions re: The Ballad of the Sad Cafe and its possibilities as a musical. He has been very busy working at making a living, but I do believe that his views can be valuable and I hope to get them. As far as Josh Logan is concerned, he is busy working on the Bill Inge play Picnic for the Theatre Guild. In the fall he is doing a Krisner play with Mary Martin and Charles Boyer. During the summer months I believe he plans to be in Europe, as which time if it is feasible, perhaps he can visit you and maybe a long range discussion had re: The Ballad. Bob Whitehead, as you probably know, has been out of town on the new Tabori play which is opening soon in New York. After that he may ready for discussions about either the Heart or the Ballad. John Van Druten, whom you also mentioned to suggest some time ago, has returned to California after the unfortunate failure of his last play, I've Got Six Pence. With all the cogitating and exploration I am certainly hopeful that something will come of the plans to adapt one or the other of the properties, but it is not an easy thing to consummate quickly by any means. Naturally any thoughts that you both have will be very helpful. In the meantime we are doing our best to explore both properties and possibilities for the future. All my love to you both, in which both David and Bill Fitelson join, Floria. P.S. -- Enclosed herewith is a letter to Reeves from Yaddo. I had occasion to speak with your mother, Reeves, a couple of weeks ago. She seems fine. I dropped Bebe a note to the South during the holiday season, but I haven't heard from her. I assume there are no problems. If there had been, I am sure she would have called upon me, as I have always asked her to do. Love again to you both, Floria February 12th, 1953. Dearest Carson and Reeves, it is undoubtedly something psychic as our letters always cross. Your last letter, dated January 31st, arrived here the day after I had written you at length. I think that Meyer's letter probably was calculated to enlist Carson's moral support for his position as an author and to discourage her from proceeding. I will keep you apprised of all developments. New York is full of flu, colds and fatigue; not an unusual state in the winter time. My love to you both. Keep in touch. Floria P.S. -- Enclosed is Reeves' government check. February 20th, 1953. Carson and Reeves, Bachivillers. Thank you for your letter of the 15th. Do let me know the results of your conversation with Mr. Cohen. At the moment it looks as if The Emperor's Clothes will be closing tomorrow. There were several very good reviews but that did not seem to be enough. Richard Watts, for example, thought the play was wonderful although the consensus among the people that I know was the play was confused, having isolated moments of power and poesy. You're quite right, Arthur Miller's play certainly sounds very good. The consensus on that, even conceded by Miller I believe, was that it was not as great a play, however, as Death of a Salesman. There is no denying that Miller can really write. It is interesting that almost everybody draws a parallel between the witch hunt of the days in Salem and the present so-called witch hunt. Miller, in articles and statements, has denied any attempt at a parallel, but the attempt to create a parallel to me is inescapable. My feeling about it, however, is that in Salem days there were no witches, although the Communist doctrines and advocates are certainly inimical and dangerous to our society. By this I do not mean that I approve in any way the prosecution of people for political opinions or the attempt to keep them jobless unless the work relates to matters of security where their loyalty or allegiances are questionable. In any event, in a way the excellent reception which the Crucible received is testimony against the witch hunt, as I am sure that most of the critics do not subscribe to Miller's opinions. Bill Inge's play Picnic opened last night under the auspices of the Theatre Guild and Joshua Logan. Logan also directed it. For your reading I am enclosing herewith three of the reviews. It looks as though it is a big hit, although I had reservations about it last night when it opened. I certainly think that it is a sensitive play and quite an exciting evening in the theater. One of the critics whom I respect, Walter Kerr, as you will observe, felt differently. I am thrilled about the news of your improved health, Reeves, and also that you can now eat a little more normally as I have been trying unsuccessfully to diet for weight purposes for two years now. I recognize the dieting problems, especially when your health and comfort and not your appearance are involved. Keep well. The Ann Frank Diary thing is in status quo but I may have some word in the next week. As far as Columbia Pictures is concerned, they certainly did remit on time, in early January, the next installment. The net amount which was deposited to your account in Nyack was $8,379. The gross payment was $9,500 less 10% agency commission and 2% Dramatists Guild assessments. must to keep you up-to-date since you are the people who always bring out the sea quest in me, I do deduct 5% on Member of the Wedding income in accordance with our retainer arrangement as in the past. As of January 30th, your bank balance was $15,320.82. Enclosed herewith is a copy of a letter from Pearn, Pollinger & Higham about Crescent Press's wishes to publish Heart is a Lonely Hunter. Give me your views on it. Apart from the royalty question an advance in pounds now that you are living in Paris may be helpful. I will be happy to answer the letter for you after I hear from you and also follow through on the contract. All my love to you both, Floria March 18, 1953. Carson and Reeves, I hope you have both weathered the winter well. We are beginning to feel a little bit of spring here and believe me, it is welcome. The Tennessee Williams play, as you probably know, opens this Thursday, after which Cheryl will be more available to discuss the Ann Frank situation with me so that we can