Summary Information
Norman Jewison Papers
1968-1978
U.S. Mss 122AN; Disc 118A; Tape 512A; Micro 696
14.4 c.f. (36 archives boxes), 2 reels of microfilm (35mm), 2 tape recordings, 4 disc recordings, and 2 films
Wisconsin Historical Society Archives / Wisconsin Center for Film and Theater Research Contact Information
Wisconsin Historical Society (Map)
Papers of Norman Jewison, a noteworthy motion picture producer-director, chiefly comprised of materials relating to films made for Universal Studios and the Mirisch Corporation. Pertaining to such films as The Cincinnati Kid (MGM, 1965), Fiddler on the Roof (UA, 1972), Gaily, Gaily (UA, 1969), Jesus Christ, Superstar (Universal, 1973), In the Heat of the Night (UA, 1967), The Russians Are Coming, The Russians Are Coming (UA, 1966), and The Thomas Crown Affair (UA, 1968) are correspondence, scripts, photographs, technical production information, contracts, reviews, clippings (some available on microfilm), financial records, and sound track recordings. Jewison's later films are usually well documented and the files trace each title from preproduction planning to distribution and publicity. In addition to the normal production files, the material on Superstar is of interest for its portrayal of Jews' role in the death of Christ. Filed with a group of protest letters from concerned Jewish organizations is one letter from Golda Meir. Also part of the papers are scripts, correspondence, and synopses for unproduced films; scripts and tape recordings for several television programs directed for the Canadian Broadcasting Corporation and various U.S. networks; general correspondence; and a documentary about Jewison as a filmmaker.
English
http://digital.library.wisc.edu/1711.dl/wiarchives.uw-whs-us0122an ↑ Bookmark this ↑
Biography/History
Norman Jewison--motion picture director/producer--was born on July 21, 1927 in Toronto, Canada. He was interested in the world of theater and film from an early age, but had to work his way through college by taking a variety of jobs; from time to time he worked as a waiter, a vegetable picker and a taxi driver. After graduating from the University of Toronto with a Bachelor of Arts degree, young Jewison took his $140 in savings and traveled by tramp steamer to England, where he became a writer and actor for the British Broadcasting Corporation.
When opportunities in Canadian television expanded, Jewison went home to become a producer/director for CBC. There he was associated with such top variety shows as The Big Revue, Wayne and Schuster, Showtime and Barris Beat. In 1958 the William Morris Agency suggested he leave Canada and go to New York under a three-year contract with CBS. His first assignment in American television was to revive the faltering Your Hit Parade which had just moved to CBS from NBC. In the late fifties and early sixties Jewison directed many highly acclaimed specials, starring such personalities as Judy Garland, Jackie Gleason, Harry Belafonte and Danny Kaye.
Jewison's successful television career served as prelude to what was to become his primary professional interest, the production and direction of motion pictures. In 1962 the director signed a four-picture contract with Universal Studios. Forty Pounds of Trouble (1962), The Thrill of It All (1963), Send Me No Flowers (1964), and The Art of Love (1965) were well-crafted and financially profitable; they gave Jewison the training and reputation that enabled him to make a different kind of film, pictures that combined entertainment with a point of view.
The Cincinnati Kid, made in 1965 for MGM, is considered by Jewison to be his first “serious” film. With its success he achieved the status he needed to become an independent producer/director for the Mirisch Corporation and United Artists. In the following years he made The Russians Are Coming, The Russians Are Coming (1966), a comedy about the absurdity of the cold war; In the Heat of the Night (1967), a study in race relations; The Thomas Crown Affair (1968), a sophisticated stab at the Establishment; Gaily, Gaily (1969), a story on Ben Hecht's reminiscences of his early life in Chicago; and Fiddler on the Roof (1972), an ageless “folk opera” about discrimination and the breakdown of tradition. In addition, in 1970 he produced The Landlord, another comedy about race relations, this time in an urban setting; directed Jesus Christ Superstar; produced Billy Two Hats; and both produced and directed Roller Ball and F.I.S.T.
