"George Stevens: A Filmmaker's Journey"

The Documentary is Part of the "American Masters" Series on PBS

The American Masters film "George Stevens: A Filmmaker's Journey" features the life and career of filmmaker, director and producer George Stevens. It aired on PBS on Wednesday, July 13, at 9 p.m. ET (check local listings).

The documentary shows how George Stevens trained his eye on the horrors of World War II and the intricate footwork of Fred Astaire with equally memorable results. It features a collection of vintage footage and includes interviews with Fred Astaire, Warren Beatty, Frank Capra, Douglas Fairbanks Jr., Katharine Hepburn, John Huston, Joel McCrea and Ginger Rogers. The vintage clips include never-before-seen color film of the making of "Gunga Din," scenes from "Alice Adams," "Swing Time," "The More The Merrier," "A Place In The Sun," "Shane," "Giant," and "The Diary of Anne Frank." The archive also includes home movies Stevens shot during production of some of his films, including Cary Grant clowning around with an elephant during Gunga Din.

Writer, director and producer George Stevens, Jr. was online Thursday, July 14, at Noon ET to discuss the American Masters film that he wrote, directed, produced and narrated as a tribute to his father.

Stevens, Jr., is an accomplished Hollywood filmmaker and an influential Washington arts figure. Over the course of his career, Stevens won 11 Emmys, two Peabody Awards and seven awards from the Writers Guild of America for his television productions. He is also founder of the American Film Institute, and the driving force behind its teaching and film preservation programs. Stevens, Jr., also launched the American Film Institute Catalog of Motion Pictures, a film bibliography that lists every feature-length film produced in America from 1894 to the present, together with all newsreels since 1908 and all short films since 1911. In his 20s, he worked as a production assistant to his father, the director George Stevens, on "A Place in the Sun," "Shane," "Giant," "The Diary of Anne Frank" and "The Greatest Story Ever Told." He also directed "Alfred Hitchcock Presents," "Peter Gunn" and other television shows.

In 1985, the film biography of his father premiered at the Deauville Festival and subsequently was released to theaters across the United States. "George Stevens: A Filmmaker's Journey" was awarded the Special Jury Prize at the Chicago International Film Festival, a Special Award from the National Board of Review of Motion Pictures and an Award of Excellence from the Film Advisory Board.

The transcript follows.

____________________

George Stevens, Jr.: Good "noon"...I'm George Stevens and happy to be here answering questions, and I thank all of you who watched the film last night.

_______________________

Alexandria, Va.: Mr. Stevens, It's an honor to converse with you sir. If I could speak to your father today, I would thank him for my favorite film, "Shane." I own the DVD and watch it often, never tiring of the unstated affection between Shane and Marian Starrett, or the ending, which always brings tears to my eyes. Your commentary, along with Mr. Moffat's, adds much to the enjoyment. It should have placed much higher than 69th on AFI's list! I also have "A Filmmaker's Journey" at home, along with most of your dad's films that have been released on video. I believe your father, along with Howard Hawks, may well be the two greatest American directors in that they both could direct any kind of story and produce a classic.

George Stevens, Jr.: Well, Shane is a favorite of mine too. It was the first movie location I worked on when I was seventeen -- I was called the company clerk....and it gave me an opportunity to be in the Teton Valley with my father and that wonderful cast and crew. I remember young Brandon de Wilde, age 10 or so, straight from New York learning to be an out door boy.

_______________________

Waynesboro, Va.: As a film history buff myself, let me first thank you for the work you've done for preservation and cinema history.

One of your father's lesser-known movies, "Vigil In The Night," starred my all-time favorite actress, Carole Lombard, and is arguably her best dramatic role. Any interesting stories about the making of the film, or his relationship with Carole?

Also, when Turner Classic Movies showed "Vigil" a few years back, it included an alternate ending for European audiences that referred to the start of World War II (for those unfamiliar with the movie, it was released in 1940, and was set in England). How did this come about, and can you think of other movies of the time that used different footage for non-American releases?

