Each series or subseries is described separately with a scope and content note. The subseries are listed alphabetically unless there is a significant body of material from an individual's files, for example, Selznick's own files are described at the beginning of the Administrative Series, while E. L. Scanlon's files are at the head of the Financial Series.
Subseries 1A: David O. Selznick (DOS), 1915-1973, 843 boxes
Selznick's own records document his personal involvement in every aspect of his business and chronicle his life, both personal and professional, from his apprenticeship in his father's movie companies through his employment with MGM, Paramount and RKO, and his career as an independent producer. While he was famous for his memos, this series also includes address books, appointment books, chronological files, clippings, contracts, correspondence, daily calendars, distribution reports, fan mail, photographs, preview cards, records, scrapbooks, scripts, tape recordings, and telegrams.
The twenty-eight subseries described below are arranged in alphabetical order and then chronologically within each subseries. As his correspondence often touched on many projects at the same time, Selznick's secretaries used several methods to cross reference and keep track of his myriad activities. In one method, the secretaries made multiple copies to file in the various relevant subject files. For example, Selznick discussed in a memo the possibility of casting either Ronald Colman or Laurence Olivier in Rebecca. Copies can be found in the addressees' files (if they were Selznick employees), in Selznick's Rebecca casting file, and in Ronald Colman's and Laurence Olivier's respective talent files. In other cases, the secretary made a copy of the message and cut the copy into pieces. Each piece would be stapled to a letter size page and filed in the relevant subject file. Sometimes such a page is marked "excerpt, original filed in ____". Yellow cross reference sheets (subject: see file _____) are sometimes used. Because of these practices, a subject can be tracked back and forth through Selznick's various files and through the other studio departments.
Subseries 1A1. Chronological Files, 1961-1963, 9.5 boxes
Madelon Bryan, the executive secretary in charge of filing, set up the chronological files in the late 1940s as a cross file for all of Selznick's messages. Most of these files were apparently discarded by the studio but chronological files from January to March 1942 are in Subseries A24, Studio Files, boxes 321 to 322, and Marjorie MacDougall's files holds the 1964 to 1965 set.
Subseries 1A2. Clippings, 1938-1973, 5 boxes
For Duel in the Sun, Gone With the Wind, Since You Went Away, DOS death, and Memo from David O. Selznick.
Subseries 1A3. Confidential Files, 1933-1965, 17.5 boxes
Contains mostly personal and financial files. Includes files on communism, bets and gambling, doctors, insurance, politics, and taxes.
Subseries 1A4. Consolidated Files, 1930-1967, 49 boxes
A portion of Selznick's files were brought forward and combined, possibly by his secretary, Shirley Harden. These consolidated files cover a wide date span and for descriptive purposes here are divided here into studio and personal. The Bekins list designation for these files is unknown. They are arranged alphabetically by subject within each date range. The studio segment includes files on the properties for Dracula's Daughter, Freedom of the Press, and files on Triangle Pictures. In the personal segment is biographical material, correspondence with Katharine Brown, Merian C. Cooper, Janet Gaynor, Ingrid Bergman, Truman Capote, Gardner and Fleur Cowles, Cary Grant, John Ford, Aldous Huxley, John Foster Dulles, and William S. Paley, files on family, personnel, household, politics, charities, travel, gambling, and medical care.
Subseries 1A5. Coproductions, Loanouts, 1939-1963, 8.5 boxes
This is mostly correspondence on Jennifer Jones's productions including Beat the Devil, The Wild Heart (Gone to Earth), Ruby Gentry, Madame Bovary, Barretts of Wimpole, and Terminal Station (Stazione Termini). There are also files on Jennifer Jones's play Portrait of a Lady and on The Third Man.
Subseries 1A6. Correspondence, 1962-1965, 20 boxes
These files are labeled correspondence on the Bekins list but are essentially similar in content to those in Subseries 1A24, Studio Files. This subseries contains files on stories, productions, reissues, rereleases, Gone With the Wind rights, legal matters, etc. Correspondence is found throughout Selznick's files. Most of the administrative correspondence is in Daniel T. O'Shea's files in Subseries B.
Subseries 1A7. Daily Calendars, 1935-1965, 6 boxes
Appointment and telephone logs.
Subseries 1A8. Directors & Producers, 1936-1962, 9.5 boxes
Correspondence concerning many major directors of the period, both American and foreign, especially Alfred Hitchcock, William Dieterle, Alexander Korda, and Vittorio DeSica. The files in boxes 2285 to 2290 include information on producers.
Subseries 1A9. Early Career, 1915-1924, 2.5 boxes
These boxes contain Selznick's school records, a scrapbook on Myron Selznick's early production efforts, Selznick's work for his father, copies of the newsletter (The Brain Exchange) that he published for his father's employees, as well as files on the film shorts, Will He Conquer Dempsey? and the Valentino Mineralava Beauty Contest.
Subseries 1A10. Financial, 1928-1958, 15 boxes
These files contain records that were held specifically with Selznick's personal files: reports, statements, stock reports, hotel receipts, Oliver Jeffries Productions, omnibus reports, SRO, Vanguard Films, and checks. They are complemented by records in Series 4, Financial.
Subseries 1A11. InterOffice Files, 1944-1963, 72.5 boxes
These are files of interoffice memos and correspondence to departments and department heads. Duplicate copies of memos filed here can also be found filed in the pertinent subject files.
Subseries 1A12. Legal Files, 1936-1943, 3 boxes
Contracts, some memos. Many of these were moved by the studio to consolidated legal files, see Series 5, Legal.