Jewison's films have won many awards, including both the New York Film Critics Circle Award and the Academy Award for best picture for In the Heat of the Night. In 1973, Jewison was named Director of the Year by the National Association of Theatre Owners.
Jewison is interested in film primarily as an art, rather than as an industry. As a producer he is aware of the financial realities of filmmaking, but he is an advocate of full artistic control for the filmmaker. He feels the authenticity and atmosphere of location shooting cannot be matched in a studio back lot, and he does not consider stars necessary to the making of a successful film. His own films testify to the legitimacy of his philosophy.
Mr. Jewison and his wife, the former Margaret Dixon, have three children, Kevin, Michael and Jennifer.
Scope and Content Note
The Norman Jewison Papers are divided into six series: General, Television, Theater, Motion Pictures, Motion Pictures (Unproduced) and Submissions. Within each of these series, the materials are ordered chronologically.
The GENERAL series consists primarily of correspondence with agents, interviews and clippings, and papers documenting Jewison's involvement in such political activities as Citizens Against ABM and New York Mayor John Lindsay's re-election campaign.
In the TELEVISION series, there is little about Jewison's Canadian experience except some lighting notes, a script for Off Limits and two tape recordings for The Denny Vaughn Show. Scripts and production information are available for several American television specials, including The Fabulous Fifties, the Harry Belafonte specials, The Secret World of Eddie Hodges, The Million Dollar Incident and An Hour with Danny Kaye.
One folder in Box 3 contains THEATER information--correspondence and the settlement agreement for Here's Love, a Broadway play with which Jewison was briefly associated as director.
The series MOTION PICTURES (Boxes 3-27, 29-36 ) comprises the bulk of the collection. The series deals with the films Jewison was associated with as director and/or producer, beginning with The Thrill of It All in 1963 and ending with F.I.S.T. in 1978. There are primarily correspondence and scripts for the first films, but documentation becomes more extensive with The Russians Are Coming, The Russians Are Coming. Materials include correspondence, several drafts of scripts, contracts, technical production information, financial papers, photos and promotion information. The files for Billy Two Hats consist of information on casting, technical production, and publicity. Included with the latter material is a discussion of the various campaigns considered to sell the film and sample advertisements. Two variant scripts, both co-authored by Sylvester Stallone, are the only documentation for F.I.S.T., a film Jewison directed and co-produced.
The Fiddler on the Roof files reveal efforts to find a suitable location to capture the image of a small Ukranian village and include a critique of Eastern European film production facilities and a brief mention of attempts to obtain insurance for their filming in Yugoslavia in case of invasion or war. The section also includes a file on Marc Chagall, whose permission was sought to film his paintings on shtetl life. Chagall, who was displeased with the stage production, refused permission.
Documentation for Jesus Christ Superstar covers all aspects of production and includes a discussion on costuming and the type of character portrayals that Jewison sought. Also included is an eight-page summary of a lawyer's attempt to squash a Rhodesian theatrical production that was unauthorized. Of interest in addition to the regular production files are materials relating to the controversy surrounding the film's portrayal of the role of Jews in the trial and death of Christ. The motion picture elicited letters of criticism and concern from such groups as the Jewish Film Advisory Committee, the American Jewish Committee, and the Anti-Defamation League; the latter file includes a letter by Golda Meir (July 16, 1973). Letters defending the film and Jewison's rebuttal to critics are also contained in the files.
MOTION PICTURES (UNPRODUCED) (Boxes 24-26) relates to those motion pictures on which Jewison worked but did not finally produce. There is documentation here on Judgment of Corey, The Confessions of Nat Turner and Spector.
Finally, Boxes 27 and 28 concern SUBMISSIONS--correspondence, synopses and scripts dealing with properties that Jewison read and rejected. What Jewison chose not to do, and why, is often as revealing as what he did do.
