Summary Information
George Seaton Papers 1934-1975
- Seaton, George, 1911-1979
U.S. Mss 75AN
11.6 c.f. (29 archives boxes)
Wisconsin Historical Society Archives / Wisconsin Center for Film and Theater Research Contact Information
Wisconsin Historical Society (Map)
Papers of an Academy Award winning screenwriter, director, and producer, reflecting his work in the film industry. Extensive production files for several of Seaton's films include scripts and drafts, correspondence, research material, budgets, cast and crew lists, call sheets, music, production reports, publicity, set designs, shooting schedules, and reviews. Films represented include Airport, The Bridges at Toko-Ri, The Counterfeit Traitor, The Country Girl (which won an Academy Award in 1954), A Day at the Races, Little Boy Lost, Miracle on 34th Street (winner of an Academy Award in 1947), A Night at the Opera, The Pleasure of His Company, Showdown, Song of Bernadette, 36 Hours, What's So Bad About Feeling Good?, and others. Of special interest are the research notes and correspondence for The Counterfeit Spy and 36 Hours which detail Seaton's attempt to accurately portray World War II espionage activities.
There is a restriction on use of this material; see the Administrative/Restriction Information portion of this finding aid for details.
English
http://digital.library.wisc.edu/1711.dl/wiarchives.uw-whs-us0075an ↑ Bookmark this ↑
Biography/History
George Seaton, writer, director, and producer of motion pictures, was born in South Bend, Indiana, on 17 April 1911. He attended Exeter Academy in Exeter, New Hampshire, and Central High School in Detroit, Michigan.
Seaton worked as an actor and free lance writer before joining the staff of Metro-Goldwyn-Mayer as a screenwriter in 1933. There he collaborated on the stories for Student Tour (1934), The Winning Ticket(1935), and A Day at the Races (1937). In 1940 Seaton co-authored the screenplay for The Doctor Takes a Wife, a film produced by William Perlberg. This motion picture marked the beginning of a long and productive association between Seaton and Perlberg which eventually resulted in the formation of Perlberg-Seaton Productions.
Among Seaton's other works as a writer are Song of Bernadette (1943), Charley's Aunt (1941), and The Magnificent Dope (1942). He also directed [Billy Rose's] Diamond Horseshoe (1944), Teacher's Pet (1958), The Pleasure of His Company (1961), and Williamsburg, The Story of a Patriot, and served as both writer and director for Junior Miss (1945), 36 Hours (1964), What's So Bad About Feeling Good? (1968), and Airport (1969). Finally his work as a producer included Rhubarb (1951), The Bridges at Toko-Ri (1953), and What's So Bad About Feeling Good?.
Seaton also worked on Broadway, directing the 1967 version of Love in E Flat.
Seaton won several awards for his contributions to filmmaking in America. He received the Academy Award for Best Screenplay in 1947 for Miracle on 34th Street, and again in 1954 for The Country Girl. He also received the Laurel Award from the Writers Guild of America, West and the Jean Hersholt Humanitarian Award from the Academy of Motion Picture Arts and Sciences.
Seaton was actively involved in several professional and cultural organizations. He served as president of the Writers Guild of America, West (1948-1949) and of the Academy of Motion Picture Arts and Sciences (1955-1958), and was a board member and vice-president of both the Directors Guild of America and the Motion Picture and Television Relief Fund. Seaton also served as a board member of the United States Advisory Committee on the Arts, the American Film Institute, the California Institute of the Arts, the Center Theatre Group of Los Angeles, and the Film Industry Workshops, Inc. of Los Angeles. He was also a member of the Board of Trustees of Colonial Williamsburg, Inc.
George Seaton died in 1979 at the age of 68.
Scope and Content Note
The papers of George Seaton reflect his work in the motion picture industry as a writer, director, and producer, and also illustrate his long-time partnership with William Perlberg. The collection consists of extensive production files for Seaton's films, including research notes, correspondence, variant drafts of scripts, budgets, cast and crew lists, call sheets, continuity breakdowns, production reports, shooting schedules, and reviews. The most extensive files pertain to Airport, The Bridges at Toko-Ri, The Counterfeit Traitor, The Country Girl, Little Boy Lost, The Pleasure of His Company, The Proud and the Profane, Showdown, 36 Hours, The Tin Star, and What's So Bad About Feeling Good?.
All of the films in the collection were produced with the exception of “Sitting Pretty.” The files are arranged alphabetically by film title, with the records of each film also arranged alphabetically by type.
Administrative/Restriction Information
Literary rights are retained.
Presented by George Seaton and by Mrs. George Seaton, Beverly Hills, California, 1967-1980. Accession Number: MCHC67-22, 68-152, 69-115, 80-63
Reprocessed with additions by Geoffrey Wexler and Menzi Behrnd-Klodt, June 1983.
