Applause America

S2 E9 | FULL EPISODE

Cecil B. Demille; Alec Toth; The Art of Gelato

Take a look into the life of Hollywood legend Cecil B. DeMille & taste the art of Gelato in Houston.

AIRED: November 28, 2015 | 0:26:46
ABOUT THE PROGRAM
TRANSCRIPT

>> APPLAUSE AMERICA, SHARING

ARTS AND CULTURE FROM COAST TO

COAST.

THIS WEEK--

AN INTERNATIONALLY ACCLAIMED

PHOTOGRAPHER WHOSE WORK IS

INSPIRED BY THE COLORADO BACK

ROADS.

>> I WANT PEOPLE TO BE CONFUSED

AND MAYBE A LITTLE STARTLED BY

THE PICTURES. AND THEY HAVE TO

SORT IT OUT THEMSELVES.

>> MEET AN IRANIAN BORN MUSICIAN

AND PHILOSOPHER WHO CULTIVATES

HIS TRADITIONS INTO HIS WORK.

>> SPENT A QUIET LIFE, AN

INTROSPECTIVE LIFE, PLAYING HIS

INSTRUMENT TO COMMUNICATE WITH

THE HIGHER POWER.

>> A TASTY TREAT ELEVATED TO AN

ART FORM.

>> WE PUT A PIECE OF WHAT WE DO,

OUR ARTISTIC EXPRESSION AND OUR

PASSION FOR GELATO INTO EVERY

SCOOP THAT EVERYBODY TRIES.

>> AND A LOOK INTO THE LIFE OF A

BELOVED MOTION PICTURE FILMMAKER

AND THE LEGACY HE LEFT BEHIND.

>> NO ONE IN MOTION PICTURE

HISTORY HAS BEEN MORE IMPORTANT

TO FILM THAN DEMILLE.

>> IT'S ALL AHEAD ON THIS

EDITION OF APPLAUSE AMERICA.

>> SUPPORT IS MADE POSSIBLE BY

GRANTS FROM, THE JOHN P. MURPHY

FOUNDATION,

THE KULAS FOUNDATION,

AND CUYAHOGA COUNTY RESIDENTS,

THROUGH CUYAHOGA ARTS AND

CULTURE.

>> THIS IS APPLAUSE AMERICA,

SHARING ARTS AND CULTURE FROM

COAST TO COAST.

FOR ONE OF HIS LATEST PROJECTS,

INTERNATIONALLY RECOGNIZED

PHOTOGRAPHER ALEC SOTH FIXED HIS

CAMERA LENS ON EVERYDAY PEOPLE,

LANDSCAPES, AND QUIRKY DETAILS

OF LOCAL CULTURE. INSPIRED BY

DOCUMENTARY PHOTOGRAPHY PROJECTS

OF THE 1930'S, SOTH TRAVELED TO

SEVERAL STATES, INCLUDING

COLORADO, WITNESSING AMERICA AS

IT IS TODAY. THE RESULT WAS AN

EXHIBIT AT THE DENVER ART MUSEUM

TITLED COLORADO DISPATCH.

REPORTER: AS HE CRUISED COLORADO

ROADS, PHOTOGRAPHER ALEC SOTH

TRAVELED FROM SITE TO SITE

WITHOUT MUCH MORE OF A PLAN THAN

SHOW UP.

ALEC: THE WAY I'VE ALWAYS WORKED

FROM THE VERY BEGINNING IS THAT

I'M DRIVING DOWN THE ROAD, AND

IF SOMETHING CAUSES ME TO DO

THIS, I NEED TO JUST TURN

AROUND. AND VERY OFTEN, EARLY IN

MY CAREER I WOULD DRIVE TWO

MILES FURTHER AND THINK OH, I

SHOULD HAVE TURNED AROUND. BUT

NOW I JUST GO FOR IT.

REPORTER: THE ROAD TRIP IS NOT A

NEW CONCEPT IN PHOTOGRAPHY, NOR

IS IT NOVEL FOR SOTH. AS A FINE

ART PHOTOGRAPHER, HE'S OFTEN

SNAPPED PICTURES

PERIPATETICALLY.

