Editing Irving Thalberg (section)

=== Universal Studios ===
He found work as an office secretary at Universal Pictures' New York office, and later became personal secretary to the studio's founder and president, [[Carl Laemmle]]. Among Thalberg's duties were transcribing and editing notes that Laemmle had written during screenings of his films. He earned $25 weekly, becoming adept at making insightful observations, which impressed Laemmle.

Laemmle took Thalberg to see his Los Angeles production facility, where he spent a month watching how movie production worked. Before returning to New York, Laemmle told Thalberg to remain and "keep an eye on things for me."<ref name=Vieira-1 />{{rp|7}} Two months later, Laemmle returned to California, partly to see how well Thalberg was able to handle the responsibilities he had been given. Thalberg gave him suggestions, and thus impressed Laemmle by his ability to understand and explain problems.<ref name=Vieira-1 />{{rp|8}}

Thalberg suggested, "The first thing you should do is establish a new job of studio manager and give him the responsibility of watching day-to-day operations." Laemmle immediately agreed: "All right. You're it." In shock, Thalberg replied, "I'm what?" Laemmle told him to take charge of the Los Angeles studio, which he did in early 1919.<ref name=Vieira-1 />{{rp|8}} When aged 20, Thalberg became responsible for immediately overseeing the nine ongoing film productions and nearly thirty scenarios then under development.<ref name=Vieira-1 />{{rp|8}}

In describing the rationale for this early appointment as studio manager, film historian [[David Thomson (film critic)|David Thomson]] writes that his new job "owed nothing to nepotism, private wealth, or experience in the film industry." He reasons that despite "Thalberg's youth, modest education, and frail appearance ... it is clear that he had the charm, insight, and ability, or the appearance of it, to captivate the film world."<ref name=Thomson>Thomson, David. ''The New Biographical Dictionary of Film'', Alfred A. Knopf, New York (2002) pp. 867–868</ref>

Thalberg was one among the majority of Hollywood film industry workers who migrated from the East Coast, primarily from New York. Some film actors, such as [[Conrad Nagel]], did not like the five-day train trip or the sudden warmth of the California climate. Neither did [[Marion Davies]], who was not used to such "big wide spaces".<ref name=Vieira-1 />{{rp|9}} [[Samuel Marx]], a close friend of Thalberg's from New York, recalled how easily Thalberg adapted to Southern California, often standing outside his doorway during moments of contemplation to enjoy the scenery. "We were all young", said comedian [[Buster Keaton]]. "The air in California was like wine. Our business was also young—and growing like nothing ever seen before."<ref name=Vieira-1 />{{rp|9}}

==== Confrontation with Erich von Stroheim ====
He quickly established his tenacity as he battled with well-known director [[Erich von Stroheim]] over the length of ''[[Foolish Wives]]'' (1922). Biographer Roland Flamini notes that the film was Universal's most expensive "jewel" ever in production, and its director and star, von Stroheim, was taking the film far over budget. Thalberg, now Universal's general manager, was forced to have the director quickly finalize production before the studio's working capital was used up. Flamini describes the situation:<ref name=Flamini>Flamini, Roland. ''Thalberg: The Last Tycoon and the World of M-G-M'', Crown (1994)</ref>{{rp|30}}

{{blockquote|The cost of that set alone had staggered Thalberg when he learned of it, but it was von Stroheim's obsessive spending on unnecessary detail that finally led to Thalberg's confrontation with the formidable director.}}

Thalberg had von Stroheim come to his office, which he did still wearing his film costume as a Russian Imperial Guard and escorted by members of his production team. Thalberg calmly told him, "I have seen all the film and you have all you need for the picture. I want you to stop shooting", to which von Stroheim replied, "But I have not finished as yet." "Yes, you have", said Thalberg. "You have spent all the money this company can afford. I cannot allow you to spend any more."<ref name=Vieira-1 />{{rp|13}}

Thalberg quietly explained that the director worked under the producer, and it was his responsibility to control costs. Von Stroheim, surrounded by his assistants, then confronted Thalberg: "If you were not my superior, I would smash you in the face." Thalberg, unflinching, said "Don't let that stop you."<ref name=Flamini />{{rp|32}} The result was that Thalberg soon afterward removed the cameras from von Stroheim's studio and took over editing. The uncut footage was pared down from five-and-a-half hours to three hours, to von Stroheim's deep dissatisfaction.

