April 6, 1953

Dear Mr. Kazan:

I have heard about your intention to make a picture about
New York Waterfront.

In the past I have done my best to express the less spec-
tacular but nostalgic waterfront in Paris. This was in Atalante
with Jean Vigo. I have always wanted to tackle the amazing charac-
ter of the East River and the hidden angles along the Brooklyn side.
On occasions I did so in some sequences I have shot in New York.
Besides, for a very long time I have wanted to shoot a picture with
you. The test shot with you for Viva Zapota made me think that your
visual conception of a scene is so close to mine that it would have
been an ideal climate for creative effort, at least for me, and I
hope for the picture.

As you may know, I have worked on productions around New
York as free lance director of photography and have shot several
films, as Better Tomorrow; Journey Into Medicine; Capital Story;
Southwest; Mr. X Faces the Air; The Road, The Bridge, Santa Rose;
Boston Symphony (Tanglewood); Julliard School of Music; Bach Choir;
Pan American Series; The Window; Leonardo de Vinci; etc.

Previous to the New York activity, I have worked 18 years
in Paris, France, starting in the French avand garde. Here are
some titles of that period:

24 Hours in 30 Minutes - Champs Elysees
Halles - Seine (The River)
Ladomegue in Mile (Sport Film)
The Giant of the Valley - Aprops of Nice
Ski in Switzerland " "
Etc.

With the beginning of sound, I went to work at Paramount
Studios in Paris for nearly two years, during which I shot several
features. After that I made all pictures with Jean Vigo, two of which -
Zerb de Conduite and Atalante - are considered classics of the French
cinema.

After the death of Jean Vigo, I worked with independent
producers in all studios of Paris and Nice. Here are some titles
of the features I have shot:

ELIA KAZAN

April 13, 1953

Boris Kaufman
32 West 9th Street
New York City 11

Dear Boris Kaufman:

I enjoyed working with you too.

I do not know exactly how my water front
picture is going to be done but I certainly would
like to see some more of your work and meet you
again.

I won't be around town really for another
four weeks but after that time I will be at Twen-
tieth Century Fox, 444 West 56th Street. Just ex-
actly the date is, I don't know but if you would
keep tabs on me and come to see me when I am there,
we could certainly get together and have a talk.

I would be eager to talk with you about
Jean Vigo, never having seen one of his pictures.
Can't you get one for me to see? Do you know
whether the Museum of Modern Art has one? Perhaps
we could see it together if they have - and talk
about it afterwards.

ELIA KAZAN

September 28, 1953

Dear Boris:

The situation on the picture is entirely up in the air at the moment. We have union problems and as I write they are not yet resolved. As you know, we want Harry Stradling and until that is cleared up I don't know what I am going to do or or even whom I need.

However, why don't you go ahead on your own plans for the time being. I think the position of stand-by camera men is a humiliating one for a man of your talent and actually I don't think I would be happy to have you in that role. Why don't I look for a future opportunity for us to work together?

I am going to be doing more pictures - in fact most of my pictures - away from the studios, so let us develop our new friendship and wait for an opportunity that will really be creditable to you and where your talent can find its real function.

My best to you always and I hope we can see each other some time this fall - very soon.

Sincerely yours,
Elia Kazan

CABLE ADDRESS
"WANEWAR"

TELEPHONE
HOLLYWOOD 9-1251

WARNER BROS.

PICTURES, INC.
WEST COAST STUDIOS
BURBANK, CALIFORNIA

May 25, 1954

Mr. Boris Kaufman
c/o Horizon-American Productions
424 Madison Avenue
New York, N.Y.

Dear Boris:

I haven't written you in a long time but I want you to know, because it may make you feel good, that I tried to get you out here to photograph this picture for me. I made a strong effort and was completely blocked by the union here and also by the studio. But I only tell you this because it's a simple way of explaining how much I admire your work and what a contribution you made to the picture.

Last Thursday night there was a showing, which I did not attend, and everyone there has called me remarking on how beautifully photographed the picture is and how unusual and new your work is. Of course I feel the same way, and even as I was dictating this note, my secretary, who was at the showing, remarked, "it's true." So you should feel good and I should feel grateful, and I do.

I also look forward to working with you again real soon.