Contents List
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Aaron Slick From Punkin' Crick : Perlberg-Seaton Production, 1952. Paramount.
|
|
Box
1
Folder
1
|
Correspondence, Memoranda, and Production Records, October 1950-October 1951
|
|
Box
1
Folder
2
|
Daily Production Report, June 19, 1951
|
|
Box
1
Folder
3
|
Personnel - Cast Lists, March 26, April 14, 1951
|
|
Box
1
Folder
4
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Preview - Comments, September 29, 1951
|
|
Box
1
Folder
5
|
Detail Production Cost, January 26, 1953
|
|
Box
1
Folder
6
|
Recording Program and Production Routine (Song and Dance), March 30-August 27, 1951
|
|
Box
1
Folder
7
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Screenplay, Final, by Claude Binyon, adapted from the play by Beale Cormack, March 12, 1951, with revisions of March 16-May 21, 1951
|
|
Box
1
Folder
8
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Shooting Schedules, March 12, June 1, 1951
|
|
Box
1
Folder
9
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Title Billing (Corrected), June 22, 1951
|
|
|
Airport : Ross Hunter Production-Universal Pictures, 1970. Universal Pictures.
|
|
Box
1
Folder
10
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Novel, by Arthur Hailey, annotated by Seaton, ca. 1968
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Box
1
Folder
11
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Research Material, ca. 1965
|
|
Box
1
Folder
12
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Original Notes, by Seaton, ca. 1968
|
|
|
Correspondence
|
|
Box
1
Folder
13
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Casting, November 18, 1968-May 8, 1969
|
|
Box
1
Folder
14
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General, July 17, 1968-October 23, 1969, n.d.
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|
Box
1
Folder
15
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Legal, November 21, 1968-March 26, 1969
|
|
Box
1
Folder
16
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Looping, March 7-October 3, 1969
|
|
Box
2
Folder
1
|
Biographies of Airline Passengers, ca. 1969
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|
Box
2
Folder
2
|
Call Sheets, Daily for Studio Shooting Only, March 10-June 10, 1969
|
|
Box
2
Folder
3-4
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Continuity Breakdown, Pp. 1-317, ca. 1969
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|
Box
2
Folder
5
|
Looping Dialogue, ca. 1969
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|
Box
2
Folder
6
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Miscellany, December 9, 1968-June 6, 1969, n.d.
|
|
Box
2
Folder
7
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Music, Notes and Correspondence, August 22-September 19, 1969
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|
|
Production Reports
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|
Box
2
Folder
8
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January 30-April 2, 1969
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|
Box
3
Folder
1
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April 3-June 26, 1969
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|
Box
3
Folder
2
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Publicity, May 28, 1968-June 12, 1969, n.d.
|
|
Box
3
Folder
3-4
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Set Designs, ca. 1969
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|
Box
3
Folder
5
|
Shooting Schedules, ca. 1969
|
|
Box
3
Folder
6
|
Staff, Cast, and Crew Lists, ca. 1969
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|
Box
3
Folder
7-8
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Step Sheets, June 24, 1968
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|
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Scripts, by Seaton
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|
|
First Draft
|
|
Box
3
Folder
9
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July 16, 1968
|
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Box
4
Folder
1
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July 16, 1968
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|
Box
4
Folder
2
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Complete with Comments, August 6, 1968
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|
Box
4
Folder
3
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To Intermission, September 27, 1968
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Box
4
Folder
4
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Intermission to End, October 29, 1968
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Box
4
Folder
5
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Revisions, October 1968
|
|
Box
4
Folder
6
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Annotated, November 5, 1968
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|
Box
5
Folder
1
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Complete, November 5, 1968
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Box
5
Folder
2
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Discarded Pages, ca. 1968
|
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Box
5
Folder
3
|
Second Draft, Revision, ca. 1968
|
|
|
Final Draft
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|
Box
5
Folder
4-5
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Revisions, ca. 1968-1969
|
|
Box
5
Folder
6
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January 28, 1969
|
|
Box
6
Folder
1
|
January 28, 1969
|
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Box
6
Folder
2-3
|
Shooting Script, Used by Henry Hathaway to Direct the Shooting of Minneapolis Exteriors, ca. 1969
|
|
Box
6
Folder
4
|
Shooting Script, Used by Seaton, January 28, 1969
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|
Box
6
Folder
5
|
Script Girl Changes During Shooting, ca. 1969
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|
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Anything Can Happen : Perlberg-Seaton Production, 1952. Paramount.
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|
Box
6
Folder
6
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Audience Reaction Test Report, February 7, 1952
|
|
Box
6
Folder
7
|
Miscellaneous Correspondence, October 1950-October 1954
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|
Box
7
Folder
1
|
“Jo-Jo the Wonder Boy,” by Seaton (Essay about Jose Ferrar), n.d.
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|
Box
7
Folder
2
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“Just Like Real People,” by Seaton (Essay), n.d.
|
|
Box
7
Folder
3
|
Music, including Recording Schedule, May 26, October 22, November 19, 1951
|
|
Box
7
Folder
4
|
Personnel, Cast and Crew, June 15, 1951
|
|
Box
7
Folder
5
|
Previews (San Bernardino, Los Angeles, Santa Monica, California), September 15-October 10, 1951
|
|
Box
7
Folder
6
|
Preview Profile, February 1, 1952
|
|
Box
7
Folder
7
|
Production Records - Daily Production Report, Detail Production Cost, Sets and Exteriors, May 1951-January 1953
|
|
Box
7
Folder
8
|
Research, February-July 1951, n.d.
|
|
Box
7
Folder
9
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Script, Revised Final Shooting, by Seaton and George Oppenheimer, June 7, 1951, with Revisions of June 8, 16, July 7, 11, 23, 1951
|
|
Box
7
Folder
10
|
Shooting Schedule, June 7, 1951
|
|
Box
7
Folder
11
|
Trailer, Revised Domestic, March 12, 1952
|
|
Box
7
Folder
12
|
Title Billings, September 21, December 27, 1951
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|
Box
7
Folder
13
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“We Call Them Ulcer Shots,” by Seaton (Essay re: Location Shots), n.d.