Subseries 1A13. MGM Files, 1926-1936, 11.5 boxes
In Selznick's first employment with MGM, he quickly worked his way up in the Story Department to production supervisor. These files contain the record of this progress including many memos to Harry Rapf, MGM Supervisor, and documentation of Selznick's work on the Tim McCoy westerns.
Selznick returned to MGM as a unit supervisor or producer. These records are for the most part files on story ideas, but also contain memos to MGM executives, film possibilities for MGM stars (Greta Garbo and Joan Crawford), and files on Selznick's productions (e.g., Anna Karenina, Tale of Two Cities).
Subseries 1A14. Myron Selznick Estate, 1944-1963, 13.5 boxes
These files document Selznick's concerns as the coexecutor for his brother's estate. Included are files on the Myron Selznick Agency in London and in Hollywood, and on Gone With the Wind, in which Myron Selznick had owned an interest.
Subseries 1A15. Organization, 1934-1966, 91 boxes
Files on the studio organization as a whole. There are files on awards, contracts, copyrights, distribution (domestic and foreign), finances, the Golden Laurel Award, Gone With the Wind (television and play rights, musical version, anniversary showing), insurance, music, screen guilds, the Selznick Releasing Organization, MGM, 20th Century Fox, RKO, United Artists, taxes, television, and television networks.
Subseries 1A16. Paramount Files, 1928-1931, 6.5 boxes
Selznick joined Paramount as Executive Assistant to B. P. Schulberg in charge of the Story Department, and his tenure there coincided with the introduction of sound to movie-making. These files document his activities and include many memos to Schulberg and story editor, E. J. Montagne.
Subseries 1A17. Personal Files, 1915-1966, 54 boxes
Present are miscellaneous files primarily on Selznick's personal affairs: bets and gambling, charities, Christmas gifts and cards, family and friends, personal finances, household staff, Jewish associations, politics, etc. Also some files on studio matters.
Subseries 1A18. Production Files, 1923-1958, 123 boxes
Contains memos on every aspect of production and documents the attention Selznick poured into every detail of making and marketing a film. Includes files on budget, casting, censorship, commercial tie-ups, directors, distribution, lighting, makeup, production, publicity, screenwriting, sets, and wardrobe. The material here can direct the researcher to other sources in the collection. Files are arranged alphabetically by subject under each movie title: Will He Conquer Dempsey?; Little Lord Fauntleroy; Tom Sawyer Abroad; Adventures of Tom Sawyer (preview cards); Garden of Allah; Prisoner of Zenda; A Star Is Born; Gone With the Wind (fan mail; second release); Paradine Case; Made for Each Other; Nothing Sacred; Young in Heart; Rebecca; Intermezzo; Wild Heart; Cadet Nurse Corps; Since You Went Away; Portrait of Jennie; I'll Be Seeing You; Spellbound; Duel in the Sun; Light's Diamond Jubilee; A Farewell to Arms (Life Magazine; preview cards). All the files except those for Duel in the Sun, Light's Diamond Jubilee, and A Farewell to Arms are listed at folder level.
Subseries 1A19. RKO Files, 1931-1933, 1 box
Selznick headed production at RKO and personally supervised several projects such as Katharine Hepburn's first film, A Bill of Divorcement. This section includes files on talent (recruitment of Fred Astaire from the New York stage), memos to Merian C. Cooper (producer of King Kong), to Ben Kahane (RKO president), and personal files.
Subseries 1A20. Safe Deposit Files, 1931-1967, 1.5 boxes
Vital records and private papers were kept in a steel vault at Bekins Storage Co. These include Selznick's MGM, RKO, and Paramount contracts, loan agreements, and payments.
Subseries 1A21. Selznick International Pictures (SIP) Files, 1935-1940, 41.5 boxes
Similar to Subseries 1A24, Studio Files, but specific to SIP. Includes files on talent, personnel, stories, United Artists, etc. This material is listed at box level.
Subseries 1A22. Stills (Photographs), 19-- -1965, 10.5 boxes
Contains personal and professional photographs of David O. Selznick and Jennifer Jones, photographs of Lewis J. Selznick and his family, Myron Selznick and his family, Irene Selznick, Jeffrey and Daniel Selznick, and Robert and Michael Walker. There are many childhood photos and slides of Mary Jennifer Selznick. Photos and slides of family outings include friends such as Rex Harrison and Rachel Roberts, and Henry Fonda and family. Search the keyword "stills" in the Selznick Collection Database.
Subseries 1A23. Story Files, 1935-1967, 74.5 boxes
Files on story properties and possibilities. Includes London play reviews as well as files on The Accident, Joan of Arc, The Farmer's Daughter, Mary Magdalene, Scarlet O'Hara, Tender is the Night, Tess of the D'Urbervilles, Stazione Termini, and The Titanic.
Subseries 1A24. Studio Files, 1931-1964, 102.5 boxes
Miscellaneous files relating to Selznick's studio activities as an independent. Includes material on productions, Academy of Motion Picture Arts & Sciences, Gallup poll, Audience Research Inc. [ARI], other studios, United Artists, personnel, correspondence with East coast representative, Katharine Brown, and story editor, Val Lewton. The large grouping of files under the date range 1938-43 is one alphabetical run, listed at folder level. For the most part, the other files are listed only at box level.
Subseries 1A25. Talent Files, 1936-1963, 31.5 boxes
Correspondence relating to major stars of the period, especially contract stars Ingrid Bergman, Joan Fontaine, Vivien Leigh, Gregory Peck, Shirley Temple, Jennifer Jones, and Alida Valli. Most of these files are listed at box level.