ALEC: NOW, REALLY I WANT YOU

BOTH STRAIGHT ON ME. SHOULDERS

STRAIGHT, GOOD. THAT'S

EXCELLENT.

REPORTER: HIS WORK ON DISPLAY

THE DENVER ART MUSEUM, COLORADO

DISPATCH, WAS SHOT IN VARIOUS

COMMUNITIES IN THE COLUMBINE

STATE.

REPORTER: SO AS I'VE WALKED

AROUND, SOME OF THE WORDS THAT

POPPED IN MY MIND WERE BEAUTY.

ALSO SOME ODDITIES, AND HUMOR

TOO.

ALEC: ABSOLUTELY, YEAH.

REPORTER: THE FUNATORIUM PHOTO I

ABSOLUTELY LOVED BECAUSE THERE'S

NOT A STITCH OF FUN HAPPENING IN

THAT IMAGE.

ALEC: AND YOU'RE RIGHT, THERE'S

A LOT OF HUMOR IN THESE

PICTURES, AND DARK HUMOR. AND

THAT'S SOMETHING THAT I WANTED.

I COME FROM MINNESOTA, HOME OF

THE COEN BROTHERS. AND I THINK I

HAVE A BIT OF THAT IN ME, THIS

DARK HUMOR. AND WITH THIS

DISPATCH PROJECT I WANTED TO

BRING THAT TO THE VISION.

REPORTER: COLORADO IS ONE OF

NINE STATES SOTH COLLABORATED

COVERAGE OF WITH WRITER BRAD

ZELLAR. EACH TRIP CULMINATED IN

A PRINTED DISPATCH, OR NEWS

BULLETIN, THAT REPORTED ON THE

CIRCUMSTANCES THEY ENCOUNTERED.

TO GIVE THE PROJECT THE LOOK AND

FEEL OF NEWSPAPER PHOTOGRAPHY,

SOTH SHOT BLACK AND WHITE

IMAGES. UNLIKE A NEWSPAPER,

SOTH'S PHOTOGRAPHS ARE NOT

ACCOMPANIED BY CUT LINES THAT

PROVIDE CONTEXT OR EXPLANATIONS

FOR SUBJECTS AND SETTINGS.

ALEC: I WANT PEOPLE TO BE

CONFUSED AND MAYBE A LITTLE

STARTLED BY THE PICTURES. IN

THAT SENSE, IT'S ALMOST LIKE

THEY'RE ON THE TRIP. THEY'RE

HAVING THIS ENCOUNTER. AND THEY

HAVE TO SORT IT OUT THEMSELVES.

REPORTER: AS HE PHOTOGRAPHS

MODERN AMERICA, DENVER ART

MUSEUM CURATOR ERIC PADDOCK SAID

SOTH'S WORK IS AT ONCE CURRENT

AND REMINISCENT OF DEPRESSION

ERA PHOTOGRAPHY SOME 75 YEARS

AGO.

ERIC PADDOCK: YOU LOOK AT THESE

THINGS AND AT FIRST THEY SEEM

QUIRKY AND MAYBE A LITTLE

OFF-PUTTING. BUT THAT'S THE

CHALLENGE OF THE WORK. AND IT'S

ALSO THE REWARD OF THE WORK IS

TO LOOK AT THINGS THAT ARE --

PEOPLE WHO ARE UNLIKE YOU. AND

PEOPLE WHO ARE UNUSUAL OR DOING

ODD THINGS. AND TO KIND OF

RECOGNIZE YOURSELF OR RECOGNIZE

ALL OF HUMANITY IN THAT ONE

PICTURE.

REPORTER: DESPITE THE EMPATHETIC

NATURE OF SOTH'S WORK, HE DOES

NOT SPEND MUCH TIME WITH

SUBJECTS. INSTEAD, HE PREFERS

WHAT HE CALLS QUICK ENCOUNTERS.

