I was going through some past emails and I found this post from my old Yahoo group
On Feb. 6, the "Old Movie Section" blog posted this "tintype" of
Peter, written by Sidney Skolsky, taken from a book titled "Tintypes". Peter was working on "Crime and Punishment" at the time:
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11/27/1935 HCN Tintypes
By Sidney Skolsky
Peter Lorre is in his dressing room. It generally takes him an hour
to dress for his role in Crime and Punishment. He does this slowly,
intentionally. He believes it aids him to portray the character.
He goes on the set and stands in for himself. He is one of the few
big actors who do this. He poses under the hot lights while director
von Sternberg arranges them and the camera. He does this because von Sternberg, who is particular about lighting a scene and an actor, asks him to do it. It means hard work for him, but he admires von Sternberg.
While on the set he has a favorite drink, a mixture of raspberry syrup and water. He makes everyone sample it. While making a flicker he doesn't eat much. His lunch consists merely of sliced fresh fruit, usually peaches.
He walks about, whether it be in the studio or in a restaurant, much
in the same manner as he did in M. People who have seen him in this
great flicker are scared when they first see him in person. He knows
this and is greatly amused by it.
It was his excellent performance in M which got him a contract with
Columbia. Before coming to America, he signed to play in the flicker,
The Man Who Knew Too Much, to learn to speak English. He is good at languages and was quite adept at English in six weeks. He spoke
better English in the latter reels of The Man Who Knew Too Much than he did in the beginning.
He was born in the village of Rosenberg, Hungary, on June 26, 1904.
It was after he completed high school that he ran away from home to
become an actor. In one early theatrical job he was given a three-
line part. After the rehearsals the lines were taken away from him
because he overacted. The director said he would be a standout by
merely walking across the stage.
He is five feet 5 inches tall, weighs 160 pounds, has brown prominent
eyes, brown hair, and rosy cheeks. A strange villain.
He speaks in a low, confidential voice which cannot be heard very far
away. At the studio he will visit different offices. He amuses friends by acting and making faces. When telling a story he acts out all the characters.
He is a mild, pleasant person. He has a house at Santa Monica to
which he invites his few friends for breakfast or dinner. He prefers
to test by himself in his garden here. He seldom barks. He is not a
visitor to the Hollywood gay places.
He enjoys watching tennis and football. His favorite sport is wrestling. He attends the bouts regularly. He once waited until after
a match to ask Man Mountain Dean for an autograph.
He is married to Cecilie Lvovsky, an actress. They met when they were both appearing in the German play, "The Candidate," and were married when they met again in London. He was making a flicker. They were married during a lunch hour, and Lorre was in the make-up he used in The Man Who Knew Too Much. They haven't any nicknames for each other.
He makes charcoal sketches, landscapes and portraits, and is a good artist for his own amusement. He likes to listen to classical music. He detests bright red fingernail polish on women.
He insists that if he did not have to act, he would not. Acting, he says, is a child's profession for a grown up. "But," he slyly adds, "I love it."
When he isn't working he relishes a big meal. He likes Hungarian
goulash and is especially fond of new potatoes in cream. He will talk
about food and give a lecture on why a certain salami is better than
another type of salami.
He is not at all particular about clothes. He doesn't try or pretend to be fashionable. He always carries plenty of baggage, most of which he never uses. He claims it looks good when you're traveling.
He likes cold showers and actually takes them.
He seldom carries money with him. Often he has run into a shop to buy a package of cigarets [sic], has found himself without a penny, and has had to write out a check for 15 cents. He sleeps alone in a twin bed. He wears pajamas, and on warm nights he wears only the jacket. He always reads himself to sleep.
He has a clause in his contract. Each day before work he is allowed
to run into Boris Karloff's dressing room and frighten him.
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Hello.
I've seen you posting detailed information about the WGA strike and wondered if you had any suggestions as to how those of us not directly involved can show our support for the Union?
Okay, bearing in mind that all this is entirely subjective at the moment (and so far lacking any more useful input from other sources): a few thoughts.