Subseries 1A26. Telegrams, 1938-1963, 58 boxes
Incoming and outgoing telegrams. Copies of these telegrams are cross filed in the relevant subject or person file.
Subseries 1A27. Tower Grove Files, 1953-1955, 2 boxes
These files document the remodeling and maintenance of Selznick's home. Additional information can be found in Series 4, Financial.
Subseries 1A28. Writers, 1936-1965, 5 boxes
Correspondence regarding writers including Robert Benchley, Truman Capote, Graham Greene, Ben Hecht, Lillian Hellman, Somerset Maugham, James Michener, and William Saroyan.
Subseries 1B. Daniel T. O'Shea, 1936-1951, 146.5 boxes
Daniel T. O'Shea first worked with Selznick at RKO and rejoined him when SIP was formed. O'Shea resigned from Vanguard Films/Selznick Studio in 1950 when Selznick was turning his focus from Hollywood to producing pictures in Europe, and took an executive position with CBS. O'Shea was Selznick's top executive officer and right hand man. Also a lawyer, his files deal particularly with contractual obligations. They include agreements, contracts, talent, production, scripts, and files on the Selznick Releasing Organization. The extensive run of correspondence and the general files from 1936-42 are listed at folder level. The scripts and most of the other files are listed at box level. Files include contracts, correspondence, DOS stars, general files, production files (Made for Each Other, Nothing Sacred, Gone With the Wind (music), Little Women, Since You Went Away, I'll Be Seeing You, Spellbound, Katie for Congress, Duel in the Sun), scripts, SIP production reports, synopses, telegrams, telephone call sheets.
Subseries 1C. Harriett Flagg, 1935-1945, 9 boxes
Head of New York Office. General files on office, productions, story possibilities, and telegrams.
Subseries 1D. Henry Ginsberg, 1936-1939, 1 box
Files.
Subseries 1E. Shirley Harden, 1936-1963, 43 boxes
Selznick's secretary in the 1950s and 60s. The date span of the records reflects the dates of the material, not the dates of Ms. Harden's employment. Ms. Harden went through the stored files and brought together all the files she found on Gone With the Wind (See Bekins #3733-3748 for her listing of these files). Her arrangement had already been lost before processing began. The decision was made to return Gone With the Windfiles to their original placement if it could be ascertained. Otherwise they were filed according to Ms. Harden's arrangement. Files include accounts, consolidated Gone With the Wind, consolidated story, lists, scripts, secretarial files, shorthand books, story files, story possibilities, television, and unfiled papers.
Subseries 1F. John Houseman, 1941, 3 boxes
Houseman signed on with David O. Selznick Productions as a producer under Selznick's general supervision. He spent his year there primarily working with Selznick's theatre project.
Subseries 1G. Selznick International Pictures, 1935-1941, 6 boxes
Includes telegrams, balance sheets, and journal vouchers
Subseries 1H. John Speaks, 1933-1936, 10 boxes
Vice President of Pioneer Pictures. The records contain files on contracts, talent, story, and general office administration. Includes files on the first Technicolor feature film, Becky Sharp.
Subseries 1I. Louis T. Stone, 1950-1951, 9.5 boxes
Executive Assistant in the New York Office. His files deal mostly with European coproduction and the Golden Laurel Award.
Subseries 1J. Vanguard Films, 1946-1948, 2 boxes
RKO phone slips and Screen Actors Guild files.
Subseries 1K. Bob Whitehead, 1957-1972, 5 boxes
Mr. Whitehead was in charge of the stored files. His records contain the original Bekins list.
Subseries 1L. John Hay Whitney, 1935-1936, 2.5 boxes
Whitney was president of Pioneer Pictures when he joined Selznick as a major investor and Chairman of the Board at SIP. These files are general correspondence regarding Pioneer Pictures.
Subseries 1M. John Zinn, 1943-1944, 5 boxes
General Manager files.
Subseries 1N. Miscellaneous, 1942-1956, 9 boxes
Consolidated files, Myron Selznick eulogy, scrapbooks, forms, New York office telegrams.
The files of Ruth Burch, Casting Director, contain letters and photos from aspiring actors, as well as correspondence, scripts, and call sheets. Files are arranged alphabetically by format of material, and include applications, files, playbills, and stills.
The bulk of this material dates from the late 1940s through the 1950s and deals with the activities of the Selznick Releasing Organization. There is information on advertising, promotion, exhibition, print orders, censorship, and reissues, and on marketing practices in foreign countries (the Iron Curtain countries, postwar Western Europe and Latin America). The series contains correspondence, domestic and foreign sales documentation, contract agreements, spotting lists, foreign title cards, and workpapers. The material is arranged alphabetically by format.
Subseries 3A. Neil Agnew, 1944-1948, 21 boxes
Vanguard Films New York Office, Vice President of Distribution, 1944-1948. File groups include correspondence, United Artists, SRO, and SRO vs. National Theatres legal files.
Subseries 3B. David I. Bursten, 1948-1951, 23.5 boxes
Secretary of SRO and legal counsel. All materials are legal files, listed at box level.
Subseries 3C. Lowell V. Calvert, 1936-1940, 1.5 boxes
General Manager in charge of Sales and Distribution for SIP.
Subseries 3D. Leonard R. Case, 1946-1951, 42 boxes
Case, as Treasurer of SRO, handled the financial aspect of the distribution company. File group names include chronological/SRO, foreign correspondence, and files.