George Stevens, Jr.: Yes, Vigil in the Night is not a well known film. It was made when I was a young boy, and not my cup of tea at that time. It really is a wonderful performance by Carole Lombard -- who had been a mack sennett bathing beauty....with my mother years before. I remember a beautiful set of three pipes that Carole gave my father and that he kept...in the wake of her early death.

_______________________

Chicago, Ill.: Mr. Stevens,

As someone who has been involved in Hollywood for decades, what can you say about Hollywood today? Do you think the much-publicized slump at the box office is justified?

George Stevens, Jr.: I'm not sure whether the slump in the box office is seasonal or a trend. Certainly more and more people are making environments in their houses where they can watch films in comfortable settings, and the quality of DVDs make the experience very good.

Combine that with the fact that studios are convinced that their audience is young people in their teens and twenties, and you get the kind of films we are getting. Not many are my cup of tea -- maybe I'm ready for Vigil in the Night at my age.

_______________________

Anonymous: Hi, did George Stevens Sr. ever live in D.C.?

Thanks.

George Stevens, Jr.: My father never lived in Washington...but he and my mother and I came here in 1943 when I was ten and stayed at the Statler Hilton Hotel...I could see the lights of Griffith Stadium from the window. We went to National Airport one morning and my mother and I watched my father get on an Army DC 3 and fly overseas for his 3 years at war.

_______________________

Arlington, Va.: Mr. Stevens -- I greatly enjoyed watching your film about your father last night. As a 37-year-old, I had some knowledge of your father's films, but no knowledge of his great patriotism or his involvement in standing up against McCarthyism.

My question is that it seems that your father's demeanor as a director seems to have changed over the course of his career. Those who worked with him on earlier films, such as Hepburn, indicated that he was always polite and never "bawled out" actors in order to get a performance out of them. The actress who played Anne Frank in one of his later films, however, said that he would get angry and react to actors in order to get a certain performance out of them.

Is it your understanding that his directorial style changed over time? And, if so, to what do you attribute this change?

George Stevens, Jr.: A good observation. I think Millie Perkins was seeing my father as quite formidable...she a 17 year old. He always kept his humor, but he was directing The Diary of Anne Frank, a much different tone of film from the More the Merrier. So yes and no, he changed...we all do, but he was the same person and maintained what was one of the most extraordinary quick wits of anyone I've come across.

_______________________

Harrisburg, Pa.: The beautiful close-up of Elizabeth Taylor and Montgomery Clift from "A Place in the Sun" -- seems to me I've seen mention of the fact they were ground-breaking? I need a review, if you would be so kind as to provide one. The close-up was in the documentary, but no commentary.

George Stevens, Jr.: The famous close up was shot with long telephoto lenses...my father re wrote the scene the night before and gave Elizabeth the line "Come to Mama" and she was thinking what the hell is this, according to him. It was an amazingly insightful and deep line, a tough one for an 18 year old to comprehend in its full depth. He said he 'threw Elizabeth and Monty and one another and said...throw the lines at one another as fast and urgently as you can. The scene is beautifully crafted in the editing.

_______________________

Washington, D.C.: What was your favorite part of making this film? Did you feel closer to your father as you made it?

George Stevens, Jr.: That's such a good question. I was tremendously close to my father...even though he was away for nearly four years during the war. the film brought me even closer. I remember sitting at the editing table at times -- and I don't want to get mystical here -- but at certain moments I could feel his taste and skill guiding me. It was, of course, what I had learned from working with him ....many months in editing rooms...A Place in the Sun, Shane, Giant, the diary of Anne Frank....but answers were coming to me as I worked

_______________________

Seven Corners, Va.: Hi Mr. Stevens,

I've become interested in James Dean recently -- I believe I'm right that your father directed Dean in Giant (?). What was their relationship like, and what was James Dean like in general?

George Stevens, Jr.: There was a good American Masters last month on James Dean. Yes, my father directed him in giant. Jimmy was gifted, and he was young. There were times when he found it difficult to follow my father's lead...but they always sorted it out and the result was exceptional. When you think that Jim was 23 playing a role that took him close to 60.

His loss was tragic...he had so much more to give.

