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Meet the Staff: Webmaster Daniel Zmud

By Sarah Strohl

Meet the Staff is a Q&A series on Cultural Compass that highlights the work, experience, and lives of staff at the Harry Ransom Center. Daniel Zmud, who joined the Ransom Center in 2001, manages everything web-related and supervises the digitization of the Center’s archival sound recordings, videotapes, and motion picture films. He received a Bachelor’s degree in Radio-Television-Film from The University of Texas at Austin in 1996 and has led the Ransom Center through two major website redesigns, the latest of which launched in 2008.

 

Can you tell us a little about what you do here at the Ransom Center?

My responsibilities have grown over time. At first I was only producing the public website and online research tools, but since then I’ve also been supervising the audiovisual digitization lab and creating interactive installations for the exhibition galleries.

 

What do you like most about working at the Ransom Center?

I like being a part of activities that shine some light on our collections. They could sit on a dark shelf forever, but it’s much more enjoyable to take them out for exhibitions or research. I was lucky enough to be around when we were scanning the Gutenberg Bible. It’s almost never out of its display case, so it was a pretty rare opportunity to have it there on the scanning station, turning every page, and getting to see it up close. We had to have an armed guard on duty…it was an incredible experience.

 

I hear you have spent some time building the web exhibition for The Making of Gone With The Wind. How has that been going?

It has been a whirlwind of activity this spring and summer. The web exhibition will include Gone With The Wind content that we’ve previously published, but we’re also integrating a fan-mail database. People can search by name or topic and read actual correspondence that was sent to David O. Selznick’s film production company before, during, and after the making of the film. You’ll be able to type in your relatives’ names to see if they sent in any comments or applied for a job.

 

Do you have a favorite item or collection here at the Ransom Center?

I haven’t seen every collection, but I always want to tell people about the Norman Dawn collection. He was a special effects inventor for film projects in the early 1900s. We have over 150 display cards from him, and each one describes a different special effect. Special effects at that time were so new—directors didn’t want to spend money on them unless they knew that they were actually going to work. He used a variety of artistic techniques like sketching, watercolor, and painting to sell the special effects to whoever was making a movie, and then he went back after the fact and inserted film stills of the finished special effect. The skill and artistry involved is incredible.

 

Can you tell us about your car restoration hobby and the cars you’ve been working on lately?

Well, I go to antique malls pretty often, and one time around three years ago I came across this stack of car-customizing magazine from the ’50s and ’60s. They really showed me the creative element in repairing and customizing old cars. I never thought it was something I would be able to do, but flipping through those magazines, I realized that older cars are actually simple machines. So, I was going through Craigslist around that time, and I came across a 1965 Chevrolet Corvair that just intrigued me. It was in rough shape, and I thought to myself, “Here’s a blank slate!” With the help of many people giving me advice and directing me to spare parts, I was able to get that car looking really nice within a year, and I ended up reluctantly selling it. What I learned was that once you finish a project, you are eager to start another one. Right now, I’m working on two Mazda Miatas.

Below, watch Zmud drive the 1965 Chevrolet Corvair that he restored.

 

Where is your favorite place to travel?

Every year since 1988 I’ve gone to Taos, New Mexico for a week or two in the summer. I like to hit the reset button there. I’m with my family, and it’s not a typical trip where every minute is scheduled. I just get to relax, take in the scenery, and escape the heat.

 

Do you happen to collect anything?

I collect snapshots. You’ll find these buckets full of snapshots in antique stores, and I like flipping through every last one of them. When one sticks with me as interesting or artistic, I decide to take it home. People can be accidentally artistic, even when they are just taking a picture of their aunt and uncle, or the picture isn’t in focus.

 

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Spend the holidays with the Harry Ransom Center

By Christine Lee

Visit the Ransom Center’s exhibition The Making of Gone With The Wind, which reveals why Gone With The Wind remains influential and controversial 75 years after it was released. View rarely seen items—photographs, storyboards, fan mail, and costumes including the green curtain dress—all drawn from the Ransom Center’s collections. Don’t miss this blockbuster exhibition, on view through Sunday, January 4. Want to see the exhibitions without the crowds? Become a member for access to member-only exhibition hours which occur each weekend from 10 a.m. to noon. View holiday hours at the Ransom Center.