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|
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Apartment for Peggy : William Perlberg Production, 1948. 20th Century-Fox.
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Box
7
Folder
14
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Apartment for Jenny, Novelette by Faith Baldwin, Copy Dated April 10, 1947
|
|
Box
7
Folder
15
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Script, Revised Final, by Seaton, December 24, 1947
|
|
Box
7
Folder
16
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Treatment by Seaton, November 17, 1947
|
|
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The Big Lift : William Perlberg Production, 1950. 20th Century-Fox.
|
|
Box
7
Folder
17
|
Script, Temporary, by Seaton, August 9, 1949
|
|
|
Billy Rose's Diamond Horseshoe : William Perlberg Production, 1945. 20th Century-Fox.
|
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Box
7
Folder
18
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Script, Revised Final, by Seaton, July 14, 1944, with Revisions of July 24, August 7, 10, 11, 1944
|
|
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The Bridges at Toko-Ri : Perlberg-Seaton Production, 1954. Paramount.
|
|
Box
7
Folder
19
|
Correspondence and Miscellany, July 1953-April 1955
|
|
Box
7
Folder
20
|
Exploitation - Previews, Correspondence and Miscellany, July 1954-May 1955
|
|
Box
8
Folder
1
|
Footage Report, Estimated, January 29, 1954
|
|
Box
8
Folder
2
|
Personnel, November 2, 1953, January 5-6, 1954, n.d.
|
|
Box
8
Folder
3
|
Production Costs, Detail and Budget, November 2, 1953, January 24, 1957
|
|
Box
8
Folder
4
|
Production Report, Daily, February 15, 1954
|
|
Box
8
Folder
5
|
Recording Program, July 8-August 10, 1954
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|
|
Scripts
|
|
Box
8
Folder
6
|
Revised Final Shooting, by Valentine Davies, December 8, 1953
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|
Box
8
Folder
7
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Release Dialogue, November 3, 1954
|
|
Box
8
Folder
8
|
Shooting Schedules, January 11, 1954
|
|
Box
8
Folder
9
|
Shooting Schedule for Planes and Helicopters, January 14-26, 1954
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|
Box
8
Folder
10
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Story by James Michener from Life Magazine, July 6, 1953
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Box
8
Folder
11
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Title Billings, May 21, 1954
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|
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But Not for Me : Perlberg-Seaton (Perlsea) Production, 1959. Paramount.
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Box
8
Folder
12
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Correspondence, Notes, Memos, July 1957-July 1959
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|
Box
8
Folder
13
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Personnel - Cast and Crew, January 9, 12, 1959
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|
Box
8
Folder
14
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Preview (Riverside, California), May 12, 1959
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|
Box
8
Folder
15
|
Production Costs - Budget, Analysis, Detail, April 12, 1958-April 5, 1960
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|
Box
8
Folder
16
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Production Reports, March 12, 20, 1959
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|
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Scripts
|
|
Box
8
Folder
17
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Final, by John Michael Hays, January 8, 1959, with additions of January 8, 12, February 13, 26, 1959
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Box
8
Folder
18
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Release Dialogue, May 22, 1959
|
|
Box
8
Folder
19
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Title Billing, May 20, 1959
|
|
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Chicken Every Sunday : William Perlberg Production, 1948. 20th Century-Fox.
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Box
8
Folder
20
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Script, Second Revised Shooting Final, by Seaton and Valentine Davies, June 5, 1948, with Revisions of July 15, 1948
|
|
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Coney Island : William Perlberg Production, 1943. 20th Century-Fox.
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Box
9
Folder
1
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Script, Final Shooting, by George Seaton, September 15, 1942
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|
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The Counterfeit Traitor : Perlberg-Seaton Production (Perlsea Co.), 1962. Paramount.
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Box
9
Folder
2
|
Certificate of Award, May 29, 1962
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|
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Correspondence
|
|
Box
9
Folder
3
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Congratulatory, April 3-May 8, 1962
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Box
9
Folder
4
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Denton, Robert, May 2, 1958-March 8, 1960, n.d.
|
|
Box
9
Folder
5
|
Erickson, Eric, June 5, 1958-June 5, 1962, n.d.
|
|
Box
9
Folder
6-7
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General, November 13, 1957-May 24, 1963, n.d.
|
|
Box
9
Folder
8
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Kinski, Klaus, July 5-September 24, 1962
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Box
9
Folder
9
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Klein, Alexander, May 26, 1958-December 4, 1959, n.d
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Box
9
Folder
10
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Steinhart, Lawrence and Count Bernadotte, April 25-June 27, 1958, n.d., with Research Materials
|
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Box
9
Folder
11
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Surrey, Walter Sterling, June 25, 1958-March 5, 1962, n.d.