Administrative/Restriction Information
Presented by Norman Jewison, London and Buckinghamshire, England, 1971, 1974-1978; film presented by the National Film Board of Canada, Montreal, Canada, February 23, 1972. Accession Number: MCHC70-80, MCHC72-21, MCHC74-45, MCHC78-47
Processed by Mary Ourada, August 1972; and by Alice Siemering and Chris Rongone, October 1978.
Contents List
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Series: General
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U.S. Mss 122AN
Box
1
Folder
1
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Correspondence, 1961 August - 1969 March
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Box
1
Folder
2
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Biographical clippings, interviews
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Box
1
Folder
3
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Miscellaneous clippings
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Box
1
Folder
4
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Salzburg Seminar, 1969
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Political activities
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Citizens against ABM
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Box
1
Folder
5
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General
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Box
1
Folder
6
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Reference
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Box
1
Folder
7
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Mayor Lindsay Show, undated
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Series: Television
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Box
1
Folder
8
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Notes on lighting for 1952 CBC productions
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Off Limits, CBC
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Box
1
Folder
9
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Script
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Tape 512A
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The Denny Vaughn Show, CBC
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No.
1
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June 11, 1956
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No.
2
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June 18, 1956
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U.S. Mss 122AN
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The Andy Williams Show, 1959
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Box
1
Folder
10
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Schedules, technical production information
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The Fabulous Fifties
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Box
2
Folder
1
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Scripts, 1959 December, 1960 January
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Tonight with Belafonte
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Box
2
Folder
2
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Script, 1959 December 10
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The Secret World of Eddie Hodges, 1960 April
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Box
2
Folder
3
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Scene breakdown, script, 1960 April 11, photos
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The Million Dollar Incident, 1960 August
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Box
2
Folder
4
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Schedules, scene breakdown
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An Hour with Danny Kaye, 1960 October
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Box
2
Folder
5
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Script, 1950 October 30, script revisions, photos
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Belafonte: New York 19, New York, 1960 November 20
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Box
2
Folder
6
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Correspondence
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The Judy Garland Show, 1962 January, 1963
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Box
2
Folder
7
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Correspondence
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Box
2
Folder
8
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Miscellaneous program ideas
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Series: Theater
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Here's Love ( October 3, 1963)
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Box
3
Folder
1
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Correspondence and arbitration, 1962 November - 1965 February
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Series: Motion Pictures
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The Thrill of It All (, 1963)
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Box
3
Folder
2
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Correspondence, 1962 October
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Script
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Box
3
Folder
3
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1962 July 25
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1962 September - October
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Box
3
Folder
4
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pp. 1-69
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Box
3
Folder
5
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pp. 70-135
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Box
3
Folder
6
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Technical production
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Send Me No Flowers (, 1964)
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Box
3
Folder
7
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Script, 1963 November 26 with December revisions
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Box
3
Folder
8
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Cutting script
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Box
3
Folder
9
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Contracts
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The Art of Love (, 1965)
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Box
3
Folder
10
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Correspondence, 1964 April, technical production, clippings
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Box
4
Folder
1
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Script, 1962 June 13
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Box
4
Folder
2
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Scripts, 1963 August 16, 1964 March 27
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Box
4
Folder
3
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Scripts, 1964 April 8
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The Cincinnati Kid (, 1965)
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Box
4
Folder
4
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Correspondence, 1965 January 21 - 1966 February 3
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Box
4
Folder
5
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Script, 1964 December 16
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Box
4
Folder
6
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Script, revisions of 1965 January, February, March
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Box
4
Folder
7
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Script
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Box
4
Folder
8
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Preview reports
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Box
5
Folder
1
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Photographs
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Box
5
Folder
2
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Clippings
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The Russians Are Coming, The Russians Are Coming ( 1966)
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Correspondence
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Box
5
Folder
3
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1963 October 11 - 1965 September
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Box
5
Folder
4
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1965 October - 1966 June
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Box
5
Folder
5
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1966 July - 1969 August
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Box
5
Folder
6
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William Rose, scriptwriter, 1964 January 28 - December 2
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Box
5
Folder
7
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Synopsis, treatment
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Box
6
Folder
1
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Script
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Box
6
Folder
2
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Script, 1965 March 30
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Box
6
Folder
3
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Script
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Box
6
Folder
4
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Script, 1965 June 21
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Box
6
Folder
5
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Directing script
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Box
6
Folder
6
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Contracts
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Box
6
Folder
7
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Personnel: casting
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Technical production
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Box
7
Folder
1
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Credits
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Box
7
Folder
2
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Set lists, cutting, looping, sound
