:02:00
before those Hollywood
columnists get their hands on it,
:02:03
Bow was in uniform for most of the film.
:02:03
maybe you'd like to hear the facts,
the whole truth.
:02:06
In the middle '30s, when Banton was
still on hand to do the really big stars,
:02:08
If so, you've come to the right party.
:02:10
Edith was assigned the starlets
and actresses who were coming up.
:02:12
The body of a young man was found
in the pool of her mansion,
:02:15
Head office told her these young ladies
:02:16
with two shots in his back and one
in his stomach. Nobody important.
:02:17
were to have no say
in the costumes they wore.
:02:21
But Edith managed to talk to them,
:02:21
Just a writer with a couple
of B-pictures to his credit.
:02:24
get a sense of what they thought looked
good on them, what they liked.
:02:26
The poor dope!
He always wanted a pool.
:02:28
And she would put those ideas
into the drawings
:02:30
In the end, he got himself a pool,
only the price turned out a little high.
:02:32
so that the studio would think
they were hers, start to finish.
:02:37
When these ladies became stars,
they remembered her.
:02:38
Let's go back about six months
and find the day when it all started.
:02:41
They always wanted her
for their pictures.
:02:43
I was living in an apartment house
above Franklin and Ivar.
:02:44
Edith Head knew
how to talk with the stars.
:02:47
Things were tough at the moment.
:02:49
She knew how to make them
feel very important,
:02:50
I hadn't worked
in a studio for a long time.
:02:53
how to give her attention only to them.
:02:54
So I sat there grinding out
original stories, two a week.
:02:58
They always felt they were
number one with her.
:02:59
Only I seemed to have lost my touch.
:03:01
Edith was very, very bright about
publicity, about promoting herself.
:03:02
Maybe they weren't original enough,
maybe they were too original.
:03:07
She was smart about what worked in
a film and what didn't. She really knew.
:03:07
All I know is,
they didn't sell.
:03:12
You can spot an Edith Head film
a mile away.
:03:12
Yep?
:03:16
There's a style that's definitely hers.
:03:18
Edith was a very good "people person".
:03:21
She worked very well with anybody.
:03:23
- Joseph C Gillis?
- That's right.
:03:24
Generally, on a picture, you have
a lot of people with conflicting ideas.
:03:25
- We've come for the car.
- What car?
:03:28
The star wants to look good
no matter what.
:03:30
1946 Plymouth convertible,
California licence 40 R 116.
:03:31
The director wants the clothes
to work for the dramatic situation,
:03:34
- Where are the keys?
- Why should I give you them?
:03:36
and not be too attention-grabbing.
:03:38
The company's played ball long
enough, you're three payments behind.
:03:38
The producer doesn't want
to spend too much money,
:03:42
the art director, the cameramen,
all these people have their input.
:03:42
And we've got a court order.
The keys.
:03:45
- Or do you want us to haul it away?
- The car isn't here.
:03:46
Edith was very good about
learning about all aspects of filmmaking.
:03:50
- Is that so?
- I loaned it to a friend.
:03:50
She could discuss things with everybody.
:03:53
She knew what was safe,
:03:53
- He took it to Palm Springs.
- Gone away for his health?
:03:55
and she sometimes would play it safe
rather than get into a bad position.
:03:57
- If you don't believe me, look.
- We believe you, now believe us.