ALEC: THERE'S AN INTENSITY OF

THE QUICK ENCOUNTER THAT CAN BE

REALLY MEANINGFUL. I FEEL LIKE

SOMETIMES I CAN HAVE AN

EXPERIENCE WITH A STRANGER THAT

I COULDN'T HAVE WITH SOMEONE

THAT I KNEW FOR WEEKS.

REPORTER: SOTH'S WORK IN FINE

ART PHOTOGRAPHY AS WELL AS FOR

JOURNALISM OUTLETS LIKE THE NEW

YORK TIMES HAS GARNERED HIM AN

ACCLAIMED INTERNATIONAL

REPUTATION. HE REGARDS BOTH

TYPES OF PHOTOGRAPHY WITH AN

EQUAL AMOUNT OF PASSION.

ALEC: THE DIFFERENCE FOR ME IS

SOMETHING LIKE THE DIFFERENCE

BETWEEN A NOVEL AND A POEM. AND

A POEM HAS ALL THESE GAPS THAT

YOU CAN WANDER IN. AND

PHOTOGRAPHY CAN FUNCTION

NOVELISTICALLY OR LIKE A POEM.

AND IT'S VERY FLUID IN THAT WAY.

AND I USE THAT.

ERIC PADDOCK: AND HE'S

PHOTOGRAPHING ORDINARY PEOPLE,

AND ALSO SOME PEOPLE WHO ARE

MAYBE LIVING A LITTLE

MARGINALLY. BUT HE PHOTOGRAPHS

THEM IN A WAY THAT GIVE THEM ALL

OF THEIR DIGNITY AND ALL THEIR

HUMANITY. AND IT SEEMS THAT

THAT'S ONE OF THE THINGS THAT

ART IS FOR IS TO REMIND US THAT,

ON SOME LEVEL, WE'RE ALL THE

SAME.

>> FOR MORE VISIT ALECSOTH.COM.

ANCHOR: AND NOW, HERE'S A LOOK

AT WHAT HAPPENED THIS WEEK IN

ARTS HISTORY.

MEET IRANIAN BORN MUSICIAN AND

PHILOSOPHER OSTAD ELAHI.

DURING HIS LIFETIME, THE

TRADITIONS OF THE ANCIENT WORLD

GAVE WAY TO THE MODERN AGE, YET

ELAHI MANAGED TO STAY FAITHFUL

TO BOTH.

KEN MOORE, CURATOR OF THE

DEPARTMENT OF MUSICAL

INSTRUMENTS AT THE METROPOLITAN

MUSEUM OF ART, GUIDES US THROUGH

"THE SACRED LUTE: THE ART OF

OSTAD ELAHI."

>> HELLO, WELCOME. I'M KEN

MOORE, THE FREDERICK P. ROSE

CURATOR IN CHARGE OF MUSICAL

INSTRUMENTS. AND I'D LIKE TO

WELCOME YOU TO A WONDERFUL

EXHIBITION CALLED: THE SACRED

LUTE: THE ART OF OSTAD ELAHI.

>> OSTAD ELAHI GREW UP IN A

VILLAGE IN WESTERN IRAN.

HE WAS BORN IN 1895.

AND WENT WITH IRAN THROUGH A

TRANSITION PERIOD OF

MODERNIZATION AND THEN DIED IN

1974.

HE WAS CONSIDERED THE GREATEST

AND MOST INFLUENTIAL MODERN

PLAYER OF THE TAMBOUR.

HE BEGAN HIS LIFE UNDER HIS

FATHER'S TUTELAGE.

HE WAS LEARNING TO PLAY THE

INSTRUMENT BY WATCHING, AND

RIGHT AWAY THEY RECOGNIZED THAT

HE WAS A PRODIGY.

HE STUDIED MUSIC, SACRED TEXTS,

AND THEN BY THE TIME HE WAS NINE

HE REALLY WAS A MASTER AND HAD

LEARNED ALL OF THE HYMNS AND

REGIONAL MUSIC THAT WAS AROUND

HIM IN THIS KURDISH VILLAGE.