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Box
7
Folder
3-7
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Photographs
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Box
8
Folder
1
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Photographs, continued
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Promotion
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Box
8
Folder
2
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Previews, tours, commercials, releases
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Box
8
Folder
3
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Captions
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Box
8
Folder
4-6
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Clippings and reviews
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Finance
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Box
9
Folder
1
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Budgets
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Cost and budget statements
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Box
9
Folder
2
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1965 September - December
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Box
9
Folder
3
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1966 January - April
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Box
9
Folder
4
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1966 May - December, 1967 July
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Box
9
Folder
5
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Location accounting
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Box
9
Folder
6
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Distribution agreement
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Box
9
Folder
7
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Miscellaneous
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Disc 118A
No.
1
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Original Motion Picture Score - Johnny Mandel
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In the Heat of the Night (, 1967)
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U.S. Mss 122AN
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Correspondence
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Box
10
Folder
1
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1966 June - 1968 March
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Box
10
Folder
2
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1968 April - 1969 May
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Box
10
Folder
3
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Scripts, 1966 March 14
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Box
10
Folder
4
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Script
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Box
10
Folder
5
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Script, 1966 July 1
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Box
10
Folder
6
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Contracts
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Box
10
Folder
7
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Personnel: casting
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Box
10
Folder
8
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Technical production: credits, music
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Box
10
Folder
9
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Photographs
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Box
11
Folder
1
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Promotion: screenings, releases, miscellaneous
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Box
11
Folder
2-5
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Clippings and reviews
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Finance
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Box
11
Folder
6
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Cost and budget, 1967 August 23
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Box
11
Folder
7
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Gross receipts
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Box
12
Folder
1
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Comparative gross receipts, Heat, Russians, What's New Pussycat?
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Box
12
Folder
2
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Foreign grosses
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Box
12
Folder
3
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Multiple grosses, Heat and Russians
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Box
12
Folder
4
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Miscellaneous
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Disc 118A
No.
2
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Original Motion Picture Score - Quincy Jones
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The Thomas Crown Affair (, 1968)
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U.S. Mss 122AN
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Correspondence
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Box
12
Folder
5
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1966 March - 1968 March
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Box
12
Folder
6
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1968 April - 1969 December
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Box
12
Folder
7
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Alan Trustman, screenwriter, 1967 January - April
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Box
12
Folder
8
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Script, 1966
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Box
12
Folder
9
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Script
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Box
13
Folder
1
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Script
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Box
13
Folder
2
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Script
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Script
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Box
13
Folder
3
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1966 September 14
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Box
13
Folder
4
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1967 January
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Box
13
Folder
5
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1967 March 10
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Box
13
Folder
6
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1967 April 21
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Box
13
Folder
7
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1967 August
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Box
14
Folder
1
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Revisions
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Box
14
Folder
2
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Directing script
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Box
14
Folder
3
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Script: The Name of the Game, screenplay by Haskell Wexler and Michael Butler, 1967 April
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Box
14
Folder
4
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Contracts
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Personnel
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Box
14
Folder
5
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Casting
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Box
14
Folder
6
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Cast and staff lists
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Technical production
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Box
14
Folder
7
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Credits
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Box
14
Folder
8
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Daily production and progress reports
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Box
14
Folder
9
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Shooting schedules, set lists
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Box
14
Folder
10
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Cutting, looping, notes on style
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Box
14
Folder
11
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Art sketches
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Box
15
Folder
1-2
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Photographs
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Box
15
Folder
3
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Promotion
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Box
15
Folder
4-6
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Clippings and reviews
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Finance
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Cost and budget statements
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Box
15
Folder
7
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1967 May - June
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Box
16
Folder
1
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1967 July - August 12
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Box
16
Folder
2
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1967 August 19 - October 21
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Box
16
Folder
3
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1967 October 28 - December 30
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Box
16
Folder
4
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1968 January - April 6
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Box
16
Folder
5
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1968 April 20 - July 6
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Box
17
Folder
1
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Comparative gross receipts
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Foreign receipts
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Disc 118A
No.
