Thomas Smith (b. 1938), visual effect producer for such films as Star Wars: Empire Strikes Back (1980) and E.T.: The Extra Terrestrial (1982), has donated his archive to the Ransom Center. Smith was hired by George Lucas as the first head of Industrial Light & Magic (ILM) and worked on the special effects for such films as Raiders of the Lost Ark (1981), Star Trek III: The Search for Spock (1984), Star Wars: Return of the Jedi (1983), Indiana Jones and the Temple of Doom (1984), and Honey, I Shrunk the Kids (1989).
The Smith collection comprises 22 boxes and documents Smith’s professional work through the 1980s and 1990s. Spanning from 1979 to 2003, the collection contains special effects storyboards, screenplay drafts, scripts, pre-production research, production materials, newspaper clippings, photographs, and published materials such as fan magazines and cinematography periodicals. The papers also contain material relating to Smith’s time at ILM and Lucasfilm.
The collection will be made accessible once it is processed and cataloged.
Smith will visit The University of Texas at Austin to speak publicly on Thursday, April 19, at 7 p.m. in KLRU’s Studio 6A in the Communications Center Building B. As part of the Harry Ransom Lecture series, Smith will discuss his life and career. While on campus, Smith will also meet with students in the College of Communication’s Department of Radio-Television-Film.
Leger Grindon is a professor of film and media culture at Middlebury College where he has taught since 1987. He is the author of Knockout: the Boxer and Boxing in American Cinema (University Press of Mississippi, 2011), Hollywood Romantic Comedy: Conventions, History and Controversies (Wiley-Blackwell, 2011) and Shadows on the Past: Studies in the Historical Fiction Film (Temple University Press, 1994). Grindon spent time working in the Robert De Niro collection in July on a Robert De Niro Fellowship. He is preparing an essay, “Filming the Fights in Raging Bull,” for a forthcoming critical anthology on the films of Martin Scorsese edited by Aaron Baker and to be published by Wiley-Blackwell.
The object of my research was the film Raging Bull (1980). Robert De Niro’s performance in the film earned him an Academy Award for Best Actor. I was particularly interested in the evolution of the nine boxing sequences in the film. With that in mind, I carefully examined five different screenplay drafts that were among the De Niro papers. These drafts by Emmett Clary, Mardik Martin, Paul Schrader, Robert De Niro, and Martin Scorsese demonstrated the development in thinking about the filming of the various boxing sequences and how they would be integrated into the other dramatic action in the movie.
Jake La Motta, the subject of the film, had 106 professional fights, so the question arises as to why these particular fights were chosen? As a result of my research in the archive, I now have a much clearer picture of the development and meaning of these choices. I was also able to get a better picture of how the staging of the fights changed over the course of the various screenplays. One lasting impression of my work in the archive was that the filmmakers of Raging Bull never stopped making adjustments and changes in their conception of the film. The notes I reviewed on the adjustments made in the final shooting script were illuminating. Furthermore, I was able to look at the many storyboard drawings of the boxing sequences. Some of the boxing sequences have more than 100 drawings and diagrams that were made in preparation for the filming. One sequence has only one drawing. These drawings, diagrams for figure and camera movement, and other notes, give me considerable insight into the planning, conception, and execution of these sequences. I have also received more than 50 photocopied pages from various screenplay drafts and storyboard images from the archives. I will continue to consult them while writing my forthcoming essay.
Writer and actor Spalding Gray (1941–2004), whose archive opens for research today, is best known for his highly personal monologues and for helping to define a new era in theater where public and private life became an indivisible part of each new performance. Gray’s archive was acquired by the Ransom Center in 2010.
Writer Nell Casey had access to the archive before it arrived at the Ransom Center, and her book The Journals of Spalding Gray has been released today. Cultural Compass interviewed Casey about her work in the archive and the surprises she found in Gray’s journals.
In honor of the book’s release, the Ransom Center is giving away two copies of the volume. Email email@example.com with “Spalding” in the subject line by midnight CST tonight to be entered in a drawing for the books.
Spalding Gray was an actor, performer, and writer. He appeared on Broadway in various one-man shows and is widely accredited with the invention of the autobiographical monologue. His archive, recently acquired by the Ransom Center, is composed of more than 100 private journals that span more than 40 years of Gray’s career. Nell Casey, editor of the book The Journals of Spalding Gray, which was released today, distilled the mass of journal entries into a portrait of the man behind the magnetic performer who ended his life in 2004. Cultural Compass spoke with Casey about her interest in Gray, the surprising notes she found in the journals, what she admires about his work, and more.
Casey’s interaction with Gray began in 1992 when, after moving to New York, she wrote one of her first magazine articles about him. After Gray’s death, Kathie Russo, Gray’s widow, created the play Leftover Stories to Tell, which told the story of Spalding Gray’s life through excerpts from his monologues and journals. Casey interviewed Russo for The New York Times and says that the journal entries that appeared in the play were “incredibly beautiful.”