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|
Box
9
Folder
12
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Budget and Cost Reports, June 7, 1960-April 14, 1962
|
|
Box
9
Folder
13
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European Cast and Crew, ca. 1960
|
|
Box
9
Folder
14
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Miscellany, March 24, 1960-April 28, 1962
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Box
10
Folder
1
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Reviews, April 3-November 22, 1962, n.d.
|
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Box
10
Folder
2
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Scene by Scene Breakdown and Miscellaneous Notes, July 17, 1961, n.d.
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|
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Scripts, by Seaton, from the Book by Alexander Klein
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Box
10
Folder
3
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Dialogue, January 5, 1961-April 27, 1962
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|
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First Draft
|
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Box
10
Folder
4-5
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Handwritten and Typescript, Begun July 21, 1958, with additions to March 11, 1959, pp. 1-282
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|
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Second Handwritten, July 6, 1959, with additions of July 17, 1959
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Box
10
Folder
6
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Pp. 1-180
|
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Box
11
Folder
1
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Pp. 181-348, with additions of November 10, 1959
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Box
11
Folder
2
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Typescript (Formerly entitled “West of Fear”), July 6, 1959
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Box
11
Folder
3
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First Mimeo (“The Man in the Middle”), September 11, 1959
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Box
11
Folder
4
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First Mimeo, Third Handwritten Revision of (“The Man in the Middle”), December 15, 1959
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Box
11
Folder
5
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First White Script, January 14, 1960
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Box
11
Folder
6
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Final Shooting, Berlin, May 24, 1960
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Box
12
Folder
1
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Final Shooting, by Seaton, Annotated While on Production, May 24, 1960
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Box
12
Folder
2
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Narration, June 6-August 16, 1961
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Box
12
Folder
3
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Treatment, by Seaton, May 4, 1959
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The Country Girl : Perlberg-Seaton Production, 1954. Paramount.
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Box
12
Folder
4
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Academy Awards, Congratulatory Letters, February 14-28, 1955
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Box
12
Folder
5
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Correspondence, Miscellaneous, July 25, 1951-April 27, 1955, n.d.
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Box
12
Folder
6
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Correspondence, Congratulatory, July 1954-March 1955, n.d.
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Box
12
Folder
7
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Estimated Footage, February 17, March 15, 1954
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Box
12
Folder
8
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Personnel, February 20, 1954
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Box
12
Folder
9
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Premieres (Los Angeles, New York City) - Correspondence, Guest Lists, Party, November 11-December 21, 1954, n.d.
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Box
12
Folder
10
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Previews (Burlingame and Oakland, California) - Reviews, and Audience Comments, June 30-July 27, 1954
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Box
12
Folder
11
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Production Costs, Detail and Budget, February 1, 1954, January 24, 1957
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Box
12
Folder
12
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Production Reports, Daily, April 6, October 15, 1954
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Box
12
Folder
13
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Recording Programs, Lyrics, Musical Spots, January-July 1954, n.d.
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Box
12
Folder
14
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Research, July 27, August 7, 1953
|
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Box
12
Folder
15
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Script, Final White, by Seaton, based on a play by Clifford Odets, February 5, 1954
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Box
12
Folder
16
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Shooting Schedules, February 2, March 17, 1954
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Box
12
Folder
17
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Title Billings, March 17, May 13, 1954, n.d.
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|
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A Day at the Races : Max Siegal, producer, 1937. MGM.
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Box
13
Folder
1
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“Marx Brothers Story” by George S. Kaufman, George Seaton and Robert Piresh [sic], April 13, 1936
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Box
13
Folder
2
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Script for Marx Brothers Vaudeville Act, June 8, 1936
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Box
13
Folder
3
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Script for Marx Brothers Road Show, August 19, 1936
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Box
13
Folder
4
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Script of Screenplay, by Seaton and Robert Pirosh, n.d.
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|
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The Doctor Takes a Wife : William Perlberg Production, 1940. Columbia.
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Box
13
Folder
5
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Screenplay, Final Draft, by Seaton and Ken Englund, January 12, 1940
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|
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The Eve of Saint Mark : William Perlberg Production, 1944. 20th Century-Fox.
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Box
13
Folder
6
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Script, Final, by Seaton, August 30, 1943, with additions of September 8, 10, 1943
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|
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For Heaven's Sake : William Perlberg Production, 1950. 20th Century-Fox.
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Box
13
Folder
7
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“May We Come In?” by Harry Segall, copyright 1949
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Box
13
Folder
8
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Script, Final, by Seaton, June 12, 1950, with additions of June 16, 19, August 2, 16, 1950
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|
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Junior Miss : William Perlberg Production, 1945. 20th Century-Fox.
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Box
14
Folder
1
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Screenplay by Jerome Chodorov and Joseph Fields, revised by Seaton, August 12, 1944, with revisions of February 2, 1945
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Little Boy Lost : William Perlberg Production, 1953. Paramount.
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Box
14
Folder
2
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Additional Dialogue, May-June 1952
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Box
14
Folder
3
|
Advertising and Publicity, June, August 1953, n.d.
