david o. selznick


Top photo:From left, standing: Technicolor associate Ray Rennahan, in hat, cinematographer Ernest Haller, Vivien Leigh, and Clark Gable pose beside Technicolor camera during the production of GONE WITH THE WIND, 1939. Camera operator Arthur Arling is pictured in background between Rennahan and Haller. Assistant director Eric G. Stacey is kneeling in front. Others unidentified.

From left: Clark Gable, producer David O. Selznick, and MGM executive Louis B. Mayer on August 24, 1938, the occasion of the announcement of MGM allowing Clark Gable to appear in GONE WITH THE WIND, 1939. Note: This is supposed to be a photo of Gable’s contract signing to appear in the film but the document on Mayer’s desk is not a contract but a daily production activities report.

Supervising film editor Hal Kern during production of GONE WITH THE WIND, 1939.

Photograph of production design drawing, GONE WITH THE WIND, 1939

Producer David O. Selznick during production of GONE WITH THE WIND, 1939. He poses in front of an oil portrait of “Scarlett O'Hara” painted by Helen Carleton on the set of Rhett Butler’s bedroom in the postwar Atlanta house.

Photograph of composite of four sketches made to illustrate original conception of how GONE WITH THE WIND, 1939, was to open. Top, left, shot of the book with dust jacket placed beside mint julep; opening of book beside mint julep; bottom, left: closeup of first page of text with emphasis on first sentence; closeup of character Scarlett O'Hara behind the letter ’S’.

Hattie McDaniel poses beside an oversized telegram from Western Union dated March 1, 1940, that congratulates her on her performance in GONE WITH THE WIND, 1939, and is addressed to her care of “Metro-Goldwyn-Mayer Studios, Culver City, Hollywood, California.” It reads: “Your Washington admireres take this opportunity to compliment you on your brilliant work in ‘Gone With the Wind.’ Your unforgettable portrayal is a monument to which we pay homage. We predict it will go down as one of the great roles of all time.”

Photographic copy of storyboard drawings, GONE WITH THE WIND, 1939.

 “‘Need I say this is a privilege and an honor to announce this winner: Miss Vivien—’ Deafening applause drowned out the rest of Spencer Tracy’s preamble. Having anticipated the victory moment, Leigh glided gracefully to the podium… ‘Ladies and gentlemen,’ she began, ‘if I were to mention all those who have shown me such wonderful generosity through Gone With the Wind, I should have to entertain you with an oration as long as Gone With the Wind itself.’ Before departing the rostrum she thanked ‘Mr. David Selznick, all my coworkers, and most of all Miss Margaret Mitchell.’…  Later she claimed to be unnerved by the experience of departing from the podium and making her way through the Cocoanut Grove with her Oscar. She likened the route to the perilous journey she’d witnessed on the night she’d landed her part in Gone With the Wind—Scarlett and Rhett’s harrowing horse-drawn-buggy ride through burning Atlanta. ‘Only instead of flames,’ she said, ‘it was people reaching out to touch me.’” -Bronwyn Cosgrave

David O. Selznick (producer), Joan Fontaine (actress), Alfred Hitchcock (director), and Judith Anderson (actress) at the 13th Academy Awards, 1941. All 4 were up for Oscars for Rebecca, which had eleven nominations but only won for Best Picture (Selznick) and Best Cinematography (George Barnes).



A behind-the-scenes look at Vivien Leigh attending the 1940 Academy Awards, where she won the Oscar for “Best Actress” for her performance in Gone With the Wind (1939). She is pictured with presenter Spencer Tracy, co-star Thomas Mitchell, producer David O. Selznick and her husband, actor Sir Laurence Olivier. 


H A P P Y 100th B I R T H D A Y  Ingrid Bergman

August 29, 1915 — August 29, 1982

I have no regrets. I wouldn’t have lived my life the way I did if I was going to worry about what people were going to say.

She had an extraordinary quality of purity and nobility and a definite star personality that is very rare.
— David O. Selznick

Do you know what I especially love about you, Ingrid, my dear? I can sum it up as your naturalness. The camera loves your beauty, your acting, and your individuality. A star must have individuality. It makes you a great star. A great star.
— George Cukor