“One of the things about the play was that with other people reading [Gray’s] work you got a sense of his incredible talent as a writer,” said Casey. “When I saw the play and the writing was taken out and away from him and other people were reading it, I realized that his writing was a talent that had been sort of overshadowed by his personality and performance.”
When Russo approached Casey to ask if she would be interested in writing a book about Gray, Casey enthusiastically agreed. She had always loved Gray’s work. Her first step was to read the journals. Initially, she was concerned that the material found in the journals would be repetitive of what Gray himself told in his monologues. What she found was anything but.
“[The journals] are this incredible under life and sea of experience that he had not included in his monologues, and part of that experience was the struggle he had,” said Casey.
The writings are so raw and intimate that Casey says she was “caught off guard by almost every journal entry.” On paper, Gray reveals himself as a more extreme version of the person he portrays in his monologues. Casey describes him as a self-reflective narcissist with a broad sense of himself.
“He had this unbelievably broad sort of analytic and therapeutic sense of himself, so he could explore himself, even though he could not stop himself from actions that were very self-destructive and brutal,” said Casey.“The monologues are where he found perspective. The journals were where he showed himself to be completely lost.”
While Gray’s entries do correspond to his monologues, his writings are not for performance but for his life. Casey says, “There is some similarity, but you see in the journals that he just hasn’t gotten his footing yet.”
The themes present in his monologues come up in the book, but they are explored more deeply. As Casey read through the thousands of journal entries, she found that there were very specific themes: his drinking, his narcissism, his performance, his struggle with relationships, his mother’s suicide, and his fantasy life. These themes acted as a guide to help Casey winnow the mass of information into a chronological account of Spalding Gray’s private life.
Above all, Casey says that her years with Gray’s journals have led her to admire him for his writing. She admires it for “its beauty but also for the incredible, tender, searching thought that went into what he wanted to find in life.” Gray’s quest for truth was relentless. “Honesty is really guesswork, isn’t it?” Casey questioned, quoting British editor and writer Diane Athill.
“The point being, what is truth?” Casey says. “Your own truth is just a stab in the dark, and I admire Spalding Gray for his endless attempts at trying to find his truth.”
“We have lost Gray,” Casey writes in her introduction to the journals, “but there is still more for him to tell us.”
Nell Casey is the editor of Unholy Ghost: Writers on Depression and An Uncertain Inheritance: Writers on Caring for Family. Her articles have been published in The New York Times, The Washington Post, Slate, Elle, and Glamour. The Journals of Spalding Gray, edited by Nell Casey is published by Alfred A. Knopf and available for purchase October 18, 2011.
The archive of film director Nicholas Ray (1911–1979), best known for his film, Rebel Without a Cause (1955), is now open for research. Spanning more than 35 years, materials in the collection include original treatments, annotated scripts, photographs, journals, notes, audio reels, video recordings and film that provide an account of Ray’s working methods and ideas. View the finding aid for the collection or read an article about the collection in the Chronicle of Higher Education.
Each Friday, the Ransom Center shares photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.
The Tennessee Williams Film Series at the Ransom Center concludes tonight with Richard Brooks’s Sweet Bird of Youth (1962), featuring Paul Newman and Geraldine Page. The series features films highlighted in the current exhibition,Becoming Tennessee Williams, which runs through July 31.
Chance Wayne (Newman), returns to his hometown of St. Cloud in order to reunite with his childhood sweetheart, Heavenly Finley, whose father ran Chance out of town years before. Chance left to become a movie star, but he never made it big. Instead, he supported himself largely by becoming the lover of older, wealthy women. One of them, the aging movie star Alexandra Del Lago (Page), accompanies him on this trip. As Chance feels his youth and good looks fading, he becomes more and more desperate to seize his dreams of happiness with Heavenly.
For the film version of Sweet Bird of Youth, Paul Newman and Geraldine Page reprised their Broadway roles. As with all adaptations of Williams plays from stage to screen, significant changes were made. In the play, Heavenly refuses to run away with him; in the final moments, Heavenly’s brother Tom and a group of his friends prepare to attack, and possibly kill, Chance. Several of Williams’s drafts of this final scene depicted Chance being castrated. In the film, however, Heavenly does leave with Chance. The final image is of the couple, along with Alexandra Del Lago, driving into the distance, presumably to live a happy life. This ending removes the aura of perpetual failure that surrounds Chance in the play and turns him into a more traditionally empowered hero.
Visit the galleries, open until 7 p.m. on Thursdays, before attending the screenings.
Please be aware that the Ransom Center’s Charles Nelson Prothro Theater has limited seating. Line forms upon arrival of the first person, and doors open 30 minutes in advance.
This post was written by Ransom Center volunteer Emily Butts.