_______________________

Norfolk, Va.: Having watched the film and learning more about McCarthyism because of it, I'd love to hear more. If one was blacklisted, could one really not get a job in Hollywood? Was the stigma of being implicated so bad that people for the rest of their lives were forced out of entertainment? Or did it fade away, along with McCarthyism (or at least that form of McCarthyism)?

George Stevens, Jr.: It was a time of corrosive fear. Actors, writers, directors would suddenly find themselves not being called for work. They were blacklisted, usually not to their knowledge, because the had been or were suspected of having been involved with subversive groups....there was a strong right wing group who monitored peoples actions, were secred sources for the FBI and often careers were ruined.

_______________________

Kensington, Md.: I was struck by the color footage of WWII in Europe. It was otherworldly to see these scenes and have to keep telling myself that they were real, and not Hollywood (as I am accustomed). Was that really the only color filming of the war in Europe?

George Stevens, Jr.: this was the best and fullest collection of color war film. When I made the film 20 years ago it was the only known film of the war in Europe...since then more has been discovered. My father shot it on Eastman color home movie film stock which has survived with better fidelity than any other color film of the time.

_______________________

Silver Spring, Md.: I noticed that your father's films were made at several studios in somewhat quick succession: RKO, MGM, Paramount. Did he work as an independent producer/contractor who would "package" films to market to various studios? And would this make him one of the pioneers of this now-standard practice? p.s. You created a beautiful and touching tribute to your father, particularly as you framed his WWII contributions both in the field and afterward when he questioned our own inner demons and prejudices. Thank you.

George Stevens, Jr.: Well, thank YOU for being such a good audience.

My father learned early that independence and control were the important things. He was willing to take responsibility for his films and didn't want studio executives changing endings or meddling with scripts. He left RKO for Columbia where Harry Cohn gave him total control and after the war he fought to maintain that control of his films. Very few directors had that clout....it is much more common today.

_______________________

Killington, Vt.: Mr. Stevens, Thanks for the chat -- a question about your father. Did he talk about his experiences in the war to you? I've found a lot of vets of WWII don't talk about it, or if they do they seem to be talking about events that happened to someone else, not to themselves. Was your father like that?

Thank you.

George Stevens, Jr.: My father talked about the war....he made it a bit of an adventure with wonderful humor and comic moments. His unit had its own orders and were able to travel on its own, not attached to an army -- a variation of the control he had in Hollywood. He saw humor in situations....and of course he saw the darkness..."I saw men at their best and at their worst." The discussions of Dachau and the other camps were briefer and more somber.

_______________________

Takoma Park, Md.: Mr. Stevens,

I love the AFI Theater in Silver Spring! Watching "Casablanca" (for the first time) there two years ago was a great thrill. Btw, now I'm a total Bogey fanatic. Thanks for founding AFI.

George Stevens, Jr.: Your welcome...and I hope your generation will seek out the opportunities that exist to see the older films on the big screen. Their is nothing like that experience compared to the reduced scale of tv and dvds.

_______________________

washingtonpost.com: Discussion Transcript: American Masters: "James Dean: Sense Memories"

_______________________

Silver Spring, Md.: Before viewing your moving tribute to your father, it had somehow never registered with me that Monty Clift was playing a returning vet in "A Place in the Sun," a film I have viewed at least 6 times. Regarding this theme of dream vs. reality for these men that you articulate in your film, do you see this in other films your father made after the war? Thank you.

George Stevens, Jr.: Yes, it's not spelled out about him being a veteran, but the leather jacket in the first scene and the time suggests it was after the war.

Giant has similar themes related to WW II....Angel Obregon, Sal MIneo, coming home in a flag draped coffin. World War II was very much part of my father's DNA....and I believe it is one reason so many directors of that age had long careers...they had a second act....Huston, Wyler, Ford, Stevens....all become deepened men because they went to war. I'm not sure what is going to give this generation the stimulation for their second acts.

_______________________

Breezeport, Pa.: Hi, Mr. Stevens,

I imagine making this program about your father was difficult -- how has the reaction of your (and his) extended family been to the production? Have they seen it?

