By Rodrigo Perez | The Playlist November 16, 2012 at 11:04AM
Wilder was just coming off two Oscars for “The Lost Weekend” (including Best Director and Best Screenplay) and another writing nomination for “A Foreign Affair” (before that he had five Oscar nominations to his credit including an additional Best Director nod for “Double Indemnity”). Suffice to say he was considered one of the hottest writer/directors in Hollywood at the time and that gave him plenty of juice. Actors were not allowed to change a single word, full stop. Once the script was written, he wanted the performances and delivery to come precisely as they were on the page. “We never deviated from the script,” Nancy Olson , who played Betty Schaefer, the young script-reader and Gillis-love interest in the film, said on the DVD extras. “No new lines [were delivered] for the next day. That was the tightest script I have ever worked on.”
And yet Wilder was loved and was no tyrant. He would also never really rehearsed and when he did, it would be more for the camera. Olson said Wilder was gracious. “If you were faltering,” he would generously give you “time to recover.” She described how Wilder would come over and whisper something sensitively into the the actor’s ear so only he or she could hear it. “I don’t remember any endless takes. There was 3-4 and that was on par for a film of that budget,” she recalled.
At an early screening of the picture for various studio people, the great producer and studio exec Louis B. Mayer was outraged at what he had seen. “He was incensed,” Nancy Olson said, “How could you do this?” He stormed out to his car even though almost everyone else at this particular screening loved the movie. He essentially called Wilder a bastard for slinging this mud at the beloved movies and Hollywood. He was appalled at the image of Hollywood that the sardonic and bitter Wilder was about to present to the American public.
5. Gloria Swanson was not Billy Wilder’s first pick to play the now-iconic Norma Desmond.
Wilder originally wanted wanted Mae West for the part, but she told Paramount she wanted to rewrite all the dialogue as she had done in all her previous pictures. Well that was quickly shot down. Mary Pickford, a second choice, always owned her own negatives, so that ruled her out. Pola Negri and Mae Murray were other ideas. Then one day, Wilder was having lunch with director George Cukor (“My Fair Lady”) and then Cukor suggested Swanson and a lightbulb went off. Swanson was essentially that character: a silent-era star who had been forgotten. Thankfully in real life Swanson hadn’t gone batshit crazy like Norma Desmond and was the consummate professional on set. This may have been best evinced by her relationship to Erich Von Stroheim on set.
Cinephiles love and adore Norma Desmond’s loyal and creepy butler Max Von Mayerling, played by Erich von Stroheim, the great silent era director whose career was essentially destroyed after MGM butchered his eight hour cut of 1924’s “Greed,” and a knowing Wilder used von Stronheim's history as an ingenous movie within a movie device. While William Holden’s character meets Norma Desmond and is hired to write a screenplay for her, he is brought into her screening room to watch some of her previous works. Screened for Holden is “Queen Kelly” a real 1929 United Artists film directed by none other than Von Stroheim and starring Swanson. According to Sikov on the DVD extras, it was “Queen Kelly” that ruined Swanson’s career. Financed by Joe Kennedy, the father of JFK and Robert Kennedy, he was allegedly Swanson’s lover and lore has it that she called him from the set and said, “Joe, come out here at once, a madman is directing this picture,” and of course she was referring to Eric Von Stroheim. Apparently there was major bitterness between the two after “Queen Kelly,” but twenty years later there was not an ounce of rancor on the set of “Sunset Boulevard” between them. Eric Von Stroheim playing the butler of a washed-up, has been actor was, in some sense, an accurate depiction of who he was at that time.
Montgomery Clift was Wilder and Paramount’s first choice to play Joe Gillis. The actor, very young and famous at the time -- his debut picture “The Search” earned him a nomination for an Academy Award for Best Actor and Howard Hawks' “Red River” only made him a more in-demand up-and-comer -- had actually accepted the role initially and was filming “The Heiress” with Olivia De Havilland at the time. According to the DVD extras, he went skiing in Switzerland, thought about it and, perhaps, on the advice of his agent, turned down the role. Clift, who apparently felt he was unconvincing in “The Heiress,” claimed his role of a young man involved with an older woman was too close to the one he had played in the aforementioned film according to Sikov’s well-researched book. An infuriated Wilder, who wrote the role with Clifft in mind, evidently said, "If he's any kind of actor, he could be convincing making love to any woman." However, a purported affair with an older woman (the singer Libby Holman) was his real reason for withdrawing from the film, according to the 2003 BBC doc "Exploring Sunset Boulevard."
8. Cecil B. Demille plays himself in the movie.
The great charismatic and well-loved director Cecil B. DeMille (“Cleopatra,” “Samson and Delilah,” “The Ten Commandments”) played himself in the film, another star from the silent era, who unlike the others had made the successful transition into talking pictures. DeMille apparently didn’t love Wilder, and the feeling was mutual, but he agreed to be in the film nonetheless. DeMille was shooting “Samson & Delilah” at the time and during his scene he used his own crew to appear in the film. Ironically, he considered Nancy Olson for Delilah, but instead cast Hedy Lamarr in the role. “It would have been ridiculous,” Olson admitted, being that she was so wholesome and clearly wrong for the part. Demille knew Swanson well, having directed her five times during her heyday including “Male and Female” (1919), “Why Change Your Wife?” (1920) and “Don't Change Your Husband” (1919). His affectionate pet name for the actress who was 51-years-old at the time of “Sunset Boulevard” was “young fella.”
As usual, this is just the tip of the iceberg as the extras on this disc are bountiful to say the least. “Sunset Boulevard” is out now on DVD/Blu-Ray. As a treat for fans, especially those that made it all the way over to page two of this feature, we have three copies of the Blu-Ray to give away now. All you need to
do is be the first to email us the answer to this question: name any of the “Waxworks group” in the film who isn’t Buster Keaton (Unfortunately, U.S. readers only). Bonne chance. Update: Contest closed, thanks for playing!