Subseries 3E. Frank I. Davis, 1948-1958, 49 boxes
Head of Distribution for SRO and the Selznick Company. His files are on exhibition, advertising, promotion, publicity for Jennifer Jones, reissues, RKO, and television, and include correspondence on films such as Beat the Devil and Stazione Termini. Included are agreements, cash reports, and chronological files.
Subseries 3F. Sidney G. Deneau, 1947-1950, 7 boxes
Assistant General Sales Manager for SRO. File groups include correspondence, sales, and territorial.
Subseries 3G. Howard Fessenden, 1948-1950, 1.5 boxes
Foreign Accounting. Includes foreign workpapers and SRO foreign files.
Subseries 3H. Betty Goldsmith, 1936-1958, 47 boxes
Ms. Goldsmith, secretary with SRO and the Selznick Company, dealt mainly with foreign distribution. Her files include material on the Golden Laurel Award. File groups include cash files, chronological, correspondence, financial, foreign correspondence, foreign files, and manuals.
Subseries 3I. Milton S. Kusell, 1945-1947, 5 boxes
District Sales Manager, New York Office. Sales files.
Subseries 3J. Ben Seigel, 1956-1957, 4 boxes
Selznick Company Distribution. Sales contracts.
Subseries 3K. Selznick Releasing Organization, 1948-1950, 2.5 boxes
Contains dialogue & cutting continuities, spotting lists, stock certificates, contracts, and reports.
Subseries 3L. Samuel S. Sigman, 1947-1961, 3 boxes
SRO and Selznick Company Office and Personnel Manager. Includes correspondence and working papers.
Subseries 3M. Miscellaneous, 1937-1967, 40.5 boxes
Box office reports, continuities, contract cards, contracts, files, foreign title cards, Golden Laurel award, legal, print orders, spotting lists, title cards.
There is extensive financial information on Selznick's affairs, both personal and professional. Types of material include account books, balance sheets, bank books, cancelled checks, correspondence, financial statements, insurance records, invoices, journal vouchers, ledgers, paid bills, payroll, and tax records. The files are generally in alphabetical or chronological order by format. Many of the financial files are physically scattered throughout the last 1000 boxes of the collection, sometimes with just one file of financial material in a box of materials from other series. While the following list attempts to bring together as much information about the financial series as possible, the most effective search for financial material would be through the Selznick Collection Database.
Subseries 4A. E. L. Scanlon, 1926-1953, 126 boxes
Ernest L. Scanlon came into Selznick's employment through Pioneer Pictures. He was the studio's main financial officer until he resigned in 1949. His files deal with studio space and equipment, personnel, talent, production, Selznick personal accounts, insurance, United Artists, financial reports including financial statements, fan mail reports, chronological reports, voucher registers, balance sheets, audits, payroll, and tax records. File groups include Pioneer Pictures (including financial reports, payroll, surveys, and files on Dancing Pirate and Becky Sharp), chronological files, files on David O. Selznick Productions and Selznick International Pictures, forms, reports, liquidation minutes, loan agreements, and voucher registers.
Subseries 4B. E. R. Beaman, 1936-1967, 269 boxes
Earl Beaman succeeded Scanlon as chief financial officer, having been Scanlon's assistant. Mr. Beaman stayed on after Selznick's death to oversee the disposition of Selznick Company assets. His Chronological Files span 1956 to 1963. General Files include material on Selznick's personal affairs, bank loans, talent, budgets, distribution, studio affairs, payroll, stories, taxes, reissues, sales and insurance. Included are balance sheets, correspondence, distribution files, and files on RKO, A Farewell to Arms, Selznick Studio, telegrams, territories, and Vanguard Films. Legal files refer to Grant vs. Selznick, Gone With the Wind, and the sale of the Selznick Company. Files of minutes are present for Selznick International Pictures, Selznick Releasing Organization, and Selznick Television Corporation. Financial Reports include balance sheets, accounts, production reports, financial statements for Selznick International Pictures and Vanguard Films, publicity department expenses, payroll, Walker Trust files, journal vouchers, ledgers, omnibus reports, tax files, and working papers for A Farewell to Arms.
Subseries 4C. Joyce Allen, 1936-1943, 13.5 boxes
Secretary, Purchasing and Transportation. Files are primarily paid bills, accounting, and purchasing files.
Subseries 4D. John K. Brent, 1942-1951, 3.5 boxes
Assistant General Accountant, Vanguard Films. Files contain United Artists distribution reports, Portrait of Jennie accounts, and financial reports for SRO and Vanguard Films.
Subseries 4E. Dorothy Chambers, 1942-1958, 10 boxes
Accountant. Ms. Chambers's files deal mainly with Selznick's personal expenses and include accounting files, general ledgers, and reports.
Subseries 4F. David O. Selznick Productions (DOSP), 1940-1942, 6 boxes
Balance sheets, journal vouchers, payroll checks.
Subseries 4G. George R. Doan, 1938-1951, 7 boxes
Accountant. Files deal primarily with insurance.
Subseries 4H. Robert C. Hagstrom, 1947-1966, 45.5 boxes
Selznick Company bookkeeper. Files for bank deposits, bookkeeping, check vouchers, cash reports, checks, paid bills, and telegrams.
Subseries 4I. Maurice Janov, 1938-1950, 12 boxes
Cashier, Assistant Treasurer. Includes files for bank records, invoices, payroll, and petty cash vouchers.
Subseries 4J. Alwin Johnson, 1928-1939, 2 boxes
Tax accountant. Tax files for David O. and Irene Mayer Selznick.