 

Share a year of literature, film, photography, and art by giving a gift membership to the Ransom Center. The festively-wrapped membership includes a year of private member events, behind-the-scenes experiences, invitations for the Alice’s Adventures in Wonderland opening party, and more. Purchase your tax-deductible gift membership ONLINE by Monday, December 15 or pick up on-site at the Ransom Center through December 23.

 

Pick up the perfect holiday gift from the Ransom Center’s pop-up shop. The shop features the exhibition catalog for The Making of Gone With The Wind, custom “Fiddle-Dee-Dee” and “Frankly, My Dear” t-shirts, books related to the exhibition, and more. Have a writer or artist on your holiday list? Pick up a Moleskine journal featuring the Ransom Center’s etched glass windows. Other Ransom Center merchandise includes one-of-a-kind totebags and banners made from past Ransom Center exhibition banners, coffee mugs, and Ransom Center baseball caps.

 

Daily public tours of The Making of Gone With The Wind are offered at noon, as well as Thursdays at 6 p.m. and Saturdays and Sundays at 2 p.m. A selection of Gone With The Wind screentests are shown in the Ransom Center’s theater at 1:30 p.m. and 3:30 p.m. on weekends.

Holiday hours at the Ransom Center

By Marlene Renz

The Ransom Center will be closed on Christmas Eve Day (Wednesday, December 24) and Christmas Day (Thursday, December 25). However, the Ransom Center Galleries will be open the rest of winter break on Mondays, Tuesdays, Wednesdays, and Fridays from 10 a.m. to 5 p.m., Thursdays from 10 a.m. to 7 p.m., and on Saturdays and Sundays from noon to 5 p.m. Additional member-only hours will be available from 10 a.m. to noon on Saturday and Sunday.

 

Visitors can view the current exhibitions The Making of Gone With The Wind as well as Frida Kahlo’s Self-portrait with Thorn Necklace and HummingbirdThe Making of Gone With The Wind will be open through January 4. The First Photograph and the Gutenberg Bible remain on permanent display.

 

Please also be aware that the Reading and Viewing Rooms and administrative office will be closed during the University holidays from Saturday, December 20, through Thursday, January 1.

 

Free docent-led gallery tours occur daily at noon, Thursdays at 6 p.m., and Saturdays and Sundays at 2 p.m. (There will be no public tour on the closed days of Wednesday, December 24 or Thursday, December 25.) The public tours meet in the south atrium, and no reservations are required. On weekends, a selection of screentests from Gone With The Wind will be shown in the Ransom Center’s first-floor theater at 1:30 p.m. and 3:30 p.m.

 

Admission is free. Your donation will support the Ransom Center’s exhibitions and public programs. Parking information and a map are available online.

 

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Image: Scene concept for “Christmas at Aunt Pittypat’s in Atlanta” in Gone With The Wind.

Thanksgiving weekend hours at the Ransom Center

By Marlene Renz

Please be aware that the Ransom Center will be closed on Thanksgiving Day.  However, the Ransom Center Galleries will be open on Friday, November 28, from 10 a.m. to 5 p.m. and from noon to 5 p.m. on Saturday, November 29, and Sunday, November 30. Additional member-only hours will be available from 10 a.m. to noon on Saturday and Sunday.

 

Visitors can view the current exhibition The Making of Gone With The Wind as well as Frida Kahlo’s Self-portrait with Thorn Necklace and Hummingbird. The First Photograph and the Gutenberg Bible remain on permanent display.

 

Free docent-led gallery tours will occur daily at noon and at 2 p.m. on Saturday and Sunday. The public tours meet in the south atrium, and no reservations are required.  A selection of screentests from Gone With The Wind will be shown in the Ransom Center’s first-floor theater on weekends at 1:30 p.m. and 3:30 p.m.

 

Admission is free. Your donation supports the Ransom Center’s exhibitions and public programs. Parking information and a map are available online.

 

The Ransom Center’s Reading and Viewing Rooms and administrative office will be closed on Thursday, November 27, and Friday, November 28, and will reopen on Monday, December 1.

 

Share your love of film, literature, and photography this year by giving a gift membership to the Ransom Center. Purchase online or at the Ransom Center’s visitor desk.

 

Image: Norman Bel Geddes draws a concept for a  Macy’s Thanksgiving Day parade float, ca. 1926. Unidentified photographer.

In the Galleries: “Gone With The Wind” producer David O. Selznick demanded proper Southern accents from actors

By Gabrielle Inhofe

Letters poured into producer David O. Selznick’s office on the proper use of Southern accents in Gone With The Wind. One woman wrote, “Come South and study our dialect. I don’t know your people as you do, but it cuts deep when we see our lovely old Southern life ‘hashed up.’”