A similar problem developed with von Stroheim's next film, ''[[Merry-Go-Round (1923 film)|Merry-Go-Round]]'' (1923). Although he had promised Thalberg to remain within budget this time, he continued production until it went to twice the agreed length and was not yet near completion. Flamini speculates why this happened:

{{blockquote|Given his earlier problems with Thalberg, the director's behavior seemed suicidal. It's possible, however, that the idea of dismissal was simply unthinkable to him or that that he felt he could go over Thalberg's head to Laemmle, and the studio boss would surely want to keep his most prestigious director happy.<ref name=Flamini />{{rp|34}}}}

Thalberg again called von Stroheim to his office, handed him a long letter written and signed by himself, describing the problems, and summarily fired von Stroheim as of that moment. Thalberg's letter stated among the reasons,

<blockquote> totally inexcusable and repeated acts of insubordination ... extravagant ideas which you have been unwilling to sacrifice ... unnecessary delays ... and your apparent idea that you are greater and more powerful than the organization that employs you.<ref name=Flamini />{{rp|35}}</blockquote>

His dismissal of von Stroheim was considered an "earthquake in movie circles", notes Flamini. Producer [[David O. Selznick]] said that "it was the first time a director had been fired. It took great guts and courage ... Von Stroheim was utterly indifferent over money and could have gone on and spent millions, with nobody to stop him".<ref name=Flamini />{{rp|36}} The opinion was shared by director [[Rouben Mamoulian]], who said that the "little fellow at Universal", in one bold stroke, had "asserted the primacy of the studio over the director" and forever altered the balance of power in the movie industry.<ref name=Flamini />{{rp|36}}

==== Effects of his young age ====
<!-- Deleted image removed: [[File:Thalberg-sitting.jpg|thumb|{{center|Thalberg, 1929}}]] -->
According to Flamini, his youth was a subject of conversation within the movie community. Executives from other studios, actors, and film crew, often mistook him to be a junior employee. Movie columnist [[Louella Parsons]], upon first being introduced to him, asked, "What's the joke? Where's the new general manager?" After five minutes of talking to Thalberg, however, she later wrote about "Universal's Boy Wonder": "He might be a boy in looks and age, but it was no child's mind that was being asked to cope with the intricate politics of Universal City."<ref name=Flamini />{{rp|37}} Novelist [[Edna Ferber]] responded the same way, writing that "I had fancied motion-picture producers as large gentlemen smoking oversized cigars. But this young man whose word seemed so final at Universal City ... impressed me deeply."<ref name=Vieira-1 />{{rp|9}}

The male actors in the studio had a similar reaction. [[Lionel Barrymore]], who was nearly twice his age, recalled their meetings:
{{blockquote|I used to go into his office with the feeling I was addressing a boy. In a moment, I would be the one who felt young and inexperienced. I would feel he was not one, but all the forty disciples.<ref name=Thomas>Thomas, Bob. ''Thalberg: Life and Legend'', New Millennium Press (1969)</ref>{{rp|39}}}}

Thalberg likewise gained the respect of leading playwrights, some of whom also looked down on him due to his youth. [[George S. Kaufman]], co-author of ''Dinner at Eight'', several Marx Brothers films, and two George Gershwin plays, came from New York to meet with Thalberg. Afterward he confided to his friend, [[Groucho Marx]]: "That man has never written a word, yet he can tell me exactly what to do with a story. I didn't know you had people like that out here."<ref name=Vieira />{{rp|189}}

Actress [[Norma Shearer]], whom he later married, was surprised after he greeted her at the door, then walked her to his office for her first job interview: "Then you're not the office boy?" she asked. He smiled, as he sat himself behind his desk: "No, Miss Shearer, I'm Irving Thalberg, vice-president of the Mayer Company. I'm the man who sent for you."<ref name=Thomas />{{rp|44}}

