One strategy for celebrating a business anniversary is offering special business anniversary promotional packages tied to the anniversary year. That’s what Turner Classic Movies (www.TCM.com) did for its 20th anniversary in 2014: Offered 20 free nationwide...
During the week of April 10, 1939, filming of Gone With the Wind centered on the sequences in the Atlanta church turned hospital. In the Shadow scene, while caring for the wounded, Scarlett complains that she is tired. “Aren’t you tired, Melanie?”...
Clark Gable had finally had it with the Gone With the Wind wardrobe made for him by the Selznick International costume department. The shirt collars choked him, and the suits and cravats were ill fitting. He complained to producer David O. Selznick, who — on...
In early March 1939, Ria Gable’s divorce came through. Clark Gable was now free to marry Carole Lombard. On the day the news of the divorce broke, Hearst newspaper columnist Louella Parsons asked Lombard about the pair’s wedding plans. Lombard told her,...
On March 13, 1939, David O. Selznick wrote a memo to Production Manager Raymond A. Klune concerning the dramatic use of colors in Gone With the Wind’s costumes. The producer impressed upon Klune that the costumes should symbolize “the changing...
On March 11, 1939, action on Gone With the Wind’s set centered around scenes and sequences at the Twelve Oaks Barbecue: “Melanie and Ashley’s Love Scene” In this tender scene, Ashley tells Melanie that she seems to belong at Twelve Oaks and...
On March 10, 1939, Victor Fleming, cast and crew worked on “The Arrival at Twelve Oaks” sequence. Fleming directed Vivien Leigh entering Twelve Oaks and returning the greetings of the young men gathered in the hall. The camera even captured her flirtations...
On March 3, 1939, Victor Fleming directed the “Wedding Reception of Scarlett and Charles Hamilton.” Scarlett, in her mother’s wedding gown and veil, and her new husband, in his troop’s uniform, receive congratulations from the guests attending...
Gone With the Wind’s filming resumed on March 2, 1939 with Victor Fleming at the directorial helm. At his first meeting with assistant directors Eric Stacey and Ridgeway Callow, Fleming left no doubt about how he would run things. “They tell me that...
David O. Selznick and Victor Fleming arrived at Ben Hecht’s house early one morning. They spirited Hecht away in Selznick’s car, and on the way to the studio they came to terms: Selznick would pay Hecht $15,000 for one week’s work. At the studio,...