 

Clark Gable employed a dialog coach, but two days before filming, Selznick learned that Gable was refusing to use an accent. Selznick then had Will Price, from the casting department, and Susan Myrick, a technical advisor, work on coaching the actors in the use of an appropriate accent.

 

Price and Myrick, in a memo to Selznick and director George Cukor, wrote, “we find that the script includes innumerable attempts at written southern accent for the white characters. Both Miss Myrick and I strongly agree that this is extremely dangerous as it prompts the actors immediately to attempt a phony southern accent comprised merely of dropping final ‘ings’ and consonants. A phony southern accent is harder to eradicate than a British or western accent.” They then advise that the script should be retyped, without the written southern accents.

 

Filming went on hiatus as Selznick replaced director George Cukor with Victor Fleming. Selznick wrote to studio manager Henry Ginsberg about his concerns over the accent during this period: “We know that Leslie Howard has made little or no attempts in the direction of accent and since he is on our payroll there is little excuse for this…. I am particularly worried about Vivien Leigh since she has been associating with English people and more likely than not has completely got away from what was gained up to the time we stopped.” Leigh was already under fire from the media and many Southerners for being British, so it would have been doubly ruinous for the film if she were unable to employ an accent.

 

Memos related to the actors’ accents are on view through January 4 in the Ransom Center’s current exhibition The Making of Gone With The Wind. A fully illustrated exhibition catalog of the same title is available. Co-published by the Harry Ransom Center and University of Texas Press, the catalog includes a foreword written by Turner Classic Movies (TCM) host and film historian Robert Osborne.

 

 

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Dylan Thomas exhibition in New York features materials from the Ransom Center’s collections

By Marlene Renz

“I went on all over the States, ranting poems to enthusiastic audiences that, the week before, had been equally enthusiastic about lectures on Railway Development or the Modern Turkish Essay.” –Dylan Thomas (1914–1953)

 

Dylan Thomas in America—A Centennial Exhibition, which opened yesterday at the 92nd Street Y’s Weill Art Gallery, chronicles the poet’s experiences in the United States between his first visit in 1950 and his death in 1953. The 92Y’s Kaufman Concert Hall hosted the Welsh poet and author for his first American reading. The exhibition includes 19 facsimiles from the Ransom Center, including letters, postcards, photos, and manuscript pages. Images of a handwritten draft of Thomas’s Under Milk Wood, some correspondence, and Thomas’s “self-portrait” will be on view.

 

Thomas is now considered one of the most important Welsh poets of the twentieth century, and it was during his American tour that he wrote his most well-known piece, Under Milk Wood.

 

The Ransom Center’s Dylan Thomas collection consists of manuscripts, correspondence, notebooks, drawings, financial records, photographs, galley proofs, page proofs, and broadcast scripts. The Ransom Center also holds more than 280 photographs related to Thomas.

 

Listen to a reading by actors, including Michael Sheen, of Thomas’s Under Milk Wood, from the opening night of the exhibition.

 

 

Related content?

In good company: Author busts keep watch over scholars in the Reading Room

 

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Image: Photo of Dylan Thomas by Rollie McKenna, ca. 1953.

In the Galleries: A discarded happy ending for “Gone With The Wind”

By Gabrielle Inhofe

Gone With The Wind’s scriptwriter Sidney Howard had the difficult task of converting the 1,000-page novel into a film script that was not too long, without sacrificing key elements of the novel. One of producer David O. Selznick’s concerns was that all problems be caught before filming started, because cutting scenes out would be more expensive than having an appropriately long script written in the first place. To help Howard, Selznick and his story editor Val Lewton employed the skills of other scriptwriters and authors.

 

In October 1938, Selznick sent the script to two top MGM scriptwriters, Lawrence Stallings and Bradbury Foote, for help editing. The men, under confidentiality, had eight days to make their suggestions.

 

Foote’s editing gave the film a happy ending, destroying one of the novel’s most emotionally powerful scenes. In Foote’s rewrite, Rhett does indeed leave, but Mammy thrashes the famous “Tomorrow is another day!” speech, telling Scarlett, “Never you mind tomorrow, honey. This here is today! There goes your man!” The scene dissolves to a shot of a railroad station. Scarlett corners Rhett in the car of a train, entreating, “Oh, Rhett! Life is just beginning for us! Can’t you see it is? We’ve both been blind, stupid fools! But we’re still young! We can make up for those wasted years! Oh, Rhett—let me make them up to you! Please! Please!” He kisses her hands, and the scene fades out. Selznick considered this rewrite “awful.”