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Box
14
Folder
4
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Commentary (Narration), February 4-5, 1953
|
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Box
14
Folder
5
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Correspondence and Miscellany re: Exploitation, April 1, 1953-October 14, 1954, May 4, 1961
|
|
Box
14
Folder
6
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Correspondence and Memos - Miscellaneous Production, November 1950-July 1957
|
|
Box
14
Folder
7
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Location Shots in Paris and France, Suggestions for, June 17, 1952
|
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Box
14
Folder
8
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Notes and Miscellany, May-June 1952
|
|
Box
14
Folder
9
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“On Finding `Little Boy Lost',” by Seaton (Essay about Christian Forcade), June 23, 1953
|
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Box
14
Folder
10
|
Personnel - Cast and Crew, August 7-November 24, 1952
|
|
Box
14
Folder
11
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Previews (Oakland, Burlingame, Santa Monica, California) - Correspondence and Audience Reaction, April, July 1953
|
|
Box
14
Folder
12
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Production Reports, Miscellaneous, including Detail Production Costs, Editing, Dubbing and Scoring Schedule, 1952-1954, n.d.
|
|
Box
14
Folder
13
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Recording Schedule, Miniform (recorder) Directions, Soundtracks, Screen Dialogue, Lyrics, October 1952-March 1953
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Box
14
Folder
14
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Research, August-September 1949, June-August 1952, n.d.
|
|
Box
14
Folder
15
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Script, Second Final White, by Seaton, November 4-5, 1952
|
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Box
14
Folder
16
|
Shooting Schedules, October 24, November 4, 29, 1952
|
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Box
14
Folder
17
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Song Lyrics for “It's All the Same to You,” (Van Heusen/Burke); Lyrics to Song by James Van Heusen, July-October 1952
|
|
Box
14
Folder
18
|
Title Billing, April 21, 1953, n.d.
|
|
Box
14
Folder
19
|
Travel and Reservation Schedules, July 11, 18, 1952
|
|
|
The Magnificent Dope : William Perlberg Production, 1942. 20th Century-Fox.
|
|
Box
14
Folder
20
|
Script, Final (“The Magnificent Jerk,”) by Seaton, February 14, 1942, with additions of February 18, March 27, 30, 1942
|
|
|
Miracle on 34th Street : William Perlberg Production, 1947. 20th Century-Fox.
|
|
Box
15
Folder
1
|
Correspondence, Miscellaneous; Writing Credits; Review, January 1947-December 1965, December 12, 1975
|
|
Box
15
Folder
2
|
Script, Final Shooting, January 2, 1947, with
|
|
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A Night at the Opera : Irving Thalberg Production, 1935. MGM.
|
|
Box
15
Folder
3
|
“Marx Brothers Story,” Original Story, No author listed, December 2, 1934
|
|
|
The Pleasure of His Company : William Perlberg Production, 1961. Paramount
|
|
Box
15
Folder
4
|
Correspondence, Miscellaneous, May 1958-December 1961, n.d.
|
|
Box
15
Folder
5
|
Credits for Academy Awards, ca. 1961
|
|
Box
15
Folder
6
|
Location Shooting, San Francisco, October-November 1960
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Box
15
Folder
7
|
Original Comedy by Samuel Taylor and Cornelia Otis Skinner, n.d.
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Box
15
Folder
8
|
Personnel, January 19, October 21, 1960
|
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Box
15
Folder
9
|
Previews - Correspondence, Memos, Audience Response, January 30-May 22, 1961, n.d.
|
|
Box
15
Folder
10
|
Production Costs and Budget, January 26, 1960, November 13, 1961, February 22, 1962
|
|
Box
15
Folder
11
|
Production Reports, Daily, January 26-December 12, 1960
|
|
Box
15
Folder
12
|
Recording Program, February 23, 1961
|
|
Box
15
Folder
13
|
Shooting Schedule, January 15, March 4, 1960
|
|
|
Scripts
|
|
Box
15
Folder
14
|
First Typed Version of Screenplay by Samuel Taylor, October 8, 1959
|
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Box
15
Folder
15
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Handwritten Revision of First Draft, by Taylor, October 30-November 6, 1959
|
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Box
15
Folder
16
|
First Draft Rewrite, by Seaton, n.d.
|
|
Box
16
Folder
1
|
Final White, January 6, 1960
|
|
Box
16
Folder
2
|
Final White, with Notes by Seaton, January 6, 1960
|
|
Box
16
Folder
3
|
Release Dialogue Script, May 1, 1961
|
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Box
16
Folder
4
|
Test Scene, July 15, 1959
|
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Box
16
Folder
5
|
Title Credits, March 1, May 5, 1961
|
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Box
16
Folder
6
|
Vocal Score Arranged by Alfred Newman, April 6, 1961, with Revisions of April 7, 10, 1961
|
|
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The Proud and the Profane : William Perlberg Production, 1956. Paramount.