George Stevens, Jr.: It was difficult but also as satisfying as anything I have done. A great opportunity...few have had...to make a film about one's father. My family finds it nourishing I'm sure...it's a bit of a family legacy.

_______________________

Washington, D.C.: How many times has this film aired and has it aired internationally? What kind of responses have you received about it? Thank you.

George Stevens, Jr.: We have had such wonderful response to this film I made it in 1984 and it just seems to live on. It was first premiered at the Deauville Film Festival and then released theatrically in the United States and around the world. Since then it's had appearances on television.

Last year I did a restored and enhanced version for PBS American Masters and for release on Warner Home Video. (available I believe on DVD at Amazon and the outlets.

It had a wonderful response from critics...so for me it was a creative challenge and a nice companion through the years.

_______________________

Greatest Story Ever Told: Hi there -- enjoyed the film.

A question about your father's last film: Many critics think the casting of "The Greatest Story Ever Told" hurt the narrative of the film. John Wayne's turn often comes in for a drubbing. Did your father have any control over that?

George Stevens, Jr.: My father had total control over the casting --no one to shed blame to, and that's the way he wanted it.

My view is that The Greatest Story Ever Told is a valuable film...criticized in its time by some, not all, for the 'star' casting -- but there was a screening of the 70 mm version at the Motion Picture Academy in Hollywood last year and the response was extraordinary. It's a beautiful and intelligent telling of the story of Jesus...one that avoided the pitfalls (and the financial success) of the Mel Gibson piece last year.

_______________________

Arlington, Va.: Mr. Stevens, do you have an extensive library at home of your father's work? Between you and your father, your home must be a story in and of itself. Would you mind sharing what it's like? Thank you.

George Stevens, Jr.: My life is cluttered with the most wonderful memorabilia. And wonderful creative experiences. Soon I'm going to have to get around to writing a memoir of my Hollywood experiences, my life in Washington in the Kennedy years and after, and my own creative adventures.

_______________________

Philadelphia, Pa.: I would like to know a little more about your career: What have you directed or produced? What type of films would you like to work on in the future?

George Stevens, Jr.: I founded the AFI in 1967; I've produced film and televison....created the Kennedy Center Honors, wrote and directed Separate but Equal with Sidney Poitier as Thurgood Marshall, produced The Thin Red Line, and such as that....check out IMDB...for credits.

_______________________

Burbank, Calif.: Is the program available in DVD or VHS? If so, how may one order them? Also, if you are near Burbank, maybe you can sell them at an upcoming Collectors Show in Burbank. There are fans who would love to meet you and buy copies.

George Stevens, Jr.: Yes A Filmmaker's Journey is out on DVD...either through Warner Home Video, or Amazon...I believe there's a George Stevens DVD Web site that warner bros set up with info

_______________________

Alexandria, Va.: According to the Internet Movie Database, your dad was a Cinematographer, Director, Writer, Producer, Actor. You sure don't see this kind of talent in the movie business these days.

Who were your father's closest friends among the other film makers in Hollywood?

George Stevens, Jr.: Yes...though not really an actor...

His good friends were Fred Zinnemann, William Wyler and King Vidor and John Huston, among fellow directors.

_______________________

Washington, D.C.: Another HUGE thank you for AFI, from a devoted member. I recently saw "Giant" again there as part of the James Dean tribute. I think it was released in 1956(?), before a lot of white America had heard much about the civil rights movement. How was your father's clear message about racism (among other themes) taken by the general public?

George Stevens, Jr.: Yes...Giant was a brave film..tackling topics not seen on the screen in major motion pictures....racism; the independent woman....

It was well received. Texas exhibitors had threatened to boycott the film but they learned that Texans loved it because it was humane....it had humor but it was not the sharp attack the book had been -- the characters had dimension and some nobility.

_______________________

Leesburg, Va.: Shoot -- I missed last night's show ... can somebody tell me when it's going to be on in the D.C. area again?

Thanks for the very interesting discussion!

George Stevens, Jr.: Not sure it will be repeated...perhaps you can rent it from netflics or a video store....