 

Selznick employed a host of other writers to help find creative ways of combining scenes from the novel, and almost all of the writers who worked on the script did so after filming had commenced. Writers F. Scott Fitzgerald, Ben Hecht, John Van Druten, John Balderston, Ronald Brown, and Edwin Justus Mayer briefly worked on the script. In a memo from Fitzgerald to Selznick, Fitzgerald proposes that Scarlett’s miscarriage be cut. The death of Bonnie, Scarlett’s miscarriage, and Melanie’s death in childbirth, all in rapid succession, would be too much for the audience to endure. Fitzgerald mentions that the miscarriage seems less sorrowful in the book because Scarlett already had three children. He writes, “There is something about three gloomy things that is infinitely worse than two, and I do not believe that people are grateful for being harrowed in this way.”

 

Pages from various drafts of the screenplay are on view through January 4 in the Ransom Center’s current exhibition The Making of Gone With The Wind. A fully illustrated exhibition catalog of the same title is available.  Co-published by the Harry Ransom Center and University of Texas Press, the catalog includes a foreword written by Turner Classic Movies (TCM) host and film historian Robert Osborne.

 

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Meet the Staff: Film Curatorial Assistant Albert A. Palacios

By Gabrielle Inhofe

Meet the Staff is an occasional series on Cultural Compass that highlights the work, experience, and lives of staff at the Harry Ransom Center. Albert A. Palacios has been the Film Curatorial Assistant at the Ransom Center since January 2010 and is a doctoral student in Latin American history at The University of Texas at Austin. He holds a Master of Science in Information Studies and a Master of Arts in Latin American Studies from The University of Texas at Austin. He was recently awarded the 2014 prize for best graduate essay for Book History. The judges noted “Not only is his research breathtaking, he offers a whole new approach to the issue of Spanish colonial censorship, and beyond that, a new perspective on the mechanics of censorship in general.”

 

Palacios has coordinated several major volunteer projects, including the digitization of the Alfred Junge collection, the preservation of the Perry Mason film, and the fan mail database in the web exhibition Producing Gone With The Wind.

 

What does an average day for you entail?

Typically I manage eight to 15 graduate volunteers working at the film department each semester. We work on a range of projects, from creating digital collections and preserving film media to processing archives. However, this past semester we had 24 graduate and undergraduate students helping develop content for the web exhibition Producing Gone With The Wind.

 

Tell us about your role in the exhibition The Making of Gone With The Wind?

I was the project coordinator for the Gone With The Wind fan mail database, which shares thousands of letters that Selznick International Pictures received between 1936 and 1939. I recruited and trained graduate volunteers on preparing letters for scanning, digitization, image cropping, database records, transcription, as well as writing feature stories about the different types of letters. I also reviewed for quality and approved each entry. To date, we have records for more than 3,000 letters and transcripts for more than 6,000 pages.

 

What’s the most rewarding part about your job?

I think working with the volunteers is the most rewarding. They help us accomplish many high-quality projects, and they are always so excited and engaged. I am particularly glad to see that the myriad experiences and skills we offer can support their professional development. They help us preserve and make our collections accessible, while we help them define their career aspirations.

 

Tell us about your academic background and interests.

I started as an undergraduate at UT, pursuing a dual degree in architecture and anthropology. I knew I didn’t want to be an architect or an archaeologist when I finished in 2009, but I still wanted to explore questions of design and cultural representation. I started looking at museum exhibition design while I was studying architecture in Italy. That was when I decided to combine my architecture and archaeology/anthropology majors within the context of museums and archives at the School of Information. I graduated with my master’s degree there and jumped over to Latin American studies, where I wrote my thesis on book censorship in sixteenth-century Mexico. After receiving my master’s degree, I began in the history Ph.D. program. Ultimately, I’m working toward becoming a curator of Latin American special collections.

 

Did you travel to research your thesis?

I have gone to Mexico City, Chicago, New York, and other U.S. cities the throughout past two years to hunt down Mexican “inculabula” and manuscript sources that elucidate publishing practice in sixteenth-century Mexico. I am analyzing the censorship process, printing privilege (akin to copyright) and the social networks that intellectually and economically favored New Spain’s authors. I’m happy to say that two papers from that research are being published this year—one will be a chapter in a book and another in an academic journal.