3
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Original Motion Picture Score - Michel Legrand
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GA 007
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Filmed scenes
1 reel of 1; 61 feet; silent, color; 35mm archival positive
: Four brief scenes of Faye Dunaway and Steve McQueen kissing. Filmed by Haskell Wexler.
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Gaily, Gaily ( 1969)
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U.S. Mss 122AN
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Correspondence
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Box
17
Folder
2
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1966 April 22 -1968 December
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Box
17
Folder
3
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1969 January - 1970 March
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Script
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Box
17
Folder
4
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Research, distribution
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Box
17
Folder
5
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Walter Wanger property
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Box
17
Folder
6
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1967 August 9
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Box
18
Folder
1
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1967 August 10
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Box
18
Folder
2
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1967 December 28
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Box
18
Folder
3
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1968 January 1
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Box
18
Folder
4
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1968 February 20
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Box
18
Folder
5
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1968 February 23
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Box
18
Folder
6
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Script
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Box
18
Folder
7
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Script, 1968 May 8
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Box
19
Folder
1
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Script
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Box
19
Folder
2
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Contracts
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Personnel
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Box
19
Folder
3
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Casting, correspondence, tests, scenes
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Box
19
Folder
4
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Cast and new lists
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Technical production
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Box
19
Folder
5
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Cutting, looping, sets, miscellaneous
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Daily production and progress reports
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Box
19
Folder
6
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1968 September 10 - 1969 April 17
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Box
19
Folder
7
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1968 January 28 - September 5
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Box
19
Folder
8
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Call sheets
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Box
20
Folder
1
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Credits
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Box
20
Folder
2
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Art sketches
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Box
20
Folder
3
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Music
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Box
20
Folder
4
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Wardrobe
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Box
20
Folder
5
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Schedules
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Box
20
Folder
6-8
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Clippings and reviews
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Box
21
Folder
1
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Promotion
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Box
21
Folder
2
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Photographs
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Box
21
Folder
3
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Finance: Distribution statements
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Disc 118A
No.
