: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."
:16:02
I think the key scenes of the film are
when Norma returns to Paramount
:16:08
after her absence and is treated like
the royalty she believes she is.
:16:13
People who work there believe she is,
but she's forgotten by everyone else.
:16:18
It's a beautiful sequence. It's poignant,
but funny at the same time.
:16:23
Laughing at her but feeling for her
is quite a mix of emotions to get.
:16:30
Wilder gets it.
:16:31
DeMille and Wilder weren't friendly
but DeMille did agree to do it.
:16:36
I heard movies
at the Lux Radio Theater
:16:39
with DeMille announcing
with his mellifluous voice.
:16:45
Hearing him in "Sunset Boulevard"
was like a childhood memory.
:16:50
He had a wonderful voice and an air.
:16:53
He walked into the commissary
and people noticed!
:16:56
There was a thing,
a cachet that was part of him.