_______________________

Winchester, Va.: Mr. Stevens,

I see from the information at the top of this page that you are involved in the AFI. Can you talk about the AFI more? I only know it through the theater in Silver Spring and those lists of top 100 whatevers that frequently come out. Thanks!

George Stevens, Jr.: I am still on the board of the AFI but I don't run it any more....for quite some time.

Check out AFI.com

_______________________

Washington, D.C.: George -- Which Hollywood luminary your father worked with ended up being his favorite?

George Stevens, Jr.: Oh so many. Kate Hepburn...three pictures together, Cary Grant three pictures (Gunga Din, Talk of the Town, Penny Serenade...all worth seeing) and Joel McCrea.

Among the younger...Warren Beatty...Dennis Hopper.

And he was greatly fond of the historian and poet,Carl Sandburg.

_______________________

Washington, D.C.: What's in store for your future? Any more films in the work? Thanks.

George Stevens, Jr.: I am working on a film based on James Carroll's National Book Award winning story....An American Requiem.

And I've written a play about Thurgood Marshall

And we have the Kennedy Center Honors coming up on CBS in December

And I've finished a book for Knopf called Great Filmmakers of the Golden Age...Conversations at the American Film Institute...out next April.

And I'm working on my golf game.

_______________________

Pittsburgh, Pa.: Hi--interesting show last night. Mr. Stevens, what was it like to work with Hitchcock? Was he funny or insufferable? I read a biography on him "The Dark Side of Genius" -- have you read that or agree with it?

George Stevens, Jr.: I've not read the Hitchcock book but I did direct his televison series episodes and knew him. He was a delight. Witty, incisive and very much knew what he wanted to achieve in his work.

_______________________

Annapolis, Md.: Mr. Stevens,

As a not-even-budding-yet filmmaker, I'd love some advice about film festivals. Which ones do you think really showcase the best work out there?

Thanks!

George Stevens, Jr.: It depends on what kind of film you have made. The AFI Silver Docs is great for documentaries, there's sundance for both features and documentaries. The New York Festival is growing in stature and, of course, all the festivals abroad.

A festival can be a great kick off for a film, but it has to be the right fest for the right film.

_______________________

washingtonpost.com: Check Local Listings

_______________________

Arlington, Va.: What is it like to actually be at the Kennedy Center Honors? I love that show and have always wondered what the atmosphere's like. Thanks so much.

George Stevens, Jr.: The Kennedy Center Honors is two different experiences -- one is being there the other is watching it on Televison.

Being there you get a level of electricity and sense of the moment that is very exciting and often very moving. And you are there!

The televison broadcast has something that being there doesn't provide. We have the ability to edit in the close reaction shots of the audience...so in a sense you are seeing much more than the person in Row K or the person in the second balcony.

so two different experiences -- each one valuable in itself.

_______________________

Washington, D.C.: A film preservation question: We have many wonderful films available to us because of your efforts and the efforts of others in film preservation (big thanks). Obviously, every film not saved is a loss, but is there a film you weren't able to to save that was particularly disappointing?

George Stevens, Jr.: Film preservation has been so important over the last forty years. Sometimes we have disappointments....Paramount lost the negative to a Place in the Sun...believe it or not....so all of our restoration working from different elements falls a bit short of the crisp black and white of the original film...so that's a bit of a disappointment.

The studios have finally gotten behind preservation because the home video business has become a profit center. When they change the title of the ignored studio Archivist, to Vice President of Asset Management...they had learned that there was gold in those archives...a generation too late.

_______________________

George Stevens, Jr.: I've enjoyed these very interesting questions and particularly thank you all for taking such an interest in A Filmmaker's Journey as well as my father's work and my work.

I hope we can do this again some day.

Best,

George Stevens, Jr.

_______________________

washingtonpost.com: Next week's American Masters , "Bob Newhart: Unbuttoned," airs on Wednesday, July 20, at 9 p.m. ET on PBS (check local listings ). A Live Online discussion will follow on Thursday, July 21, at Noon ET.

_______________________

Editor's Note: Washingtonpost.com moderators retain editorial control over Live Online discussions and choose the most relevant questions for guests and hosts; guests and hosts can decline to answer questions.