|
|
Box
16
Folder
7
|
Correspondence, Notes, and Miscellany, July 1955-January 1957
|
|
Box
16
Folder
8
|
Personnel - Cast and Crew, June 30, July 5, September 1, 28, 1955
|
|
Box
16
Folder
9
|
Previews - Correspondence, Notes, Audience Reaction, January 3-13, 1955
|
|
Box
16
Folder
10
|
Production Costs, June 1955, March 1956, January 1957
|
|
Box
16
Folder
11
|
Production Reports, June 16-October 13, 1955
|
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Box
16
Folder
12
|
Recording Program and Musical Suggestions, November-December 1955
|
|
Box
16
Folder
13
|
Research, November 2, 1954-March 6, 1956, n.d.
|
|
|
Scripts
|
|
Box
16
Folder
14
|
Final Shooting Script, by Seaton, June 30, 1955, with additions of July 2, August 16, September 12, 1955
|
|
Box
17
Folder
1
|
Release Dialogue Script, March 12, 1956
|
|
Box
17
Folder
2
|
Shooting Schedules, July 1, September 1, 1955
|
|
Box
17
Folder
3
|
Title Billings, June 30, 1955, January 31, 1956
|
|
|
The Rat Race : Perlberg-Seaton Production, 1960. Paramount.
|
|
Box
17
Folder
4
|
Correspondence, Miscellaneous; Travel Schedule, August 1, 1959-June 7, 1960
|
|
Box
17
Folder
5
|
Correspondence re: Garson Kanin, January-December 1958
|
|
Box
17
Folder
6
|
Cost Analysis, September 1959-October 1960
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Box
17
Folder
7
|
Earnings, June 8-July 7, 1960
|
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Box
17
Folder
8
|
Personnel, October 1959
|
|
Box
17
Folder
9
|
Previews - Schedule and Notes, February 4, 26, April 13, 28, 1960
|
|
Box
17
Folder
10
|
Production Report, December 8, 1959
|
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Box
17
Folder
11
|
Shooting Schedules, September-November 1959
|
|
|
Scripts
|
|
Box
17
Folder
12
|
Revised Final, by Garson Kanin and John Michael Hayes, August 13, 1959
|
|
Box
17
Folder
13
|
Release Dialogue Script, April 5, 1960
|
|
Box
17
Folder
14
|
Title Billing, February 4, 1960
|
|
|
Rhubarb : Perlberg-Seaton Productions, 1951. Paramount.
|
|
Box
17
Folder
15
|
Correspondence, Miscellaneous, November 10, 1950-June 6, 1952
|
|
Box
17
Folder
16
|
Personnel, February 16, October 11, 1951
|
|
Box
17
Folder
17
|
Preview (Second) - Reactions, July 2, 1951
|
|
Box
17
Folder
18
|
Production Costs, Detail, January 23, 1952
|
|
Box
17
Folder
19
|
Production Records - Recording Program, Added Scenes, May 4, June 14, 1951
|
|
Box
17
Folder
20
|
Production Report, March 27, 1951
|
|
Box
17
Folder
21
|
Shooting Schedule, February 6, 1951
|
|
Box
17
Folder
22
|
Script, Final Shooting, from Screenplay by Dorothy Reid and Francis Cockrell, from the Novel by H. Allen Smith, February 6, 1951
|
|
Box
17
Folder
23
|
Title Billing, April 20-July 11, 1951
|
|
|
The Shocking Miss Pilgrim : William Perlberg Production, 1947. 20th Century-Fox.
|
|
Box
17
Folder
24
|
Script, Final Shooting, by Seaton, November 1, 1945, with Revisions of November 19, 30, 1945
|
|
|
Showdown : George Seaton Production, 1972. Universal.
|
|
Box
18
Folder
1
|
Ad Lib Lines for Crowd Scenes; Loop Lines, n.d.
|
|
Box
18
Folder
2
|
Budgets, June 29, October 20, 29, 1971
|
|
Box
18
Folder
3
|
Correspondence and Memos, September 8, 1971-August 17, 1973, n.d.
|
|
Box
18
Folder
4
|
Correspondence re: Ted Taylor, January 23, 1971-October 30, 1972
|
|
Box
18
Folder
5
|
Estimated Running Time, April 17, October 30, 1971
|
|
Box
18
Folder
6
|
Personnel - Cast and Crew, July 14, 1972, n.d.
|
|
Box
18
Folder
7
|
Preview Survey, December 1-8, 1972
|
|
Box
18
Folder
8
|
Production Reports, Daily; Shooting Calls, May 22-July 14, 1972
|
|
Box
18
Folder
9
|
Publicity, December 1971-December 1972
|
|
Box
18
Folder
10
|
Research, February 1972-ca. April 10, 1972, n.d.
|
|
Box
18
Folder
11
|
Reviews, May 17-September 10, 1973
|
|
Box
18
Folder
12
|
Scene Designs, n.d.
|
|
|
Screenplays, by Theodore Taylor from a Story by Frank Fine
|
|
Box
18
Folder
13
|
Script (“Once Upon a River”), May 7, 1971
|
|
Box
19
Folder
1
|
Script (“Crossfire”), October 22, 1971
|
|
Box
19
Folder
2
|
Final, January 20, 1972
|
|
Box
19
Folder
3
|
Revised Final, March 1, 1972
|
|
Box
19
Folder
4
|
Second Revised Final, April 3, 1972
|
|
Box
19
Folder
5
|
Shooting Schedules, March 24-May 18, 1972, n.d.