His younger-than-normal age for a studio executive was usually mentioned even after he left Universal to help start up MGM. Screenwriter [[Agnes Christine Johnson]], who worked with Thalberg for years, described his contribution during meetings:
{{blockquote|He's so marvelous that no one who doesn't know him can believe it. Seeing him sitting in with all the important people, looking such a boy, and deferred to by everybody, you'd think that either they were crazy or you were. But if you stayed and listened, you'd understand. He has a mind like a whip. Snap! He has an idea—the right idea—the only idea!<ref name=Vieira-1 />{{rp|73}}}}

The same quality was observed by director and screenwriter [[Hobart Henley]]: "If something that read well in conference turns out not so good on the screen, I go to him and, like that—Henley snaps his fingers—he has a remedy. He's brilliant."<ref name=Vieira-1 />{{rp|74}} Another assistant producer to Thalberg explains:
{{blockquote|Irving had a sixth sense about a manuscript. He was a film doctor. You could go out [to a preview] with a film, and if there was something that didn't quite come off, he could put his finger on it. Some of the great films that came out of Metro were ''re''made at his suggestion. He had that uncanny ability.<ref name=Vieira />{{rp|59–60}}}}

His youth also contributed to his open-mindedness to the ideas of others. [[Conrad Nagel]], who starred in numerous Thalberg films, reported that Thalberg was generally empathetic to those he worked alongside: "Thalberg never raised his voice. He just looked into your eyes, spoke softly, and after a few minutes he cast a spell on you."<ref name=Vieira-1 />{{rp|74}} Studio attorney Edwin Loeb, who also worked to create [[AMPAS]], explained that "the real foundation of Irving's success was his ability to look at life through the eyes of any given person. He had a gift of [[empathy]], and almost complete perspective."<ref name=Vieira-1 />{{rp|74}} Those opinions were also shared by producer [[Walter Wanger]]: "You thought that you were talking to an Indian savant. He could cast a spell on anybody."<ref name=Hoberman />

His talent as a producer was enhanced by his "near-miraculous" powers of concentration, notes film critic [[J. Hoberman]].<ref name=Hoberman /> As a result, he was never bored or tired, and supplemented his spare time with reading for his own amusement, recalls screenwriter [[Bayard Veiller]], with some of his favorite authors being [[Francis Bacon]], [[Epictetus]], and [[Immanuel Kant]].<ref name=Hoberman />

==== Film projects at Universal ====
[[File:Hunchback -Notre Dame 1923.jpg|thumb|Lon Chaney in ''The Hunchback of Notre Dame'' (1923)]]
Biographer [[Bob Thomas (reporter)|Bob Thomas]] writes that after three years at the studio, Thalberg continually proved his value. Universal's pictures improved noticeably, primarily due to Thalberg's "uncanny sense of story." He took tight control over many key aspects of production, including his requirement that from then on scripts were tightly constructed before filming began, rather than during production. Thomas adds that he also "showed a remarkable capacity for working with actors, casting them aptly and advising them on their careers."<ref name=Thomas />{{rp|37}}

After producing two films that were in production when he began work at Universal, he presented Laemmle with his idea for a film based on one of his favorite classic stories, ''[[The Hunchback of Notre Dame (1923 film)|The Hunchback of Notre Dame]]''. Rather than just a horror picture, Thalberg suggested turning it into a spectacle which would include a replica of the [[Notre-Dame de Paris|Notre Dame Cathedral]] in Paris. He had [[Lon Chaney]] play the hunchback. The film became Universal's most profitable silent film and established Chaney's career as a top-flight star.<ref name=Thomas />{{rp|36}}

After nearly three years with Universal, Thalberg had supervised over a hundred movies, reorganized the studio to give more control to the managers, and had "stopped the defection" of many of their leading stars by offering them better, higher-paying contracts. He also produced a number of Universal's prestige films, which made the company profitable. However, he decided it was time to find a studio in Los Angeles more suitable to his skills, and spread word that he was available.<ref name=Flamini />{{rp|43}}