all be up-to-date on it. I will write you again early next week about any developments on it. I mailed a check for $9,818.79 to Bernie Shedd today. This was the exact amount for the purchase of 100 shares of United Fruit. He bought it shortly after receiving your letter of instructions and he tells me that since the date of purchase there has been a 95 cent dividend and the stock has gone up somewhat, which looks good, certainly. A Mrs. Sheriss called yesterday and spoke with my secretary while I was out. It seems that she got the impression that you were arriving shortly. We of course told her that you were not and that you were still in France and expected to remain there for a while. She is leaving for Paris apparently and asked to write you that she will probably be seeing you there. My love to you both. We miss you, Floria P.S. -- I don't think you wrote me about your reaction to the proposal to publish Heart from Crescent Press. If you will let me know, I will follow through on that. Incidentally there has just been concluded a contract for Member of the Wedding production rights in Norway, Sweden, Finland and Denmark. The advance is the usual one of $250 against the royalty of 5%. March 24, 1953. From Bachivillers to Floria. This letter is signed Reeves. Dearest Floria, things are better with us now. We have calmed down a bit. As it looks now, I will not be coming to America but will stay on in France if I am able to get a job with either an American business firm or a government agency. A friend is trying to work out something for me with the public relations department of NATO which is most interesting to me. Things haven't been so well with us and we have both been on edge lately due to several mutual causes. The waters have calmed down and Carson is feeling much better. She has also been distressed at being idle and has been away from her work for too long a time. This is partly due to the indecision about the Ann Frank play although we realize this is in no way Cheryl's fault. Perhaps we will hear from you soon about this. You see, Carson's work is not such that it can be turned on and off like a thermostat. She must have long periods of tranquility behind and in front of her to create. We have your letter of March 18th and were glad to hear from you. I notice Atkinson gave Camino Real an uncertain but favorable review and hope the others were good. We are also satisfied about the investment. Bernie is conservative and knows the right thing to do. We haven't heard from David Warshaw but feel sure the tax returns were OK. We had both previously signed blank forms. Carson would like to know if there is anything in her file at your office showing that she is legally committed to giving her new novel, Clock without Hands, to Houghton Mifflin when it is finished. I have nothing in our file here on this. As far as I know, she has signed no contract or agreement with them. I realize that there is a moral commitment, but the morality of corporations and of individuals, especially writers, is different and she is simply not happy in her author/publisher relationship with them. If it is possible legally, she would like to have Doubleday as her publisher. She knows and has been friends with several editors there for many years and she is not friendly with anyone at Houghton Mifflin and apparently no one there gives a damn about her as a person or a writer. As you know, financial security is most vital to the artist. It is to all of us, but they need it more than we do, or are able to do better work when it is assured. The dividends from her investments average about $140 a month and this is not enough for her to get by on on her own. With my government check we can get along alright here in the country, and with a job in Paris we will be doing quite well, but she wants to be entirely independent of me or anyone else. Now Doubleday will be most happy to have her as their author and would make any reasonable advance against royalties now or in the future. In other words, she could just about name her own ticket with them. Houghton Mifflin would probably make an advance, but she would not think of asking them. Because of past squabbles and negligences she will probably not ask for an advance but if she wishes it, she wants to know that it is there and besides, she likes the Doubleday people. So please think this over and let her know where she stands. She would like a favorable answer but will naturally have to abide by your legal opinion. This should all be hush-hush until a decision is made so don't mention anything about this contemplated change to any Doubleday or Houghton Mifflin people there in New York. We have only talked with the Doubleday European representative who doesn't want it to be known that he is trying to steal an author from a competitor, which he certainly is not. He is a personal friend and Carson approached him first about the matter. It was a very hard winter here, the worst Europe has had since 1944. Spring was late but is finally here, and crocuses, jonquils, tulips and everything is coming up. The strawberries are showing and in three weeks it will be time to plant the vegetable garden. Wish you and David were here to help us. I will say again we are much calmer now and things are going to be all right. It will mean a great deal for me to get a berth with NATO or ECA. I will have to stay in Paris and get out here only on week-ends but that is better than being in New York City. We both send much love, Reeves Next letter, also from Reeves. At the top, Easter morning, April 5, 1953. Bachivillers. Dearest Floria, it is a cold, windy, rainy day here and we are in the midst of a Channel storm but the flowers are bearing up and tomorrow will be better. A very good friend of ours, Valentina Sheriss, arrives tomorrow from London and she and her doctor friend from the American Hospital and Carson will take a ten day trip to Vienna. Afterwards Valentina and Carson may take a short ship's cruise around the Greek Islands. It will be a good vacation for both of us and