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By Jerry Lewis

‘The overall Film-Maker’ — Jerry Lewis’ ebook on filmmaking, taken from 480 hours of audio tape, recorded as Jerry taught filmmaking on the collage of Southern California, 1971. “It’s it seems that the most effective books written approximately filmmaking ever. It was once revealed in 1971 and has been out of print considering the fact that then.”

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The best way to beat those elephants is to see that the actors say the words. He has lived with the script; he knows what he wants to hear. Strangely, you can get away with theft optically if you let the producer hear on screen what he's already read a hundred times. We made One More Time in England, which is still an­ other example of producer involvement. Where do you 44 The Money Man make the picture? Can you cut costs by making it on for­ eign soil? In this case, we did, by utilizing the Eady Plan.

Or "Put me on after the fourth singer, the one that does 'Roses are . " Then they learned that was the time the audi­ ence would go to the toilet. So they figured it was better to follow World War II, the act that broke up the theater, come out with the audience high and up. Gregory Peck, another caring actor, won't knowingly do a film with an in­ competent actor. He knows he'll look almost equally in­ competent. Many actors haven't learned that good makes good, so they resort to techniques like method.

It was for the theater. Eddie Robinson, Pat O'Brien, Sam Levine, Spencer Tracy-towering names-did plays. That was their training. Cary Grant, 6 z Actors Gary Cooper and Jimmy Stewart developed as personali­ ties, playing themselves role after role. At the same time, they were fine actors and fine technicians. I've often been asked why the film industry hasn't gen­ erated more acting talent. The answer is simple: the men at the top do not care. They live on the basis of product being made today.

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