This will be my third WGA strike. (My first one was in 1988, just after I'd made my first live action sale—s1e6 of ST:TNG). And the thought keeps occurring to me at the moment that this time out, there's a potentially gamechanging player on the field that wasn't there before: truly pervasive social media.
(Adding a cut here, because this goes on a bit...)
In 2007, social media as we now understand it was still in its cradle. Now, though, those of us who're striking can make our voices much more widely heard. And so can those of us who're not, but just want to show solidarity. Last time, the AMPTP was able to do pretty much what it wanted without the public noticing or having even a medium-profile way to make their feelings known. But this time? Not so much.
So as an otherwise uninvolved person who wants to show solidarity, I'd start with something seemingly low-value. If I was on Twitter, I'd start routinely tweeting about the strike and my support for it—not obsessively, just persistently, a couple/few times a week—using the Twitter hashtags that are gaining ground even now, such as #DoTheWriteThing (and of course #WGAStrike). I would make sure I was following @WGAEast and @WGAWest, to keep an eye on what's going on.
Additionally: I would start politely, but repeatedly—again, maybe once or twice a week at least, and not stopping—tweeting the various major players in the AMPTP, especially the streamers: Amazon, Netflix, Hulu et al. I would start suggesting that their current attitude toward the WGA's contract negotiations is not only unrealistic but potentially (for the AMPTP) bad for business. (And self-destructive, too, as if this goes on much longer in this vein, they'll be seemingly eagerly casting themselves as The Baddies.) I would suggest that their bad behavior, if not amended by them coming to the table to bargain in good faith, might start affecting both my interest in their shows and my willingness to keep paying unreasonable people for access to them.
I should emphasize here that so far there've been no formal calls from anyone for boycotts or subscription cancellations. For the moment, this strikes me as wise. The point for WGA-friendly observers, right now, would be to keep what's happening to the writers visible: to keep bringing it up: to refuse to allow it to be swept under the rug. The "They only want two cents on the dollar!" angle seems potentially useful the more it's repeated. The point is to keep the repetition going: to make it plain, day after day, that the other side's being not just unreasonable, but greedy. Day after day, and week after week, and (if necessary: please Thoth may it not be...) month after month.
And tweeting is hardly all that can be done. Email is cheap and easy. But actual letters, written on actual paper and mailed, can still create a surprising amount of attention in a corporate office. (The saying in TV used to be that for every person who actually writes in about an issue, there are ten, or a hundred, who feel the same way but never got around to it.) Write letters to all the AMPTP members' CEOs, and make your feelings on the WGA's core demands politely plain. ...Especially when those CEOs collectively made almost three-quarters of a billion-with-a-B dollars in salaries last year, when many of the writers working on their shows can't afford rent.
After that: here's another thought, a little more physical. If by chance you're in an area where one or the other of the Guilds are picketing: turn out and support them! Honk when you pass: and if you're interested, show up and offer to walk the picket lines with them. These things get noticed. (In 2007 a bunch of us, both Guild members and non-, caused significant astonishment by turning out to picket AMPTP members' offices in Dublin.)
...Obviously not all that many people are going to be positioned, in terms of location or their own work and time commitments, to show up physically. But online? Find ways to keep this issue visible. The AMPTP wants this to go quiet, wants people to get bored with it, wants people to find reasons to blame the writers. They've tried spinning the story that way before. Don't let them pull that shit. Find ways to back those who're calling them on that, publicly. They do respond to this kind of thing (though they may strenuously deny it). If enough attention continues to be paid by the general public, they will blink—if sometimes excruciatingly slowly, as Disney began to blink over the dispute tagged #DisneyMustPay.
As viewers, and as viewers who pay for subscriptions to things, we far outnumber them. Help be a part of making the AMPTP understand that this quest for a truly fair deal is not going to go away. And the longer they try to act like the Guild's negotiation positions are beneath their notice, the more it's going to hurt them, and the stupider and greedier it's going to make them look.
...That's all I've got for the moment, as I need some lunch. :) ...But I hope this has helped. And thanks for your concern, and your desire to stand in solidarity with us! It's so welcome. :)
ETA: here's a link to the Guild's social media toolkit, for those who'd like to change PFPs or icons, etc., to show their support.
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