well rewarded. Just imagine you and David cooped up in a small place together for 4 or 6 months with nothing to do. Why I dare say you would both wind up bald-headed. In the meantime I will be pounding the beat between MSA, ECA Headquarters and next week I am having lunch with General Greunther of NATO whom I admire very much. If he likes me he will put me in a place in their public relations department. Enclosed are copies of letters to Paul Brooks of Houghton Mifflin, David Warshaw and Cheryl, all self-explanatory. I suppose it is all off about the Ann Frank play. Everyone acted in good faith towards Ann except one person whose conduct was contrary to her rare spirit. In time she will realize that if he will re-read her diary and consider that what she says is not a particularly Jewish problem but universal and [x-ed out] humanitarian. C'est ça. Carson is still willing if Cheryl wants to take a whirl at it, but suspense is bad for both of us. In general all is well with us here and our health is good and we wish the same for you and David. Love from both, Reeves April 9th, 1953. Carson and Reeves, Bachivillers. Dearest Carson and Reeves, As I have been out of the office a great deal in the last few weeks with a bad neck, this winter has really been rough. I am just catching up on your correspondence. Now that spring is arriving in New York as well, maybe some of it will creep into my bones. I can use it. To take up some of your inquiries in orderly fashion: (1) in Carson's last agreement with Houghton Mifflin which was the volume Ballad of the Sad Cafe, the following provision appears: "The author agrees to submit to the publishers her next book-length work before submitting the same to other publishers. The publishers shall be entitled to a period of six weeks after the submission of the completed manuscript and in no event less than one month after the publication of the authors last preceding book within which to notify the author in writing whether they desire to publish such manuscript." You will recall that this was the agreement in which we got the provision signed by Houghton Mifflin relinquishing all rights in stage rights, motion picture rights, radio, television and other rights in all other material including The Member of the Wedding except The Heart is a Lonely Hunter. Y ou will recall that that was the big concession which we were very anxious to obtain at the time in view of all the claims that had been made on Member. Although I appreciate the difficulties in the past with Houghton Mifflin, as we were right in the middle of them ourselves, I wonder if it isn't possible for a better relationship to be restored. Have you had any basis for grievance against them since the Ballad? It may also be possible to ask Houghton Mifflin for release if, as, and when your manuscript is ready or now, if you wish. I don't think they are given to concessions of that kind, but it is possible. Let me know how you wish us to proceed and I will surely follow up on it. Incidentally the submission clause does not provide for terms of such future publications. (2) the Ann Frank Diary. In view of the unpleasant complications here that Cheryl encountered, I don't suppose that it was surprising that Cheryl decided to abandon the project. There were hundreds of telephone calls, exchange of correspondence, releases to the press and so forth, all of which gave the plans a very unpleasant aspect. More the pity because of the beautiful work which was involved. In any event, until and if the project is revived, even with some one else as producer, I don't think you should give the matter any more thought, but put it behind you. It is entirely possible that another producer may express interest in doing it, in which case you might want to adapt it, if that is acceptable to the new producer. I am in touch with Mr. Frank's attorney on occasion, and I am sure that he will notify me if and when any new plans are made for a production. (3) foreign rights re: Member of the Wedding. As you know, the difficulties of casting have prevented wider exploitation of foreign rights. These foreign rights are controlled and owned by Carson as author. The producer has no control over such rights, his interest merely being limited to a 40% participation in the proceeds for a certain length of time, as provided in the Dramatists Guild contract. These foreign rights are handled by Audrey who has, to date, disposed of the rights for the Scandinavian countries and for the German speaking countries. I think it is very dangerous for anybody to be permitted to do an adaptation in the absence of a contract and I quite agree with Audrey that the general policy should be not to make a contract unless there is a manager in the picture ready to produce. An unauthorized translation can only do you harm so I would certainly discourage it. As far as the release in France of the motion picture, I am expecting that information momentarily. If it arrives before this letter goes off, I will append it at the end. Incidentally, Ninon Tallon, the agent for the [Girardeau?] properties and other well-known French properties has, according to Audrey, has been trying to arrange [a translater?] unsuccessfully, to date however. (4) I am asking the Nyack bank to sent you a duplicate of the last statement which went astray. (5) Taxes. I expect that David Warshaw will give you a full and accurate picture of what the 18 month provision is. Resident-wise, you certainly comply . However, as far as I know it applies to income which is earned abroad and not here. It may well apply, however, to British royalties and other royalties earned abroad and as soon as we get the full picture of it from David, maybe there is something legally possible which can be done to ease the tax burden somewhat. Enclosed is Reeves' last government check received as well as a post card which arrived for you both. My love to you both, and David sends the same. We have missed you since you are gone, but now that the spring is here we certainly will miss a ride and visit to