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Famous Players–Lasky

Famous Players–Lasky

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Search complete. 12 mentions across 4 episodes found for "Famous Players–Lasky".

Oct 17, 2026

StuartHOST
18:59
We're gonna set sail momentarily, but for now let's look at the pre-production cycle of Moran.
StuartHOST
19:05
Now, at this point of filming, Famous Players-Lasky was in a bit of a financial bind.
StuartHOST
19:10
There was a lot of behind-the-scenes drama going on, and Valentino and the film itself would feel some financial constraints as a result of all of that.
StuartHOST
19:18
According to Emily Leiter, "Perhaps because the company was at that time spending lavishly on legal fees to defend itself against an antitrust suit, Famous Players-Lasky slashed its production budget to a fraction of what it had been the previous year.
StuartHOST
19:34
The studio squeezed out $700 to pay Valentino for each week of shooting, $200 more than he made on The Sheik, and kept the budget for the whole picture below $200,000.
StuartHOST
19:46
Filming in San Francisco began during the last week of September 1921." Now, The Sheik, if you recall, was a monster hit amongst female viewers.
StuartHOST
20:05
So in an effort to, uh, I don't know, toughen up the onscreen image, the decision was made to have Moran of the Lady Letty be the next project for Rudy.
StuartHOST
20:15
Roger Fristoe writes, "Males in the audience and much of the press, however, found his Latin Lover image to be a fete and off-putting.
Patrick RankinHOST
16:30
He read the industry trade papers rather than the fan magazines, interested in how films were made and who was making them.
Patrick RankinHOST
16:40
It was through those papers that he heard an American company, Famous Players-Lasky, was opening a studio in London.
Patrick RankinHOST
16:49
The studio would be in Islington, in a converted power station beside the Regent's Canal.
Patrick RankinHOST
16:55
Famous Players-Lasky had fitted it with glass-roofed stages and brought American directors over to make films there.
Patrick RankinHOST
17:04
It officially opened in May nineteen-twenty.
Patrick RankinHOST
17:08
Alfred heard that one of its planned productions was The Sorrows of Satan, based on the novel by Marie Corelli.
Patrick RankinHOST
18:00
In the summer of nineteen-twenty, supervising art director Norman Gregory Arnold took him on as a freelance title designer.
Patrick RankinHOST
18:09
At first, Alfred kept his job at Henley's.
Kate WestworthHOST
6:26
Her skill in adapting basically anything to the screen was uncanny and much in demand.
Kate WestworthHOST
6:32
In 1924, Famous Players-Lasky asked Levine to adapt the novel Salome of the Tenements for the screen.
Kate WestworthHOST
6:39
Then she screened Broadway plays for Samuel Goldwyn to find suitable material to adapt for the movies.
Kate WestworthHOST
6:46
Luckily, around this time, Levine's husband's contracts binding him to New York finished, and he was free to move.
Kate WestworthHOST
7:03
She took on writing and editing work not only for the movies but also for various magazines.
Kate WestworthHOST
7:10
She actually used the name Sonja Hovey, her husband's name, for the first four years in Hollywood and worked for many different studios.
Kate WestworthHOST
7:19
Famous Players-Lasky at Warner's from 1926 to 1928 together with Cecil B. DeMille at Metropolitan Pictures and Pathé, then Columbia, and eventually for 10 years from 1929 to 1939 for Fox Film for a weekly salary of $500 a week, then 600 and then $750, which today equals a weekly salary of $9,800 to $14,700, and thus became Fox's highest paid female screenwriter.
Kate WestworthHOST
7:52
On average, Levine worked on six movies a year, collaborated with the likes of Allan Dwan and John Ford, Frank Borzage, and S.N. Berman, penned four films for Charles Vidor and Janet Gaynor, two for Janet Gaynor, five for Will Rogers, one for Charlie Chan, and made additions to Shirley Temple's Curly Top.
Kate WestworthHOST
3:13
Her most standout contribution to the pictures were her five movies for Douglas Fairbanks, the scripts of which that she co-wrote with Chad Emerson made him a star.
Kate WestworthHOST
3:23
When Fairbanks switched to Famous Players-Lasky, he took both writers with him, getting them hired for $500 a week, which today would be about $13,000.
Kate WestworthHOST
3:34
Loos became a household name in Hollywood and was as well known as Mary Pickford and Lillian Gish at the time.
Kate WestworthHOST
3:40
That is also when Photoplay came up with her nickname, the Soubrette of Satire.
Kate WestworthHOST
3:44
In 1918, Famous Players-Lasky offered the team a four-picture deal that entailed relocating to New York City.
Kate WestworthHOST
3:51
Those New York movies were not as successful though because of the fact that mainly Broadway stars were cast who were unfit for the new medium.
Kate WestworthHOST
3:58
Nevertheless, it was their contract that did not get renewed.

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