Don Siegel was one of Hollywood's most controversial directors. Invasion of the Body Snatchers is one of the very few acknowledged science-fiction classics, and Magnum Force - with its catch-phrase 'Make my day' - has become part of our modern consciousness. Siegel's five-film collaboration with Clint Eastwood created a body of films that are as distinctive as they are dif
Don Siegel was one of Hollywood's most controversial directors. Invasion of the Body Snatchers is one of the very few acknowledged science-fiction classics, and Magnum Force - with its catch-phrase 'Make my day' - has become part of our modern consciousness. Siegel's five-film collaboration with Clint Eastwood created a body of films that are as distinctive as they are different, and enriched the reputation of both of them. This autobiography has all the fun and energy one would expect from Don Siegel. From his first days as an assistant editor in the Warner Brothers cutting rooms, Siegel charts his rich and varied career. This is a wonderful book of reminiscences, told in a lively and vivid style, whose cast of characters includes John Wayne, Lee Marvin, Steve McQueen, Bogart and Bacall, studio head Jack Warner and other luminaries of the golden age of the Hollywood studios (including a fading film star called Ronald Reagan, whose last film, The Killers, was directed by Siegel). At the centre of the book is Siegel's relationship with Clint Eastwood, whose directing career was encouraged by Siegel, and who supplies an amusing and appreciative foreword to the book.
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Paperback
,
500 pages
Published
October 1st 1996
by Faber & Faber
(first published October 1993)
Let's say you're the nephew of a rich and famous studio head. Your uncle gives you a job at his studio, but it's the worst job on the lot. Mostly you carry heavy film canisters around, and sometimes your supervisor sends you to another department to get paperclips. What do you do?
If you're Don Siegel, you tell an executive secretary that you are actually the illegitimate son of that studio head. The secretary tells everyone this bit of juicy gossip, and suddenly everyone on the lot is much more
Let's say you're the nephew of a rich and famous studio head. Your uncle gives you a job at his studio, but it's the worst job on the lot. Mostly you carry heavy film canisters around, and sometimes your supervisor sends you to another department to get paperclips. What do you do?
If you're Don Siegel, you tell an executive secretary that you are actually the illegitimate son of that studio head. The secretary tells everyone this bit of juicy gossip, and suddenly everyone on the lot is much more polite to you.
Most directors' memoirs gloss over the early years and are tactful to the big-name players. Siegel described how he slowly and agonizingly worked his way up, and he is tactful about practically nothing.
For instance, Siegel despised his powerful uncle, Jack Warner. But Siegel was under contract to Warner Brothers, so he was stuck. Warner wouldn't let Siegel direct a feature, but he didn't want to lose such a talented second-unit director. So he told Siegel he could direct a short subject about anything he wanted. Siegel came up with an idea he was sure his uncle would reject: an allegorical film about the birth of Jesus. Warner said yes, Siegel directed it, and it won the Oscar for best two-reeler of the year.
Winning an Oscar didn't help Siegel much: Warner offered him the exact same deal a second time. I laughed out loud when he described his attempt to come up with the most appalling, repellent idea possible: a film called
Hitler Lives.
Warner agreed, Siegel directed it, it won the Oscar for best two-reeler the next year, and Warner took credit for the whole thing in his memoir.
I never expected to read a book that contains the sentence, "The kind snail-saver was an evil man." And I certainly never expected the kind snail-saver to be Mickey Rooney. (Siegel directed Rooney in
Baby Face Nelson
; during a difficult part of the shoot, Rooney tried to take the movie away from Siegel and direct it himself.)
Siegel also has interesting things to say about CinemaScope: "I don't like the proportions at all. Look at the great paintings in museums: they are not in the shape of Band-Aids."
And about Fabian: "One of the nicest kids I ever met. Couldn't sing and knew it."
Siegel directed Elvis and believed he could have become a great actor (and a happier person), but E was too much under the spell of Colonel Parker.
Although many of Siegel's movies were violent, he said he "would never make a war picture unless it was strongly anti-war. No side wins a war."
Siegel directed Clint Eastwood in five movies, and Eastwood directed Siegel in one. They became close friends who never discussed politics (Siegel was liberal and Eastwood conservative). Siegel swears that when they were working on
Two Mules for Sister Sara,
Eastwood punched a horse in the mouth.
Don Siegel directed both Invasion of the Body Snatchers and Dirty Harry, just one of many bar bets you will be able to win after you read this book. Siegel came out of the Studio system working for Warners in the 30s and learned his craft form some of the best in the business. A master of getting the movie done on time and under budget and the book is no exception. Since it's a memoir Siegel chose to write large parts of it in screenplay style, making it read like a movie of his life. He was a k
Don Siegel directed both Invasion of the Body Snatchers and Dirty Harry, just one of many bar bets you will be able to win after you read this book. Siegel came out of the Studio system working for Warners in the 30s and learned his craft form some of the best in the business. A master of getting the movie done on time and under budget and the book is no exception. Since it's a memoir Siegel chose to write large parts of it in screenplay style, making it read like a movie of his life. He was a key influence in Clint Eastwood's career (they worked together on 5 films and he credits Siegel for helping him become a director.) My favorite Director's memoir.
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