Subseries 4K. Cherie Leslie, 1938, 1 box
SIP Secretary to DOS. Paid bill files.
Subseries 4L. Marjorie MacDougall, 1962, 13 boxes
Secretary. Paid bill files.
Subseries 4M. A. Morgan Maree, 1944-1959, 7.5 boxes
Business manager to David O. Selznick. Files on Selznick Studio, Florence Selznick, Vanguard Films, financial reports, and inventory worksheets.
Subseries 4N. Anne Paulos, 1953-1967, 82.5 boxes
Selznick Company accountant. Files are bookkeeping records, including checks, foreign cash reports, journal vouchers, paid bills, and receipt books
Subseries 4O. Pioneer Pictures, 1933-1934, 1 box
Journal vouchers.
Subseries 4P. Maria E. Poole, 1942-1950, 17 boxes
Accountant with Oliver and Company. Files are accounting files, including files for David O. Selznick, fan mail reports, inventories, paid bills, purchase orders, and statements.
Subseries 4Q. Selznick Company, 1954-1966, 3 boxes
Bank statements, check vouchers, earnings, receipt memorandums, and invoices.
Subseries 4R. Selznick International Pictures, 1935-1942, 41 boxes
Contains files for accounts payable vouchers, balance sheets, contractual commitments, distribution reports, inventories, journal vouchers, office expense reports, and payroll.
Subseries 4S. Selznick Releasing Organization (SRO), 1947-1957, 10.5 boxes
These files include balance sheets, bank statements and checks for payroll, distribution reports, manuals, omnibus reports, paid bills, and various reports.
Subseries 4T. Selznick Studio, 1942-1960, 17.5 boxes
Balance sheets, bank statements, checks, deposits, invoices, journal vouchers, paid vouchers, reports, and working papers.
Subseries 4U. Bruce Sillery, 1944-1951, 6.5 boxes
Tax accountant, Vanguard Films. Foreign distribution files, reports, statements, and tax files.
Subseries 4V. Vanguard Films, 1940-1951, 89.5 boxes
Files contain accounts payable and receivable, balance sheets, checks, gross receipts reports, journal vouchers, operations reports, Publicity Department expenditures, reports, and statements.
Subseries 4W. Thomas L. Walker, 1950-1969, 21.5 boxes
Mr. Walker was the office manager in the 1950s and 1960s. Continuities, files, general files, music cue sheets, omnibus reports, paid bills, payroll, petty cash, print reports, Tower Grove remodeling.
Subseries 4X. Miscellaneous, 1929-1961, 40.5 boxes
Contains Accounting Department files, accounting files for Pioneer Pictures, Selznick Studio, and Vanguard Films, balance sheets, bank statements, keypunch cards, cash receipts and disbursements, check vouchers, checks, employment records, journal vouchers, ledgers, manuals, paid bills, payroll and personnel records, receipt books, reports, telegrams, and working papers.
Most of the files in this series were brought together from several offices to form source material for the legal department. They include the files of Daniel T. O'Shea, E. L. Scanlon, and general counsels Richard Hungate and Robert H. Dann. Here are found literary purchases, contracts, court transcriptions, settlements, loanout agreements, commercial tie-ups and documentation of sales and resales. There is also correspondence that provides a more extensive background to the negotiations and legal transactions for stories and artists.
Subseries 5A. Consolidated Files, 1936-1966, 216 boxes
The longest run of consolidated files (date span 1936-1954, boxes 835-1021) is arranged in one alphabetical run by subject or movie title, and is listed at folder level.
Subseries 5B. Robert H. Dann, 1936-1952, 28.5 boxes
Mr. Dann was the General Counsel. His files are chiefly contracts and drafts but also contain production material.
Subseries 5C. Charlotte Gilbert, 1956-1958, 9 boxes
Ms. Gilbert worked for the Selznick Studio and Selznick Company and was in charge of music, television, and 16 mm projects. Her files reference synopsis inventories, lists, and music and story rights.
Subseries 5D. Helen Leonard, 1956-1965, 34 boxes
Secretary to Tom Walker. Files include chronological files, David O. Selznick personal, insurance, Selznick Company, and Selznick Studio.
Subseries 5E. John Speaks, 1935-36, 6.5 boxes
Pioneer Pictures executive. Files.
Subseries 5F. Miscellaneous, 1936-1958, 28.5 boxes
Contract briefs, Eagle-Lion deal files, minutes for SRO, Selznick Studio, Selznick Television and Vanguard Films, New York Office files, and transcripts files for Trinity Films vs. Vanguard Films.
The London Office, headed by Jenia Reissar, provided Selznick with information on foreign talent and properties. There is good coverage of the London stage, of European films (especially those of Italy and France), and of Selznick's European coproductions, The Third Man, The Wild Heart (Gone to Earth), and Indiscretion of an American Wife (Stazione Termini). Here are the London Office records of the Selznick Releasing Organization (Selznick Studio Releasing Division) on world-wide distribution and exploitation. There is also documentation on the Golden Laurel Award, set up by Selznick to recognize foreign film contributions to international good will. Materials include correspondence, clippings, photographs, agreements, and scrapbooks. Material is arranged alphabetically by format of material.