|
|
Box
19
Folder
6
|
Titles, June 15-September 20, 1972
|
|
|
“Sitting Pretty” : Unproduced.
|
|
Box
19
Folder
7
|
Story, by Seaton, Chico Marx, and Robert Pirosh, n.d.
|
|
|
Somebody Loves Me : Perlberg-Seaton Production, 1952. Paramount.
|
|
Box
19
Folder
8
|
Correspondence and Miscellany, April-September 1951
|
|
Box
19
Folder
9
|
Personnel, August 21-22, 1951
|
|
Box
19
Folder
10
|
Previews (Inglewood, Santa Monica, California), January 23, March 5, 1952
|
|
Box
19
Folder
11
|
Production Cost, Detail, January 26, 1953
|
|
Box
19
Folder
12
|
Production Report, Daily, October 24, 1951
|
|
Box
19
Folder
13
|
Recording Programs, July 1951-February 1952
|
|
Box
20
Folder
1
|
Score (Bound Copy), Arranged by Van Cleve, Gus Levene, and Others, Autographed April 10, 1952
|
|
Box
20
Folder
2
|
Script, Final Shooting, by Irving Brecher, July 10, 1951
|
|
Box
20
Folder
3
|
Shooting Schedules, ca. August 22, October 4, 1951
|
|
Box
20
Folder
4
|
Test Scenes, March 13, 1951
|
|
Box
20
Folder
5
|
Title Billings, October 26, November 7, 13, 1951
|
|
|
Song of Bernadette : William Perlberg Production, 1943. 20th Century-Fox.
|
|
Box
20
Folder
6
|
Script, Revised Final, by Seaton, March 8, 1943, with additions of March 29-April 23, 1943
|
|
Box
20
Folder
7
|
Treatment, by Seaton, October 23, 1942
|
|
|
Teacher's Pet : William Perlberg Production, 1958. Paramount.
|
|
Box
21
Folder
1
|
Correspondence, Miscellaneous; Production Materials, Memos
|
|
Box
21
Folder
2
|
Personnel - Cast, Crew, Staff, April 12, 1957, n.d.
|
|
Box
21
Folder
3
|
Previews (San Francisco, Oakland, Santa Monica, California), September-October 1957
|
|
Box
21
Folder
4
|
Production Costs and Budget, July 1956-February 4, 1959
|
|
Box
21
Folder
5
|
Production Report, June 21, 1957
|
|
Box
21
Folder
6
|
Research, February 28, March 19, 1957, n.d.
|
|
|
Scripts
|
|
Box
21
Folder
7
|
Final White, by Fay and Michael Kanin, May 2, 1957
|
|
Box
21
Folder
8
|
Release Dialogue Script, December 30, 1957
|
|
Box
21
Folder
9
|
Shooting Schedules, May 13, June 10, 1957
|
|
Box
21
Folder
10
|
Story by Fay and Michael Kanin, ca. February 27, 1952
|
|
Box
21
Folder
11
|
Title Billing, July 26, 1957
|
|
|
36 Hours : Perlberg-Seaton Production/Cherokee, 1965. MGM.
|
|
Box
21
Folder
12
|
Research, October 16, 1961-March 30, 1964, n.d.
|
|
Box
21
Folder
13
|
Correspondence, Lisbon and Germany, February 18-June 3, 1964, n.d.
|
|
Box
21
Folder
14
|
Biographies, ca. 1964
|
|
Box
21
Folder
15
|
Casting and Production Costs, December 4, 1963-July 20, 1964, n.d.
|
|
Box
21
Folder
16
|
Legal Research, February 6-July 21, 1964
|
|
Box
21
Folder
17
|
Location - Yosemite, May 26-June 2, 1964
|
|
Box
21
Folder
18
|
Music Notes, July 6, 1964
|
|
Box
21
Folder
19
|
Preview Reports, September 10-11, 1964
|
|
Box
21
Folder
20
|
Publicity and Reviews, January 26-February 8, 1965
|
|
|
Scripts, by Seaton, based on a story by Carl K. Hittelman
|
|
Box
22
Folder
1
|
Original Fifth Version, n.d.
|
|
Box
22
Folder
2
|
Notes on Script, ca. 1962-1964
|
|
|
First Draft
|
|
Box
22
Folder
3-4
|
Holograph, pp. 1-255, n.d.
|
|
Box
22
Folder
5
|
Treatment, February 5, 1963
|
|
Box
22
Folder
6
|
Revised - Added - Discarded Pages, February 5-July 15, 1963
|
|
Box
22
Folder
7
|
Revised, July 15, 1963
|
|
Box
23
Folder
1
|
Screenplay, August 8, 1963
|
|
Box
23
Folder
2
|
Revisions - Discarded Pages, August 8-November 19, 1963
|
|
|
Second Draft
|
|
Box
23
Folder
3-4
|
Holograph with First Draft Revisions, Pp. 1-211, ca. 1963
|
|
Box
23
Folder
5
|
Treatment, July 2, 1963
|
|
Box
23
Folder
6
|
Screenplay, October 28, 1963
|
|
Box
23
Folder
7
|
Screenplay, Annotated, November 19, 1963
|
|
|
Final Draft
|
|
Box
23
Folder
8
|
Screenplay, March 1964
|
|
Box
24
Folder
1
|
Revisions for Trailer Dialogue, ca. 1964
|
|
Box
24
Folder
2
|
Revisions, ca. 1964
|
|
Box
24
Folder
3
|
Shooting Script, March 18, 1964
|
|
|
The Tin Star : Perlberg-Seaton Productions, 1957. Paramount.