Nyack. P.S. -- Reeves' last letter just arrived about the projected trip. It sounds wonderful. Reeves, I hope that you will make a good association shortly. You do sound eager to go, which is just delightful to hear. Love, Floria P.P.S -- As of March 31 your bank balance was $3,950.10. This is after the payment of $5,318.79 for the stock which I wrote you about. [in pencil - Member is to be released in England in a few days. No news on France, though. From Bachivillers, April 23, 1953. From Reeves. Dearest Floria, thank you for your long letter of April 9th. We are so sorry about your having been ill, but it is good to know that you are in action again. It has suddenly turned spring here and it has never been so welcome. Flowers are out all over the place and the sun comes up every morning just as it was intended to. We won't say anything more about the contract with Houghton Mifflin regarding Carson's novel, but just lay low until she finishes it. There is another way of getting out of it when the manuscript is complete. In the meantime, none of us will mention anything about Doubleday & Co. No commitments have been made to anyone regarding any aspects of a French production of Member. There are no great profits to be derived from an American having a play done in France and four months is considered a long run. However, Carson has nothing to lose in the matter, so we will push it a little. Even a few hundred thousand francs will pay our expenses for several months. Bob Whitehead has been in town for the past week and he has given some helpful advise and tips. Ninon Tallon is in America now but I am to talk to some of the people in her office this week. If the film isn't distributed here until winter we may be able to work out a fall production. A rather nice coincidence took place this week. Otto Frank was through Paris on his way to Amsterdam and Bob Whitehead and his wife arrived here the same week on vacation. Also we had a letter from Cheryl saying she wasn't up to another play this year, so Carson, Bob and Otto got together and we are all set to have a go at it. It is going to be difficult and Carson asked Bob to take on a three month option. If she is going strong at the end of that time, then he can extend his option until she finishes the script. Bob is in no hurry and doesn't want to rush Carson, and at our last talk he was thinking in terms of an autumn 1954 production. Carson is a little apprehensive at the beginning, but after she gets going she will have more confidence. Otto's lawyer is a Mr. Meriman, 575 5th Avenue and Bob said he thought you knew him. You know Bob's lawyer, of course. Bob telephoned him yesterday from Paris and he will get in touch with you soon to work out the agreements with Meriman . I understand from Bob that when an American adapts a foreign book for the stage, he shares 50/50 with the author however you will know all the ins and outs and what terms are usual in such a case as this. We won't be concerned with going back and forth to American at this time. Bob says that when the script is finished and if conferences with Carson are necessary, he will come over here. Due to the above, Carson's trip to Austria and Greece was put off. Perhaps we can take a trip together to Brittany in the summer. In the meantime, I am standing by, hoping to hear good news from NATO or the State Department. Carson is finishing a short story and then she will get busy with the Ann Frank diary. We are both in good health and wish the same for you. Love to all there from both of us. Reeves April 27, 1953. From Floria to Carson and Reeves in Bachivillers. Dearest Carson and Reeves, received your letter this morning. I quite agree that you have nothing to lose by presenting a French production. My only point, and it is most vital, is that no one authorize that adaptations be circulated. By authorized I would mean pursuant to the kind [kind underlined] of agreement which we have been using [underlined]. This is most essential. Otherwise it confuses and disturbs the copyright situation and lays the foundation for other claims. If though you are perfectly clear about it if and when you find a French producer who is willing to do the play, let me know because then we can obtain the necessary and proper safeguards from him. You will have nothing to lose from a French production unless it is done carelessly and without the proper documents and assurances. I know Otto Frank's lawyer very well. His name is Meriman and I have discussed with him many times Carson's interest in the project and her disappointment at the turn of events. As far as the terms are concerned, 50/50 is not unusual, but without an adaptation from a book and not a play in another language it is sometimes 60/40 -- 60% for the adapter. I will be happy to discuss the terms of such an arrangement with Meyer Meriman immediately. There are many problems about this property by virtue of the history it has had already and I know it seems to sound cold and detached, but I don't think that Carson should work on this at all unless and until papers are signed by all parties. I think it would have been well for Carson to have taken the trip because, by the time she returned it would have been the proper time to start work . It is precisely because I am very much concerned with Carson's well-being that I caution you this way. All the good will and cooperation are not a substitute for the complete contractual commitments from all sides. I also think that despite your friendship with Bob Whitehead, substantial terms should be obtained from him which I will discuss with him when he returns. At the risk of being boringly repetitious, I don't think Carson should do anything on the Ann Frank diary except think about it, which I know she will probably not be able to avoid, until I let you know.My best love to you both and good luck, Reeves, re: you job.Sincerely, Floria May 7, 1953. Dearest Carson and Reeves, I suppose your decision is actually for the best on the Anne Frank project . . . [end of tape] [N.B.--There is no Side B]