Subseries 7A. Jenia Reissar, 1937-1954, 108 boxes
Ms. Reissar was the foreign production representative who kept Selznick apprised of foreign talent and stories. Arabella LeMaitre in Rome and Laurence Piloix in Paris reported to Ms. Reissar. Story files contain synopses with reader's comments and scripts. Talent files contain photos, clippings, and tear sheets of European talent including Brigitte Bardot, Julie Andrews, Patrick MacNee, Maria Schell, Yves Montand, Simone Signoret, and Anouk Aimee, as well as files on Selznick contract stars. The file groups for productions, Vanguard Films, and correspondence contain general correspondence on productions, studio affairs, negotiations with foreign companies and agencies, Jennifer Jones, Irene Selznick, and talent. Ms. Reissar reports to Selznick frankly and in great detail regarding such matters as her negotiations with the Oliviers or with Alexander Korda, as well as how it feels to experience the blitz in wartime England. The subjects covered in the correspondence are typed in red in the upper right hand corner of the page. Other materials present include clipping files, contracts, and publicity files.
Subseries 7B. Anthony Downing, 1947-1955, 30.5 boxes
Foreign Publicity Director. His files include clippings, Golden Laurel Award material, publicity daily files, publicity files, and scrapbooks.
Subseries 7C. William H. Erbb, 1947-1948, 2.5 boxes
General Sales Manager for United Kingdom. Distribution files.
Subseries 7D. Victor J. Hoare, 1947-1956, 38.5 boxes
SRO Executive Director in charge of distribution. Correspondence, and files for distribution, Golden Laurel Award, and Selznick Releasing Organization New York and Hollywood.
This series contains the film scores for Selznick's independent productions. This includes full orchestral scores, conductor parts, sketches, and orchestra parts. Besides the film scores in reel sequential order are found medleys, special arrangements for recordings, broadcasts and concerts. Also found here is primary source material including folk music, 19th and 20th century popular song and dance music as well as excerpts drawn from the "classical" repertoire of the 17th-20th centuries. Also included are timing sheets, recording and orchestration notes as well as original sketches for the music.
The contents of the document boxes are arranged as follows:
1. complete conductor part in reel sequential order, including any notes;
2. orchestra parts preceded by extra scores (also in sequential reel order except where instrumental section folders contain miscellaneous reels and scenes.);
3. vocal and choral scores and parts;
4. primary source material, special and alternate versions;
5. unused scores and material;
6. extra, often unsorted, parts and scores.
Oversize scores and parts, housed in oversize folders, are now also described in the Selznick Collection Database. Separation sheets filed in reel sequence in the document cases document where the oversize scores and parts were originally located.
This series contains the work of several important Hollywood composers including Max Steiner (Gone With the Wind, Intermezzo), Dimitri Tiomkin (Duel in the Sun, Portrait of Jennie), Franz Waxman (Rebecca), and Miklos Rosza (Spellbound). Not included are the full scores for Spellbound; however, full scores for two versions for piano and orchestra ("The Spellbound Concerto") are included as well as conductor and orchestra parts for the film. Found in the material for Intermezzo is the original Swedish version, the version for violin and orchestra, and extensive excerpts of source material.
Standard orchestration is usually employed. Among the noted exceptions is the extensive use of the theremin, an early electronic instrument, heard in Rosza's score for Spellbound and Tiomkin's score for Portrait of Jennie. The latter score is also based extensively on the music of Claude Debussy, and includes an arrangement of L'aprés-midi d'un faune for theremin and a jazz version of Fille aux cheveux de lin. Included in the score for Duel in the Sun is extensive use of guitar and Mexican dance music. This material also includes medleys/arrangements for radio and recordings. Gone With the Wind includes leitmotifs for characters and locations from the film. Since You Went Away includes a complete unused score by Alexander Tansman. Songs from various Selznick films arranged for Rhonda Fleming and others from the music for the Selznick Star Tours are also included.
Only the conductor part is present for Prisoner of Zenda; the full score has not been located. Conductor and orchestra parts are present for Rebecca, but the full score is located at Syracuse University. The only film for which no music is present is The Third Man, presumably because the music was improved.
Subseries 8A. Films, 1934-1954, 83 boxes
This subseries includes music files for The Adventures of Tom Sawyer, Becky Sharp, La Cucaracha, Dancing Pirate, Duel in the Sun, Garden of Allah, Gone With the Wind, I'll Be Seeing You, Intermezzo, Little Lord Fauntleroy, Made for Each Other, Nothing Sacred, Paradine Case, Portrait of Jennie, Prisoner of Zenda, Rebecca, Selznick Stars Tours, Since You Went Away, Spellbound, A Star Is Born, Stazione Termini, and The Young in Heart.
Subseries 8B. Lou Forbes, 1934-1944, 5.5 boxes
Music Director. Files and publications.
Subseries 8C. Audray Granville, 1945-1947, 2.5 boxes
Head of Music Department, 1945-1947. Files.
Subseries 8D. Miscellaneous, 1944-1957, 5 boxes
Includes varied files with timing cue sheets, sheet music, and promotion for Duel in the Sun, A Farewell to Arms, I'll Be Seeing You, The Paradine Case, Portrait of Jennie, Selznick Stars Tour, and The Third Man.
These files are the records of the departments involved in the actual making of the film--Art, Camera-Special Effects, Location, Sound, Wardrobe, and Cutting. All of Selznick's independent productions are represented. Included in this series are set sketches, set construction drawings, photographs of wardrobe tests, and of set interiors and exteriors. There are story boards such as those depicting the flight from burning Atlanta for Gone With the Wind, the hurricane sequence for Portrait of Jennie, and the Salvador Dali-designed dream sequence for Spellbound. The series also contains camera reports, dialogue and cutting continuities, cutting notes, daily production reports, memos, cost estimates, call sheets, inserts, scripts, matte shots, costume designs, costumes, and props. With the exception of the stills, most of the material in this series is listed at box level. Other Selznick employees who appear as authors, but who are not listed individually below include James Basevi, James Newcom, Walter Daniels, and William Phillipson.