Having made one picture in the east and found it worked out fine, I think in the future I'll put most of my time in there.

My best to your wife, and if you have time drop me a line.

EK:r

NEWTOWN PRODUCTIONS, INC.

1545 BROADWAY
NEW YORK 36, N. Y.
CIRCLE 6-9760

March 14th., 1956

Dear Boris:

Ever since I started editing BABYDOLL, I've been going over, in my mind, our experience together. The film goes thru my hands and under my eyes, and I remember my problems and the solutions we reached. What we did and what we failed to do. Frankly I'm just a little disappointed in much of my own work. In instance after instance I think I could have done better. I do not blame you for my own insufficiencies. Not at all. But again and again when I see film that is so, I remember that I was not really relaxed or really "with it" during the filming of those scenes. I was not using my best judgment either in directing the action or in viewing and judging my work as it was performed and in selecting the "prints". I think that part of the trouble was due to the new pressures on me of the double duty of director and producer. I also think, however, that a good part of the trouble was that I never succeeded in drawing from you an uninterrupted run of "takes". This constant "correcting" and fussing, "improving" reached its peak, for me, on the last day. We were making the rather simple dolly shot on Malden and the Doctor over the Checker game. We did eight takes and between everyone of the eight takes you and/or Vin took over right after I said "cut" and the continuity of my work was shattered into eight pieces. I spoke to you about this grave nuisance several times in Greenville and most earnestly. Nothing happened about it except for one night. By the time I arrived in New York, I had given up. I was suffering it.

As to your famous "slowness", I think you are doing your abundant intelligence a grave injustice if you prevent it from recognizing this as a fact. The fact, dear Boris, is that you are slow. And that it costs. It costs financially. I stand open now to a five percent penalty on my share of the profit of BABYDOLL. Part of this is due to the added material I introduced at the film's end, which was more than Johnny had calculated on. But that is far far from the whole story. I began to find myself lucky if I got four set-ups a night. Eostatic if I got six or seven a day. We worked long hours with lots of overtime and this type of prospect is not a promising one. And this led to a more serious disturbance. I found myself giving up on close-ups in my mind - when I KNEW I needed them - close-ups that, now in the cutting room, I badly need.

I write you these few and partial words of explanation because I do esteem you and hope some day - if I can ever reasonably foresee a more equitable way of functioning with you - to work with you again. I admire your work. I feel many fundamental harmonies with you. I only feel antagonistic when I feel that your good work is obtained at the cost of my own chance for really good work. I feel that was the case here. The centre of the production operation, the goal of all the work and the purpose of all the functioning is the unhampered director working at his best. He, the director, is central

NEWTOWN PRODUCTIONS, INC.

CIRCLE 6-9760

- isn't he? Well, hell, I often could not get close enough to the base to really read the scenes right. It is a trivial, but I think highly revelatory and even symbolic that hardly ever was there an effortmade • a chair, a stepping aside - so that I could see my scene more squarely. And I got so I thought of the word "out" as the signal for an avalanche of electricians - or one rather talented wiry one - descending on the scene and drowning out what I was struggling to find to convey to the actors. I know that you don't remember this, are not, probably, even aware of it. And that is just the point. But I can tell you now, as I told you twice most earnestly in Greenville, that I felt jostled and, in effect, pushed out of the way. And as for any hope of the opposite - true concern and consideration for my proper functioning - that I soon stopped hoping for.

The alternative - to use my energy and voice to bully everyone quiet - is not for me. A martinet is not a creative man. I have other uses for my energy. This, also, is not the first picture I've made. I know that this condition need not be.

So I have decided not to offer you A FACE IN THE CROWD. I will try to solve my requirements thru the help of another cameraman.

I write this to you with regret. We had something good on WATERFRONT. Perhaps we will again some time. I hope so.

Yours,

Elia Kazan

O'Shea's Bayview House
House Keeping Cottages

Studio House Keeping Apartments
and Rooms
on

SHINNECOCK BAY, HAMPTON BAYS

LOCATION: Light house Road, Hampton Bays, at Ponquogue Bridge on Shinnecock Bay. Turn right at traffic light in the village of Hampton Bays, Ponquogue Ave.

The shopping area of Hampton Bays is close by. There are several restaurants in the shopping district and a barbecue shop; also Catholic and Protestant churches.