THIS INSTRUMENT WAS THE

INSTRUMENT OF HAJJ NEMATOLLAH,

OSTAD ELAHI'S FATHER. IT DATES

FROM 1880.

WHEN HIS FATHER PLAYED HIS

INSTRUMENT, HE WOULD SOMETIMES

KISS IT BEFORE PLAYING.

IT'S A SYMBOL OF RESPECT, A

SYMBOL OF THE IDEA THAT THIS IS

A MEANS OF CONNECTING WITH

SOMETHING LARGER, WITH THE

DIVINE.

AFTER HIS FATHER DIES, HE GOES

INTO CONTEMPLATION, DECIDES WHAT

HE SHOULD DO WITH HIS LIFE,

WHETHER HE SHOULD STAY WITH HIS

FATHER'S TEACHING.

BUT HE DECIDES THAT IT'S TIME TO

BE MODERN.

HE GOES TO TEHRAN, HE IS IN THE

ENVIRONMENT OF THE REZA SHAH,

WHO IS MODERNIZING THE COUNTRY.

AND HE WAS PART OF THE FIRST

CLASS IN THIS NEW JUDICIAL

SYSTEM.

IN THE EXHIBITION, WE HAVE A

RATHER LARGE CASE WITH THE

JUDICIAL ROBES AND CAP THAT HE

WORE AND ON THIS ROBE IS A WHITE

SASH WITH ELEVEN GOLD LEAVES ON

IT, WHICH INDICATES THE HIGHEST

RANK IN THE JUDICIAL SYSTEM.

HE WENT TO DIFFERENT PLACES,

LEARNED MORE ABOUT MUSIC IN

DIFFERENT REGIONS, WAS KNOWN AS

BEING A VERY FAIR, JUST PERSON,

AND SPENT A QUIET LIFE, AN

INTROSPECTIVE LIFE, PLAYING HIS

INSTRUMENT TO COMMUNICATE WITH

THE HIGHER POWER.

HE RETIRES AND HE'S DISCOVERED

AS A MUSICIAN. BUT HE WAS

RELUCTANT TO HAVE EVEN HIS MUSIC

RECORDED.

OSTAD ELAHI WAS THE FIRST PERSON

TO USE ALL TEN FINGERS, FIVE

FINGERS ON BOTH HANDS JUST

FLYING HE PARTICULARLY HAD A

KIND OF CONTROLLED WAY OF DOING

THIS -- A VERY EVENNESS ABOUT

THAT, THIS IS PART OF THE

MASTERY OF AN INSTRUMENT, AND HE

WAS A CONSUMMATE MASTER.

ONE OF THE MORE INTERESTING

INSTRUMENTS IS A SETAR, WHICH

BELONGED TO OSTAD ELAHI. IT'S A

SMALL FLAT INSTRUMENT THAT IS

VERY NARROW. IT DOESN'T HAVE THE

ROUNDED BACK. IT WAS BUILT FOR

TRAVELING. AND ONE OF THE THINGS

THAT OSTAD ELAHI DID WAS HE

ACTUALLY DESIGNED INSTRUMENTS.

WE HAVE A VERY BEAUTIFUL

INSTRUMENT WHICH HAS ITS ORIGINS

IN SHIRAZ. IT'S CALLED A TAR.

THE INSTRUMENT THAT WE HAVE IN

THE EXHIBITION WAS ONE THAT

OSTAD ELAHI IS SAID TO HAVE USED

DAILY TO PLAY PERSIAN CLASSICAL

MUSIC.

OTHER INSTRUMENTS, AND MAYBE ONE

THAT'S UNLIKELY, IS A VIOLIN.

HE ALSO PLAYED TWO WIND

INSTRUMENTS.