Subseries 9A. Cecil Barker, 1946-1954, 16 boxes
Assistant to Selznick. Files deal primarily with film editing and the cutting room.
Subseries 9B. Arthur Fellows, 1946-1954, 10.5 boxes
Production Assistant. Manager files.
Subseries 9C. Hal C. Kern, 1937-1948, 11 boxes
Film editor. Cutting and cutting room files.
Subseries 9D. Raymond A. Klune, 1936-1942, 16.5 boxes
Production Manager. Manager files.
Subseries 9E. Argyle Nelson, 1944-1948, 22 boxes
Production Manager. Manager files.
Subseries 9F. Phil L. Ryan, 1935-1936, 3.5 boxes
Production Manager. Manager files are mostly on Garden of Allah, Little Lord Fauntleroy, and Light's Diamond Jubilee.
Subseries 9G. Clarence Slifer, 1935-1951, 72 boxes
Mr. Slifer was head of the Camera Special Effects Department but his files also contain set design and set construction material. These files contain construction drawings of set details and layouts. There are also support files (set strike orders, art department reports) and story boards.
Subseries 9H. James G. Stewart, 1945-1954, 9.5 boxes
Sound engineer. Sound files.
Subseries 9I. Production Stills, 1930-57, approx. 45 boxes
Some of the stills came from Clarence Slifer's files, some from Selznick International Pictures files (SIP), and others have no author in the database records. There are stills of production sets and locations, matte shots, set sketches, story boards, special effects material, and wardrobe tests. They are listed by date and then by movie title. Since they are physically scattered primarily through the last 500 boxes of the collection, the easiest method of retrieval is to search the database using the keywords "stills" and the movie title.
Subseries 9J. Miscellaneous, 1920-1957, 7.5 boxes
Cutting room files, location and set stills, and story boards.
These materials document the promotion of movies and stars primarily from the late 1940s. Promotion of contract stars such as Ingrid Bergman, Joseph Cotten, Jennifer Jones, Gregory Peck, Shirley Temple, and Alida Valli is well documented. Publicity Director Mervin J. Houser's files on A Farewell to Arms present a complete picture of a campaign to promote a movie on its first run. Records include correspondence, biographies, stills, newspaper and magazine clippings, and advertising art. The files are arranged alphabetically by type of material, and then chronologically.
Subseries 10A. Stills (Photographs), 1935-1957, 154 boxes
These photographs are primarily of productions and contract stars, and consist of cast portraits and the photographs taken by a photographer on the set during filming. These photos are then numbered (key number). The photos judged suitable for use are retouched (the negatives show the marks of retouching) and gathered into an album. The photographs were sent to newspapers and magazines, made into lobby cards for the theatres, and used in advertising tie-ups. Gone With the Wind files in boxes 3959-3965 and The Third Man files in boxes 3314-21 offer an example of a typical arrangement of photographs for film promotion. The key number set is followed by cast portraits, publicity albums, lobby cards, and advertising and exploitation. The stills are physically scattered throughout the last 500 boxes of the collection but the majority are listed at item level in the database and can be searched by using the keyword "stills" and the movie title or name of the star.
Subseries 10B. Aileen Brenon, 1947-1950, 7.5 boxes
Publicist. Also contains the files of Mel Strauss.
Subseries 10C. Robert M. Gillham, 1944-1950, 17.5 boxes
New York Office Publicity Director. Advertising files.
Subseries 10D. Mervin J. Houser, 1946-1957, 29 boxes
Assistant Publicity Director, 1946-1948; Publicity Director, A Farewell to Arms. Files include biographies, clippings, files, notebooks, and stills.
Subseries 10E. Don King, 1943-1945, 5.5 boxes
Also contains files of Whitney Bolton. Correspondence and other files, mostly concern publicity for I'll Be Seeing You and Since You Went Away.
Subseries 10F. Joan Lane, Publicist, 1945-1948, 2.5 boxes
Junior publicist. Files.
Subseries 10G. Paul Macnamara, 1941-1949, 8 boxes
Publicity Director. Clippings and correspondence files, notebooks, and stills.
Subseries 10H. Joseph L. Roberts, 1945-1948, 6 boxes
Publicist. Files.
Subseries 10I. Seymour Robins, 1948-1949, 9 boxes
Artist. Artist files, with mockups for ads, and stills. Especially well represented are Mr. Blandings Builds His Dream House, Portrait of Jennie, and Fallen Idol.
Subseries 10J. Selznick International Pictures (SIP), 1937-1938, 3 boxes
Art Department sketches, biographies, and stills.
Subseries 10K. Bart Sheridan, 1946-1949, 7 boxes
Publicist. Files.
Subseries 10L. Paul Snell, 1934-1936, 6 boxes
Pioneer Pictures publicist. Files and stills.
Subseries 10M. Vanguard Films, 1943-1948, 1.5 boxes
Clippings and fan mail.
Subseries 10N. Miscellaneous, 1937-1954, 11 boxes
Advertising, biographies, clippings, lobby cards, magazines, manuals, pressbooks, programs, promotional items, questionnaire cards for Gone With the Wind, scrapbooks, and stills.
