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By 1933 he'd been lured away to the first of a number of writing stints at MGM at $200 per week working under producer Harry Rapf. Schary and Rapf (known as "the anteater," he'd prove to be his lifelong nemesis), then in charge of MGM's B-productions (although Louis B. Mayer frowned on the term), didn't see eye to eye on a number of issues and ...
- January 1, 1
- Newark, New Jersey, USA
- January 1, 1
- New York City, New York, USA
- Income, Output, and The Balance of Studio Power
- Studio Operations and Market Strategies
- The Wartime Surge in Independent Production
- Studio-Based Units and In-House Independents
- Working The First-Run Market
The most significant developments in the Hollywood studio system during World War IIwere increased studio revenues (and profits) and decreased output. While the lower output of films was related to various wartime factors—the manpower shortage, for example, and restricted supplies of film stock—these cutbacks resulted more than anything else from s...
The Major-Minors and the Minor Studios
The war era saw a growing rift between the Big Five and the other studios in terms of production and management operations as well as overall market strategies. The major studios, with their superior resources, were able to respond to the wartime market more aggressively than the lesser studio powers. While the Little Three and the Poverty Row studios certainly benefited from the war boom, their overall production and sales strategies, for the most part, remained quite consistent during the w...
The Major Studios
The integrated majors saw radical changes during the war, owing primarily to the volatile market conditions and the increased importance and clout of producers and top talent. Perhaps the single most important development was the sharp acceleration of unit production and hyphenate status for above-the-line contract talent. While these changes had considerable impact on production management, studio management—executive control of the company at large—changed very little. In fact, the war boom...
In February 1942, Variety ran a prescient analysis of the unit phenomenon as it had developed over the preceding months. In 1941, noted Variety, "company after company has swung away from the system of front-office assignment of producers, which they have used for years, toward the unit idea." Now the war economy "is expected to still further spur ...
The studios had little choice but to accommodate filmmakers who expressed independent inclinations, given the wartime demand for top talent and for a steady flow of highend product. Thus, by early 1944, according to Variety, "Hollywood's most important independent producers [were] setting virtually their own terms with distributors."43 At that time...
With the financial stakes and profit potential going up with each wartime release, and with the 1940 consent decree spurring a move to unit sales, the studios steadily adjusted both their market strategies and their marketing operations. Variety reported in September 1942 that the majors were increasing their "exploitation" budgets by 25 percent th...
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By 1933 he'd been lured away to the first of a number of writing stints at MGM at $200 per week working under producer Harry Rapf. Schary and Rapf (known as "the anteater," he'd prove to be his lifelong nemesis), then in charge of MGM's B-productions (although Louis B. Mayer frowned on the term), didn't see eye to eye on a number of issues and ...
- August 31, 1905
- July 7, 1980
Maurice Harry Rapf, a blacklisted screenwriter whose credits before the blacklisting era included Disney’s “Song of the South” and “They Gave Him a Gun,” starring Spencer Tracy, died Tuesday in...
By 1933 he'd been lured away to the first of a number of writing stints at MGM at $200 per week working under producer Harry Rapf. Schary and Rapf (known as "the anteater," he'd prove to be his lifelong nemesis), then in charge of MGM's B-productions (although Louis B. Mayer frowned on the term), didn't see eye to eye on a number of issues and ...
- Newark, New Jersey, USA
- August 31, 1905
- Writer, Producer, Actor, Director
To oversee this unit, the studio brought back Dore Schary, a writer who had left Metro a short time before after run-ins with his autocratic boss, producer Harry Rapf. The high-minded young Schary was glad to return in a supervisory role, convinced he could bring important themes and worthy stories to the screen at lower costs, rather than ...
Biography. PDF Cite Share. Isidore Schary (SHAR-ee), the son of hardworking Russian Jewish immigrants, grew up in Newark, New Jersey, where his parents ran a kosher catering business. Changing...