HE WAS A MULTI-INSTRUMENTALIST;

AND I THINK THIS IS SOMETHING

THAT WHEN PEOPLE HEAR HIS MUSIC,

THEY THINK, WELL HE'S SO

FANTASTIC ON THE TAMBOUR, THAT

HOW COULD HE POSSIBLY SHOW AN

INTEREST IN ANYTHING ELSE? BUT

HE CERTAINLY DID AND WAS

ACCOMPLISHED IN ALL OF THEM.

THE INSTRUMENTS ARE ONE THING,

BUT THEN WE HAVE OBJECTS THAT

SHOW HIS IDEA OF DISCIPLINE, HIS

IDEA AND CONNECTEDNESS TO A

DERVISH TRADITION, AND ONE OF

THE THINGS THAT IS MOST

BEAUTIFUL, IS A BEGGAR'S BOWL.

ONE WOULD USE THIS BOWL TO GO

OUT AND TO BEG. AND THE FUNDS

THAT YOU WOULD GATHER WOULD THEN

GO TO THE POOR, TO THE HUNGRY.

SO THIS IS ONE OBJECT THAT IS

NOT ONLY BEAUTIFUL BUT HAS THIS

WONDERFUL IDEA OF GIVING BACK,

OF TEACHING HUMILITY.

AND WE HAVE A CASE FILLED WITH

HIS TRANSCRIPTIONS OF MUSIC THAT

HE DID WITH SPECIAL NOTATION,

LITTLE ZEROES AND X'S WHICH

INDICATE ORNAMENTATION.

ONE OF THE MORE INTERESTING

MANUSCRIPTS THAT WE HAVE IS FROM

KNOWING THE SPIRIT. THIS IS A

BOOK THAT HE WROTE ABOUT THE

JOURNEY OF THE SOUL. AND IT'S

ONE OF HIS MORE INTENSE

THEOLOGICAL WRITINGS.

I THINK OSTAD ELAHI WOULD BE

SURPRISED BY HIS LEGACY. BY THE

PEOPLE THAT HE HAS INFLUENCED,

THE PERFORMERS, THE AUDIENCE,

THE PEOPLE WHO READ HIS

PHILOSOPHY.

I THINK HE WAS SUCH AN INTIMATE

PERSON PLAYING IN AN INTIMATE

SETTING, THAT HE NEVER EXPECTED

TO HAVE AN EXHIBITION ANYWHERE,

PROBABLY WOULD HAVE TOLD US NOT

TO DO IT.

HE WOULD RATHER US COME TO HIS

HOME, SIT QUIETLY, LISTEN, FEED

OFF OUR ENERGY, AND OUR SPIRIT,

AND DO HIS IMPROVISATIONS FOR

HIMSELF AND FOR US RIGHT THERE

LIVE.

>> TO SEE MORE VISIT

OSTADELAHI.COM.

>> IN OUR NEXT SEGMENT, WE GET A

GLIMPSE INSIDE A FAMILY OWNED

BUSINESS THAT FOCUSES ON THE ART

OF GELATO.

LET'S MEET GELATO MAKER LOUIS

COMELLA, WHO EXPLAINS WHY IT'S

ALL ABOUT HAVING THE TASTE AND

THE VISION.

LOUIS: MAKING GELATO IS

SOMETHING YOU DO WITH YOUR HANDS

AND YOUR MIND. THE ART IS IN

HAVING THE TASTE AND HAVING THE

VISION TO KNOW WHAT'S GOING TO

TASTE GOOD.

IT'S A LITTLE MORE THAN THE

RECIPE THE ARTIST APPROACH OF

THE INGREDIENTS.

ANYTHING IS POSSIBLE SO HAVING

THAT VISION OF WHAT WILL GO, I

THINK IS THE ART OF GELATO

MAKING.

MY NAME IS LOUIE COMELLA, I'M

THE OWNER OF ITALIA ICE CREAM

COMPANY GELATO COMPANY GELAZZI

GELATO.

MY GRANDFATHER ANTHONY COMELLA

ALSO KNOWN AS MAX COMELLA, UH HE

STARTED ITALIA ICE CREAM COMPANY

BACK IN 1953, YOU CAN TASTE A

BIT OF HIS INSPIRATION AND

ARTISAN APPROACH OF WHAT WE DO

HERE TODAY.