|
|
Box
24
Folder
4
|
Correspondence, Miscellaneous; Notes, Production Materials, October 1955-December 1957
|
|
Box
24
Folder
5
|
Original Story, by Barney Slater, ca. October 25, 1955
|
|
Box
24
Folder
6
|
Personnel - Cast and Crew, October 1956, n.d.
|
|
Box
24
Folder
7
|
Preview (Riverside, California) - Audience Commenta, April 4, 1957
|
|
Box
24
Folder
8
|
Production Costs, Detail and Estimates, January-June 1957, July 1960
|
|
Box
24
Folder
9
|
Recording Program, March 20, 1957
|
|
|
Scripts
|
|
Box
24
Folder
10
|
Final White, by Dudley Nichols, September 20, 1956, with additions of September 24-November 20, 1956
|
|
Box
24
Folder
11
|
Release Dialogue Script, June 10, 1957
|
|
Box
24
Folder
12
|
Shooting Schedule, November 26, 1956
|
|
Box
24
Folder
13
|
Title Billings, November 26, December 5, 1956; January 30, 1957, n.d.
|
|
|
What's So Bad About Feeling Good? : Universal, 1968. Universal.
|
|
Box
24
Folder
14
|
Research Notes, ca. 1958-1966
|
|
|
Correspondence
|
|
Box
24
Folder
15
|
General, September 3, 1965-May 23, 1968
|
|
Box
25
Folder
1
|
Legal, January 24, 1966-January 3, 1968
|
|
Box
25
Folder
2
|
Music, August 1, 1966-February 13, 1968
|
|
Box
25
Folder
3
|
Budget, May 2, 1967-March 6, 1968
|
|
Box
25
Folder
4
|
Looping Material, ca. 1967
|
|
Box
25
Folder
5
|
Miscellany, December 2, 1966-March 7, 1968
|
|
Box
25
Folder
6
|
Production Reports, Daily, April 28-July 13, 1967
|
|
Box
25
Folder
7-9
|
Publicity, April 17, 1967-August 6, 1968
|
|
Box
25
Folder
10
|
Reviews, May 18-June 17, 1968
|
|
Box
26
Folder
1
|
Schedules and Breakdowns, April 12-20, 1967, n.d.
|
|
Box
26
Folder
2
|
Staff, Crew, and Cast Lists, ca. 1967
|
|
|
Treatments
|
|
Box
26
Folder
3
|
Holograph, July 26, 1965
|
|
Box
26
Folder
4-6
|
Annotated, ca. 1965
|
|
|
Scripts, by Seaton and Robert Pirosh
|
|
|
First Draft
|
|
Box
26
Folder
7
|
Holograph, October 7-28, 1965, n.d.
|
|
|
Discarded and Revised Pages
|
|
Box
26
Folder
8
|
October 7-14, 1965
|
|
Box
27
Folder
1-3
|
October 21, 1965-February 16, 1966
|
|
|
Screenplay
|
|
Box
27
Folder
4
|
December 13, 1965
|
|
Box
27
Folder
5
|
January 12, 1966
|
|
Box
27
Folder
6
|
January 13, 1966
|
|
|
Second Draft
|
|
Box
28
Folder
1
|
Screenplay, February 7, 1966
|
|
Box
28
Folder
2
|
Discarded and Revised Pages, ca. 1966
|
|
|
Final Draft
|
|
Box
28
Folder
3
|
Revisions, ca. 1966-1967
|
|
Box
28
Folder
4
|
Discarded Pages, ca. 1966-1967
|
|
Box
28
Folder
5
|
Screenplay, March 14, 1967
|
|
Box
28
Folder
6
|
Screenplay, Revised, March 14-June 21, 1967
|
|
Box
29
Folder
1
|
Shooting Script, Director's, March 14, 1967, with Annotations and Revisions
|
|
|
Williamsburg, the Story of a Patriot : Paramount, 1956. Paramount. Directed by George Seaton.
|
|
Box
29
Folder
2
|
Correspondence, Miscellaneous; Memoranda, October 1955-February 1959
|
|
Box
29
Folder
3
|
Comments by Williamsburg Personnel, August 13, 1957
|
|
Box
29
Folder
4
|
Dialogue Continuity, n.d.
|
|
Box
29
Folder
5
|
Production Materials, Miscellaneous - Script Conferences, Opening and Closing Notices, Title Billings, Cast Outline, Aspect Ratios, Miscellany, March-November 1956, n.d.
|
|
Box
29
Folder
6
|
Production Reports, Daily, May 7-25, 1956
|
|
Box
29
Folder
7
|
Script, Final White, with Revisions and Notes, April 25-May 11, 1956
|
|
Box
29
Folder
8
|
Shooting Schedule, April 24, 1956
|
|
Box
29
Folder
9
|
Teacher's Manual, n.d.
|
|
|