ACTIVITIES: Long Island's best fishing grounds are at our front door, Flounder, Fluke, Snappers, and surf fishing. Boats available. We have shuffle board and horse-shoes. There are charter boats and open party boats available for fishing parties at Shinnecock Canal, and many pleasant hours may be spent fishing off the docks at the Canal. Several golf courses are just a short distance from here. There are Little Theatre groups in the nearby villages where many prominent movie personalities make their appearance, and outdoor movies are nearby. Ocean bathing is just about a five minute walk away and we have our own private beach.

ACCOMMODATIONS:

**Studio Housekeeping Apartments** — Each apartment has private entrance, is furnished with shower, hot and cold water, dishes, glasses, silver, cooking utensils, stove and refrigerator. Two studio couch beds. Accommodates two.

**Cottages** — Each cottage has living room, bedroom, kitchenette and bath. Cottages are furnished with shower, hot water, hollywood twin beds, innerspring mattresses, chest of drawers, clothes closet, chairs, couch, dinette set, dishes, glasses, cooking utensils, electric refrigerator and stove. Accommodates a maximum of four.

**Rooms** — All rooms are double bed rooms, overlooking the water. Twin and double beds, all very Comfortable. Linen furnished.

RATES

June 29th to September 7th

<table><tr><td>Cottages</td><td>per week $.85/00</td><td>for four</td></tr><tr><td>Studio Apartments</td><td>per week $.65/00</td><td>for two</td></tr><tr><td>Rooms</td><td>per week $.50/00</td><td>for two</td></tr><tr><td>Rooms</td><td>per day $.80</td><td>for two</td></tr></table>

May 15th to June 29th and from September 7th to October 15th

<table><tr><td>Studio Apartments,</td><td>per day for two $ 8.00</td><td>per week $.50/00</td></tr><tr><td>Cottages</td><td>per day for two $10.00</td><td>per week $.55/00</td></tr><tr><td>Cottages</td><td>per day for three $13.00</td><td>per week $.60/00</td></tr><tr><td>Cottages</td><td>per day for four $16.00</td><td>per week $.65/00</td></tr><tr><td>Rooms</td><td>per day for two $ 6.00</td><td>per week $.40/00</td></tr></table>

No laundry to be done on premises. There is a Laundromat in Hampton Bays.

No dogs allowed at any time.

All rentals must be vacated at 11 A. M. on day of departure.

Linen furnished only to overnight guests in apartments and cottages.

Linen rental service available for apartments and cottages.

There is an extra charge if you bring an electric broiler or rotisserie.

Telephone HAmpton Bays 2-0288

Prop. Maurice O'Shea

CLASS OF SERVICE

This is a fast message
unless its deferred char-
acter is indicated by the
proper symbol.

WESTERN UNION
TELEGRAM

W. P. MARSHALL, PRESIDENT

SYMBOLS

DL = Day Letter

NL = Night Letter

LT = International
Letter Telegram

The filing time shown in the date line on domestic telegrams is STANDARD TIME at point of origin. Time of receipt is STANDARD TIME at point of destination

N41D297 8R NL PD

WUX NEWYORK NY MAY 21 1957

BORIS KAUFMAN

32 WEST 9 ST NYK

GADG KAZAN HAS ASKED US TO INVITE YOU AS HIS GUEST ON TUESDAY EVENING, MAY 28, AT FORMAL WORLD PREMIERE OF "A FACE IN THE CROWD" AT THE GLOBE THEATRE AND AFTER-THEATRE PARTY AT EDEN ROC, 148 EAST 48TH STREET IN HONOR OF THE CAST OF "A FACE IN THE CROWD."
RSVP CIRCLE 6-1000 EXT. 237 FOR YOUR PERSONAL TICKETS.

CORDIALLY

ROBERT S TAPLINGER WARNER BROS

900P

THE COMPANY WILL APPRECIATE SUGGESTIONS FROM ITS PATRONS CONCERNING ITS SERVICE.

Dear Boris: Thanks for the letter. You didn't say one thing. What did you think of the camera work? I'd appreciate your frank estimate of this. I am unable to estimate the criticisms of the film yet. I'm too close. But I know it doesn't come off at the end of most people'sHave you any idea? What did Helen think?

gadg