4
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Original Motion Picture Score - Henry Mancini
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The Landlord (, 1970)
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U.S. Mss 122AN
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Correspondence
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Box
21
Folder
4
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1966 April 25 - 1970 March 10
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Box
21
Folder
5
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Erich Segal
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Scripts
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Box
21
Folder
6
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Synopsis, notes, distribution
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Box
21
Folder
7
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Erich Segal screenplay, 1967 October
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Box
21
Folder
8
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Treatment by Bill Grenn, 1968 February 12
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Box
21
Folder
9
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1968 September 10
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Box
22
Folder
1
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1968 October 9
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Box
22
Folder
2
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1968 December 9
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Box
22
Folder
3
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1968 December 9
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Box
22
Folder
4
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Revisions
|
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Box
22
Folder
5
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1969 April 11
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Box
22
Folder
6
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Directing script
|
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Box
22
Folder
7
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1969 April 11
|
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Script: revisions, 1969
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Box
23
Folder
1
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Script: revisions, 1969 May 14
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Box
23
Folder
2
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Contracts
|
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Personnel
|
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Box
23
Folder
3
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Cast, staff and crew lists
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Box
23
Folder
4
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Casting
|
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Technical production
|
|
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Box
23
Folder
5
|
Credits
|
|
|
Box
23
Folder
6
|
Daily production and progress reports
|
|
|
Box
23
Folder
7
|
Call sheets
|
|
|
Box
23
Folder
8
|
Schedules
|
|
|
Box
23
Folder
9
|
Music, cutting, timing, miscellaneous
|
|
|
Box
23
Folder
10
|
Promotion
|
|
|
Box
23
Folder
11
|
Clippings and reviews
|
|
|
Fiddler on the Roof (, 1972)
: Mirisch-Cartier. United Artists
|
|
|
Pre-production Files
|
|
|
Box
30
Folder
5
|
Cameramen, January-March, 1970, undated
|
|
|
Cast
|
|
|
Box
24
Folder
2
|
Casting
|
|
|
Box
30
Folder
6
|
Breakdown, December, 1969, undated
|
|
|
Box
30
Folder
7
|
Correspondence, August, 1968-January, 1971, undated
|
|
|
Box
30
Folder
8
|
Chagall, Marc, February-June, 1970
|
|
|
Box
30
Folder
9
|
Choreography, July, 1968-February, 1970
|
|
|
Box
30
Folder
10
|
Field, Saul, August, 1966-April, 1969
|
|
|
Box
30
Folder
11
|
Jadran, Film Productions, February, 1970-September, 1971, undated
|
|
|
Locations
|
|
|
Box
30
Folder
12
|
General, April, 1969-July, 1970, undated
|
|
|
Box
30
Folder
13
|
Austria, March-September, 1969, undated
|
|
|
Box
30
Folder
14
|
Hungary, September, 1969, undated
|
|
|
Box
30
Folder
15
|
Israel, September-October, 1969
|
|
|
Box
30
Folder
16
|
Romania, May, 1969-January, 1970, undated
|
|
|
Box
31
Folder
1
|
Yugoslavia, April-November, 1969
|
|
|
Box
31
Folder
2
|
Make-Up, March, 1970
|
|
|
Box
31
Folder
3
|
Music, January, 1970
|
|
|
Box
31
Folder
4
|
Personnel, 1968-1970, undated
|
|
|
Box
31
Folder
5
|
Publicists, February, 1970-September, 1971
|
|
|
Box
31
Folder
6
|
Reece, Clara, September-November, 1969
|
|
|
Box
31
Folder
7
|
Research, February, 1969-February, 1972, undated
|
|
|
Box
31
Folder
8
|
Screen Actors Guild, February-March, 1970
|
|
|
Box
31
Folder
9
|
Screen Tests, March-June, 1970
|
|
|
Scripts
|
|
|
Box
23
Folder
12
|
1969 March 15
|
|
|
Box
24
Folder
1
|
1969 December 19 with revisions, , 1970 May 7
|
|
|
Box
31
Folder
10
|
Script Fragment, original revised pages, May 23-27, 1970
|
|
|
Production Files
|
|
|
Box
31
Folder
11
|
Accounting, March, 1969-December, 1970
|
|
|
Box
31
Folder
12
|
Art Department, May, 1968-July, 1970
|
|
|
Artists
|
|
|
Box
31
Folder
13
|
Contracts, April-July, 1970, undated
|
|
|
Box
31
Folder
14
|
Correspondence, October, 1969-December, 1971, undated
|
|
|
Box
24
Folder
3
|
Daily production and progress reports, call sheets
|
|
|
Box
31
Folder
15-16
|
Call Sheets, April, 1970-February, 1971, undated
|
|
|
Box
31
Folder
17
|
Correspondence, General, April, 1968-February, 1974, undated
|
|
|
Box
31
Folder
18
|
Credits, September, 1969-August, 1971, undated
|
|
|
Box
31
Folder
19
|
Documentary Film of Fiddler, National Film Board of Canada, December, 1970-December, 1972
|
|
|
DC 539-540
|
Norman Jewison, Film Maker; A National Film Board of Canada Production, 1971, Director: Doug Jackson
2 reels of 2; 1779 feet; sound, color; 16mm print
: Portrait of director Norman Jewison filming Fiddler on the Roof in Yugoslavia and at Pinewood Studios in England. Jewison discusses the problems of working with actors; location shooting; and being an independent producer. Brief resume of Jewison's career and films.