GELAZZI IS A FAMILY BUSINESS

-- IT'S MYSELF, IT'S MY PARTNER

LEIGH. LEIGH AND I HAVE KNOWN

EACH OTHER SINCE 1983. WE WENT

TO SCHOOL TOGETHER

SHE HAS SOME VERY GOOD RECIPES,

WE COLLABORATE ON A LOT OF THEM

AND SHE HAS AN EYE FOR TASTE.

WE HAVE SOMETHING FOR EVERYBODY,

WE HAVE FROZEN CONFECTIONS THAT

WE MAKE, WE HAVE TRADITIONAL

ITALIAN PASTRIES. WE HAVE

CANNOLIS, SPUDIADELI, WE HAVE

ITALIAN COOKIES AND YOU'RE GOING

TO GET A PIECE OF ITALIAN

AMERICAN CULTURE.

GELATO, WE MAKE IT IN SMALL

BATCHES AND A SMALL BATCH IS

PROBABLY THE EQUIVALENT TO TWO

GALLONS AT A TIME.

SO TO KEEP UP WITH DEMAND CAUSE

WE ARE IN A HOT CLIMATE, YOU

GOTTA MAKE IT EVERYDAY. SO THERE

IS ONE DISCIPLINE, YOU GOTTA GET

UP AT 5, YOU GOTTA SOURCE THE

INGREDIENTS, YOU GOT 24

DIFFERENT FLAVORS, SO YOU MAKE A

COMMITMENT TO YOUR PRODUCT.

PISTACHIOS IS A GREAT

TRADITIONAL ITALIAN FLAVOR. IF

THE PISTACHIO WAS GREEN AND I

MEAN LIKE BRIGHT GREEN, LIKE A

LOT OF AMERICAN ICE CREAM, THEN

IT'S NOT REAL. WE USE WHAT IS

CALLED PISTASHIO PUREE, PURE

PISTACHIO, WE MASH PISTACHIO'S

WE ADD SUGAR AND THEN WE ADD THE

DAIRY.

WE PUT IT IN THIS MACHINE AND

WAIT SEVEN TO EIGHT MINUTES.

THIS IS IT. THIS IS WHAT

EVERYONE COMES HERE FOR.

WE PUT A PIECE OF WHAT WE DO,

OUR ARTISTIC EXPRESSION AND OUR

PASSION FOR GELATO INTO EVERY

SCOOP THAT EVERYBODY TRIES.

THERE'S ALL KIND OF THINGS THAT

PEOPLE CAN DO IN THE WORLD, BUT

WHEN YOU ARE A GELATIERE OR A

PERSON THAT MAKES GELATO,

NOTHING IS BETTER THAN SEEING A

SMILE COME TO SOMEBODY'S FACE

AND GO WOW, DID YOU MAKE THAT?

AND YOU'RE MAKING PEOPLE HAPPY,

YOU'RE INSPIRING THEM TO FLAVOR,

YOU'RE GIVING THEM A TASTE OF

SOMETHING THAT JUST BRINGS JOY

TO THEIR DAY, TO THEIR MOMENT.

OUT OF ALL THINGS TO DO, IT'S

JUST A GREAT BUSINESS TO BE IN

BECAUSE IT BRING PLEASURE TO

PEOPLE.

>> TO FIND OUT MORE VISIT

GELAZZI.COM.

>> ON THE NEXT EDITION OF

APPLAUSE AMERICA.

>> BY DOING THE PROJECT LIKE

THIS, IT REINTRODUCES IT TO NEW

GENERATIONS TO APPRECIATE IT.

>> THEY KNOW WHAT FIGURES TO PUT

IN WHAT POSES AND THEN THERE IS

A LOT OF TRIAL AND ERROR.

>> ON THE NEXT EDITION OF

APPLAUSE AMERICA.