 

What’s your favorite movie?

Spellbound! I’m a big fan of psychological thrillers. At the Ransom Center, we have original storyboards, construction drawings, and props that were created for the movie’s dream sequence.

 

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In the Galleries: Producer David O. Selznick defends casting Vivien Leigh as Scarlett O’Hara

By Gabrielle Inhofe

British actress Vivien Leigh is best remembered for her part as Scarlett O’Hara, the beautiful Southern belle who will stop at nothing to get what she wants. Her inspired performance won an Academy Award for Best Actress. However, when word got out that she was being considered for the role, letters against the selection poured into Gone With The Wind producer David O. Selznick’s office.

 

The president of a chapter of the United Daughters of the Confederacy wrote a letter stating that she and the members “vigorously protest against any other than a native born southern woman playing the part of Scarlett O’Hara in Gone With The Wind. Furthermore, we resolve to withhold our patronage if otherwise cast.” The Hollywood Reporter’s Joe Shay wrote to Selznick calling it “an unfortunate selection” should someone other than a Southerner be cast.

 

Selznick wrote a letter to Ed Sullivan, an entertainment columnist at the time, defending Leigh. He notes that Leigh’s parents are French and Irish, just like Scarlett’s, and he draws comparisons between England and the South. Selznick writes, “A large part of the South prides itself on its English ancestry, and an English girl might presumably, therefore, be as acceptable in the role as a Northern girl.” Furthermore, he notes the relationship between the Southern and British accents is much closer than that of the Southern and Northern accents. He also points out that the English have warmly received the portrayals of Englishmen by Americans, so Americans would be ungrateful to do the same. Finally, Selznick points toward successful cross-cultural performances in American theater, like the British actor Raymond Massey as Abraham Lincoln and the American actress Helen Hayes as Queen Victoria.

 

When Leigh’s selection as Scarlett was made official, the reaction in the South was overwhelmingly negative. Susan Myrick, who advised the filmmakers on historical detail, helped to convince Mrs. W. D. Lamar, President of the United Daughters of the Confederacy on the soundness of the choice. According to Myrick, Lamar “greatly preferred an Englishwoman for the part of Scarlett O’Hara, rather than a woman from the East or Middle West, as she had always felt there was a close kinship between the Southerner and the English people.”

 

The memo is on view through January 4 in the Ransom Center’s current exhibition The Making of Gone With The Wind. A fully illustrated exhibition catalog of the same title will be co-published by the Harry Ransom Center and University of Texas Press in September with a foreword written by Turner Classic Movies (TCM) host and film historian Robert Osborne.

 

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Image: Ed Sullivan, then a gossip columnist, had learned that Vivien Leigh was Selznick’s choice for the role of Scarlett.  Selznick denied it but, anticipating resistance to his decision, had already developed a five-point justification, which he began to circulate to entertainment reporters.

#Franklymydear, we want your best line

By Alicia Dietrich

“Frankly, my dear, I don’t give a damn.”

 

The iconic last words of Rhett Butler in Gone With The Wind almost weren’t, because use of the word “damn” in films was expressly prohibited in the Production Code. Anticipating objections by the Hays Office (the entity that governed moral code in film), producer David O. Selznick asked his story editor, Val Lewton, to compile a list of uses of the word “damn” in print media and, if possible, cinema.

 

A list of alternate lines was also compiled, including such gems as:

 

“Frankly, my dear, nothing could interest me less.”

 

“Frankly, my dear, I don’t give a hoot!”

 

“Frankly, my dear, my indifference is boundless.”

 

“Frankly, my dear, the whole thing is a stench in my nostrils.”

 

Selznick knew that the Code would have to be changed for him to be able to keep Rhett Butler’s final line, a change that could only be approved by the board of directors. Leading up to a decisive October 27, 1939, meeting, Selznick and business partner Jock Whitney lobbied board members to change the Code. Although deliberations were described as “very stormy,” Selznick prevailed, and the Production Code was amended to make future use of the word “damn” discretionary.

 

Although Selznick promised to “put up a strong fight for the line,” he took Lewton’s precautionary advice to film the scene twice, once as written, and a second time substituting “Frankly, my dear, I don’t care.”

 

What would you have suggested as an alternate line? Give us your best family- and censor-friendly versions of the line in the comments below or via Facebook, Twitter, Instagram, or Tumblr using the hashtag #franklymydear.

 

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