|
|
|
Box
31
Folder
20
|
Editing, January, 1971-May, 1974, undated
|
|
|
Box
31
Folder
21
|
Expenses, June, 1970-March, 1971
|
|
|
Box
31
Folder
22
|
Extras, undated
|
|
|
Box
31
Folder
23
|
Foreign Dubbing, May, 1971-February, 1972
|
|
|
Box
31
Folder
24
|
Insurance, July, 1971
|
|
|
Box
24
Folder
4
|
Music
|
|
|
Box
32
Folder
1
|
Correspondence and Lyrics, March, 1968-December, 1971, undated
|
|
|
Box
32
Folder
2
|
Rehearsal and Recording Schedule, March, 1970-April, 1971
|
|
|
Box
32
Folder
3-5
|
Production and Progress Reports, March, 1970-October, 1971
|
|
|
Box
32
Folder
6
|
Shooting Schedules, March-April, 1970
|
|
|
Box
32
Folder
7
|
Stein, Joe, May, 1969-January, 1972
|
|
|
Box
32
Folder
8
|
Synagogue Correspondence, February-December, 1972
|
|
|
Box
32
Folder
9
|
Teaser/Trailer, April-September, 1971
|
|
|
Box
32
Folder
10
|
Timing, January-November, 1970
|
|
|
Box
32
Folder
11
|
Timing Script, Second Draft, by Joseph Stein, December 19, 1969
|
|
|
Box
32
Folder
12
|
Unit and Crew, April, 1968-February, 1972
|
|
|
Post-production Files
|
|
|
Box
32
Folder
13
|
Congratulatory Correspondence, September, 1971-May, 1972, undated
|
|
|
Box
32
Folder
14
|
Memoranda, September, 1969-November, 1971
|
|
|
Box
32
Folder
15
|
Premieres and Release Dates, February, 1970-March, 1973, undated
|
|
|
Publicity
|
|
|
Box
33
Folder
1
|
Campaign Booklet for the United Kingdom, circa 1971-1972
|
|
|
Box
24
Folder
5-6
|
Miscellaneous clippings
|
|
|
Micro 696
|
Clippings and Reviews, 1968-1972
|
|
|
Reel
1
|
United States
|
|
|
Reel
1
|
British Isles
|
|
|
Reel
2
|
Canada
|
|
|
Reel
2
|
France
|
|
|
Reel
2
|
Holland
|
|
|
Reel
2
|
Japan
|
|
|
Reel
2
|
Republic of South Africa
|
|
|
Reel
2
|
Russia
|
|
|
U.S. Mss 122AN
Box
33
Folder
2-3
|
Correspondence, April, 1969-May, 1972, undated
|
|
|
Box
33
Folder
4
|
Pre-release Publicity, July, 1970-December, 1972
|
|
|
Jesus Christ Superstar (, 1973)
: Production company unknown. Universal Pictures.