>> MORE THAN ANY OTHER FILMMAKER

IN THE HISTORY OF THE MEDIUM,

CECIL B. DEMILLE MASTERED THE

ART OF THE SPECTACLE. DEMILLE'S

GRANDDAUGHTER CECILIA AND

WRITER, HISTORIAN MARK VIEIRA

SHARE THEIR PERSONAL STORIES OF

THIS INDUSTRY ICON.

CECILIA DEMILLE PRESLEY: I WAS

SO CRAZY ABOUT HIM THAT I PAID

ATTENTION TO WHAT HE WAS DOING

AND WHAT HE SAID AT HOME HE WAS

A STORYTELLER HE'S VERY QUIET AT

HOME THE WOMEN RAN HIS LIFE AND

HE DID REDUCE TOLD HIM HE WAS

POINTED IT WAS WONDERFUL HE WAS

A FAMILY MAN BUT HE LOVES TO

TELL STORIES HISTORY ANYTHING.

MARK VIEIRA: HE FELT A

RESPONSIBILITY TO HIS AUDIENCE

, HE FELT HE HAD A MESSAGE TO

CONVEY, BUT ALSO HE FELT THAT HE

WAS GOING TO DO IT THE WAY HE

WANTED TO DO IT AND NOT BE

MESSED WITH BUT HE ALSO LET THE

PEOPLE WORKING FOR HIM HAVE

THEIR FREEDOM.

CECILIA DEMILLE PRESLEY: WHEN HE

MADE A FILM, HE HIRED THE BEST

ARTIST SHE COULD FIND FROM ALL

OVER THE WORLD AND LET THEM GO,

HE DIDN'T TELL THEM WHAT TO DO

OR WHAT TO PAINT OR HOW TO CRAFT

AN IDEA, HE WANTED TO HEAR FROM

THEM AND HE WOULD GIVE THEM THE

SCRIPT AND TELL HIS ART

DEPARTMENT OR HIS PRODUCTION

DESIGNER AND GO AND THEY WOULD

COME BACK WITH PAINTINGS THAT

WOULD COMPLETELY INFLUENCE HOW

HE SHOT THE SCENE.

HE LOVED WOMEN.

HE LOVED WORKING WITH WOMEN AND

OF COURSE SHE LIKED MEN TOO FOR

THAT DAY AND AGE HE HIRED MORE

WOMEN THAN ANYBODY. ANNE

BAUCHENS WITH HIS CUTTER FOR

EVERY FILM HE EVER MADE, I THINK

SINCE THE FOURTH FILM HE MADE

-- SHE WAS 97 WHEN SHE DID THE

10 COMMANDMENTS AND HIS WRITERS

WERE A LOT OF THEM WOMEN HE JUST

LIKED WORKING WITH THEM.

GRANDFATHER HAD A GREAT SENSE OF

HISTORY WHERE OTHER DIRECTORS

AND PRODUCERS JUST LEFT THERE

ARE THINGS AT THE STUDIO

GRANDFATHER TOOK THEM HOME, AND

THE STUDIO DESTROYED THAT STUFF

.

I MEAN THEY WERE TAKING

BEAUTIFUL WORKS OF ART PAINTINGS

AND WHITEWASHING THEM SO THEY

COULD USE THE $.25 CENT WHITE

BOARD AGAIN.

GRANDFATHER TOOK ALL THESE

THINGS HOME.

WHEN HE DIED WE HAD ABOUT 40,000

PIECES OF MOTION PICTURE ARTS

.

FIRST I HAVE ALL THESE THINGS

THAT I'VE NEVER BEEN SEEN AND

THEIR MAGNIFICENT THE ARTWORK

THE PHOTOGRAPHS THE STORIES ARE

WONDERFUL AND IT'S IT'S A WAY IN

WHICH TO LOOK AT DEMILLE THROUGH

THE EYES OF HOW HE SAW ART AND

HOW HE SAW HIS FATE, BUT NO ONE

IN MOTION PICTURE HISTORY HAS

BEEN MORE IMPORTANT TO FILM THAN

DEMILLE.