This series contains photographs, clippings, tear sheets, correspondence, and scrapbooks. Gone With the Wind, Portrait of Jennie, and The Paradine Case are well represented. There is correspondence with Wilbur G. Kurtz, the technical advisor for Gone With the Wind, in which he explains in great detail such matters as the design of Georgia gravestones and Georgia store signs. For The Paradine Case, there are stills showing the exterior and interior of English police stations, the uniforms of English jail wardens, and an exterior shot of a war damaged Old Bailey. There is a memo on Texas customs for Duel in the Sun and photos of Swedish trains for Intermezzo. The files are loosely arranged alphabetically/chronologically or by movie.
Subseries 11A. Lillian K. Deighton, 1936-1940, 14 boxes
Deighton was Director of Research for Selznick International Pictures from 1936-1939. Includes cards, clippings, correspondence, files and story files.
Subseries 11B. Ann Harris, 1936-50, 15 boxes
Harris succeeded Lillian Deighton as Director of Research in 1939 and stayed with Selznick until 1949. Files include applications, correspondence, files, memos, stills, story properties, and synopses.
Subseries 11C. Miscellaneous, 1930-1954, 24 boxes
Files, photograph albums, scripts, and stills.
The records of the story department document the development of a film from synopsis to final shooting script. Material is available for Selznick's independent productions, and for projects developed and sold as well as projects never produced. Types of materials found in this series are synopses, treatments, scripts, continuities, correspondence, agent files, and title registrations.
Subseries 12A. Katharine Brown, 1940-1942, 12.5 boxes
East Coast representative. Correspondence on stories and talent. Also telegrams and synopses.
Subseries 12B. Gerry Deardorff, 1938-1948, 12.5 boxes
Story editor. Includes files on agents, scripts, title registration reports, and writers.
Subseries 12C. Helena L. Hanna, 1945-1948, 8 boxes
Head of the typing department. Typing files for office forms and scripts.
Subseries 12D. Barbara Keon, 1935-1948, 150.5 boxes
Scenario assistant. Ms. Keon acted as the Continuity or Script Supervisor. Her files show all the revisions made on the script as it evolved into the final film. There are the various drafts of the script, story conference notes, script notes by Selznick, continuity files, and files on each contributing writer. The script development files (1936-46) are arranged in one long alphabetical run and are listed at file level. Movies for which there is a significant amount of material include Adventures of Tom Sawyer, Anna Karenina, Beloved Wife, Dark Victory, David Copperfield, Duel in the Sun, Earl of Chicago, Garden of Allah, Gone With the Wind, I'll Be Seeing You, Intermezzo, Jane Eyre, Little Lord Fauntleroy, Made for Each Other, Nothing Sacred, Prisoner of Zenda, Rebecca, Since You Went Away, Spellbound, Star is Born, Tale of Two Cities, and Young in Heart, but other movies are represented as well.
Subseries 12E. Val Lewton, 1935-1942, 22.5 boxes
Story editor. Also acted as liaison with the Hays Office. Files include bulletins, correspondence, script files, and title registration reports.
Subseries 12F. Margaret Mcdonnell, 1935-1945, 6 boxes
Story editor. Files.
Subseries 12G. Elsa Neuberger, 1935-1949, 11.5 boxes
New York Office Story Department. Files, playbills, and synopses.
Subseries 12H. Lydia Schiller, 1936-1957, 54.5 boxes
Ms. Schiller succeeded Ms. Keon as scenario assistant. Includes material on dialogue and cutting, A Farewell to Arms, and files on script development and scripts.
Subseries 12I. Scripts, 1932-1958, 305 boxes
Files for each date range listed comprise an alphabetical run of script titles, so some scripts may appear in several places: 1930-49 (95 boxes); 1932-51 (45 boxes); 1934-50 (1 box); 1935-54 (90 boxes); 1936-50 (41 boxes); 1936-52 (11 boxes); 1938-44 (2 boxes); 1939-43 (3 boxes); 1939 (1 box); 1934-56 scripts & treatments (16 boxes).
Subseries 12J. Nancy Stern, 1950-1957, 11.5 boxes
New York Office Story Department. Files on talent and stories, including synopses.
Subseries 12K. Synopses, 1935-1962, 366 boxes
Each date range represents an alphabetical run of synopses. 1934-58 (63 boxes); 1935-47 (1 box); 1935-55 (141 boxes); 1936-48 (83 boxes); 1936-62 (35 boxes); 1940-44 (4 boxes); 1943-59 (39 boxes). They are listed at box level.
Subseries 12L. Miscellaneous, 1930-65, 51.5 boxes
Cards, files, notebooks, properties, release scripts, reports, script development, script files, and title registration.
Contains the talent files of Henry Willson, Vanguard Films Executive Assistant to Daniel T. O'Shea, and head of the Talent Department. Types of material are photos, memos, and correspondence. The material is arranged chronologically and then alphabetically by subject.
These materials are donations made to the collection since 1981 when it was received by the Ransom Center. There are 11 boxes of the legal files of Barry Brannen, Selznick's personal attorney; copyprints chronicling Katharine Brown's life; personal photos from the early 1930s from Irene Mayer Selznick's collection; pictures from Selznick's 1949 wedding trip to Europe; the A Farewell to Arms production memos of Jeffrey Selznick; and a copy of John Hay Whitney's stock in Selznick International Pictures.
| David O. Selznick Collection Finding Aid | |||||||||
| Title Page | Biographical Sketch | Scope and Contents | Organization and Access | Series Outline | Series Descriptions | Companies and Personnel List | Films Chronological List | Films Alphabetical List | Films Credits List |
Reference queries to: reference@hrc.utexas.edu
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