:14:01
I saw on the script
that he had co-written it
:14:06
and was going to direct it.
:14:08
So I knew that I was very fortunate.
:14:12
She's totally winning,
really pretty and well-meaning
:14:16
and adds the only element of heart
:14:19
that Hollywood shows to itself
or the world in the picture.
:14:24
They used to call me
"Wholesome Olson" in school.
:14:28
That's the quality he wanted
for Betty Schaefer.
:14:32
She was really good and one of those
that didn't get enough credit.
:14:44
- Where's Mr DeMille shooting?
- Stage 18.
:14:47
Thank you, Jonesy. And teach
your friend some manners.
:14:50
Without me, he'd have no job,
because there'd be no Paramount.
:14:54
- You're right, Miss Desmond.
- Go on, Max.
:14:57
When she came through our gate
in that famous scene,
:15:02
where they're in the car and Erich
von Stroheim is chauffeuring them,
:15:07
and she's meeting Cecil B DeMille,
it was Gloria's return to Paramount
:15:13
and certainly to see DeMille.
:15:16
Well, hello, young fellow.
:15:18
- Hello, Mr DeMille.
- Good to see you.
:15:22
I saw you last someplace very gay.
:15:24
I remember I was dancing on a table.
:15:27
A lot of people were. Lindbergh had
just landed in Paris. Come on in.
:15:32
When DeMille comes out of Stage 18
to greet Gloria Swanson,
:15:37
driven onto the lot by von Stroheim,
:15:40
he looks at her and calls her
"young fellow".
:15:44
That was a very daring,
warm, affectionate phrase
:15:50
he always used with Gloria.
:15:52
Every time I'd meet her and
bring her in to see him or Mr Zukor,
:15:57
he'd look her up and down and say,
"Hello, young fellow."