MARK VIEIRA: IT'S TOO BAD THERE

ISN'T A TREASURE TROVE OF EVERY

MAJOR FILM PERSONALITY IN

HOLLYWOOD BUT THIS IS UNIQUE

THIS IS A UNIQUE COLLECTION AND

ITS GENESIS IN ITS EXECUTION AND

IT'S PRESERVATION AND IN WHAT

SHE'S DOING TO KEEP CIRCULATING

AND SHARING WITH EDUCATIONAL

INSTITUTIONS, PUBLIC FILM

STUDENTS IT'S GREAT, SO THIS

DOESN'T HAPPEN EVER.

THE RESISTANCE THAT HE GOT FROM

OTHER FILMMAKERS ESPECIALLY FROM

THE HEADS OF THE STUDIOS ALMOST

TO KIND OF JEALOUSY TERRITORIAL

RESISTANCE TO HIM AND HOW HE

WORKED WITH IT WITH HUMOR WITH

GRACE AND WITH A CERTAIN AMOUNT

OF STRATEGY AND GOT AROUND IT

AND MADE THE FILMS THE WAY HE

WANTED THEM TO BE MADE HE WAS

VINDICATED WHEN THE FILMS WERE

SUPER SUCCESSFUL.

CECILIA DEMILLE PRESLEY: BETWEEN

THE TRUTH AND THE LEGEND, PRINT

THE LEGEND.

WELL WHAT'S BEEN WRITTEN ABOUT

DEMILLE THAT THE AUTHOR MARK

BELL SAID JOHN DE ALL SAID 95%

WHAT IS BEEN WRITTEN ABOUT THE

DEMILLE IS SIMPLY UNTRUE IF YOU

READ THIS BOOK WE DON'T MAKE

ANYTHING UP WE JUST DO QUOTES

FROM PEOPLE ALONG THE WAY ACTORS

AND CREW, PEOPLE LIKE EDDIE

ROBINSON WHO IS BLACKLISTED AND

DEMILLE AND EDDIE ROBINSON AND

HIS BIOGRAPHY SAID THERE WAS

NEVER A MORE DECENT OR MORE

HONORABLE MAN THAT LIVED IN

HOLLYWOOD THEN CECIL B.

DEMILLE.

IT HAS TO BE THE TRUTH I DON'T

CARE IF IT'S COVERED WITH WARTS

OR IF IT'S NICE, BUT IT HAS TO

BE THE TRUTH, WE BECAME FRIENDS

INSTANTLY AND HE FOUND OUT HOW

MANY UNTRUTHS THERE WERE BECAUSE

I NEED IN DAY.

-- BECAUSE I MADE HIM DIG AND

THAT'S THIS BOOK EVERYTHING IN

THIS BOOK IS CORRECT.

I THINK HE WOULD'VE LIKED THE

BOOK VERY MUCH AND I HAD THAT IN

MIND AND EVERY SINGLE PAGE WOULD

HE LIKE THIS BOOK AND IF I

THOUGHT HE WOULDN'T AND IT

DIDN'T GET IN THERE.

>> FOR MORE INFORMATION VISIT

CECILBDEMILLE.COM.

FOR MORE ARTS AND CULTURE, VISIT

APPLAUSE.IDEASTREAM.ORG.

ALSO, TUNE IN THURSDAY NIGHTS AT

7:30 FOR THE LATEST ABOUT THE

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LATEST ARTS AND CULTURE STORIES

FROM OUR AREA, ON THE SOUND OF

APPLAUSE ON 90.3, WCPN,

IDEASTREAM.

THAT WRAPS IT UP FOR THIS

EDITION OF APPLAUSE AMERICA.

THANKS FOR WATCHING.

>> SUPPORT FOR APPLAUSE

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POSSIBLE BY GRANTS FROM --

THE JOHN P. MURPHY FOUNDATION,

THE KULAS FOUNDATION,

AND BY CUYAHOGA COUNTY

RESIDENTS, THROUGH CUYAHOGA ARTS

AND CULTURE.

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