|
|
|
Pre-production Files
|
|
|
Box
33
Folder
5
|
Casting, September, 1971-August, 1972, undated
|
|
|
Box
33
Folder
6
|
Choreography, circa 1972
|
|
|
Box
33
Folder
7
|
Job Applications, September, 1971-November, 1972
|
|
|
Box
33
Folder
8
|
Locations, September-November, 1971
|
|
|
Box
33
Folder
9
|
Music Schedules, March, 1972-January, 1974, undated
|
|
|
Box
33
Folder
10
|
Prop List, July, 1972
|
|
|
Box
33
Folder
11
|
Research, March, 1972-June, 1973, undated
|
|
|
Box
33
Folder
12
|
Schedules, December, 1971-November, 1972
|
|
|
Box
33
Folder
13
|
Unit Lists, circa July-August, 1972
|
|
|
Production Files
|
|
|
Box
33
Folder
14
|
Artists Correspondence, June, 1972
|
|
|
Box
33
Folder
15
|
Book of Photographs re film, circa 1973-1974
|
|
|
Box
33
Folder
16
|
Bragg, Melvyn, February, 1972-September, 1973
|
|
|
Box
33
Folder
17
|
Call Sheets, May-October, 1972
|
|
|
Box
33
Folder
18
|
Cast Lists and Correspondence, May, 1972-April, 1973, undated
|
|
|
Box
34
Folder
1
|
Correspondence and Miscellany, July, 1971-January, 1978, undated
|
|
|
Box
34
Folder
2
|
Costumes, October, 1971-October, 1972, undated
|
|
|
Box
34
Folder
3
|
Credits, July, 1972-May, 1973
|
|
|
Box
34
Folder
4
|
Featurette, including a commentary by Melvyn Bragg, October, 1972-March, 1973
|
|
|
Box
34
Folder
5
|
Israel, August, 1972-May, 1973, undated
|
|
|
Box
34
Folder
6
|
Lyrics, June-November, 1972, undated
|
|
|
Box
34
Folder
7
|
Memoranda, January-November, 1972
|
|
|
Box
34
Folder
8-10
|
Production and Progress Reports, May-November, 1972
|
|
|
Script
|
|
|
Box
34
Folder
11
|
Notes and Changes, April-May, 1972, undated
|
|
|
Box
34
Folder
12
|
Revised Second Draft, by Norman Jewison and Melvyn Bragg, June 19, 1972
|
|
|
Box
35
Folder
1
|
Stigwood, Robert, January, 1972-August, 1973
|
|
|
Box
35
Folder
2
|
Trailer, February-March, 1973
|
|
|
Box
35
Folder
3
|
Universal Pictures Corporation, August, 1971-March, 1974
|
|
|
Post-production Files
|
|
|
Box
35
Folder
4
|
Anti-Defamation League, November, 1971-October, 1973
|
|
|
Box
35
Folder
5
|
Anti-Movie Correspondence, July, 1973-March, 1974
|
|
|
Box
35
Folder
6-8
|
Fan Mail, May, 1973-August, 1977, undated
|
|
|
Box
35
Folder
9
|
Foreign Dubbing, May-November, 1973
|
|
|
Box
35
Folder
10
|
Premiere, November, 1972-August, 1973
|
|
|
Publicity
|
|
|
Box
35
Folder
11
|
Advertising, May, 1972-September, 1974, undated
|
|
|
Micro 696
|
Clippings and Reviews, 1971-1975
|
|
|
Reel
2
|
United States
|
|
|
Reel
2
|
Belgium
|
|
|
Reel
2
|
British Isles
|
|
|
Reel
2
|
Canada
|
|
|
Reel
2
|
France
|
|
|
Reel
2
|
Holland
|
|
|
Reel
2
|
Israel
|
|
|
Reel
2
|
Italy
|
|
|
Reel
2
|
Miscellany
|
|
|
Reel
2
|
Spain
|
|
|
Reel
2
|
Sweden
|
|
|
Reel
2
|
Vatican City
|
|
|
U.S. Mss 122AN
Box
35
Folder
12
|
Correspondence and Itineraries, 1972-1974, undated
|
|
|
Box
35
Folder
13
|
Fact Sheets, Interviews, and Miscellany, 1972-1974
|
|
|
Box
36
Folder
1
|
Releases, April-September, 1973
|
|
|
Box
36
Folder
2
|
Schedules, December, 1972-February, 1973
|
|
|
Box
36
Folder
3
|
Souvenir Books, circa May-August, 1973
|
|
|
Billy Two Hats (, 1974)
: Mirisch-Cartier. United Artists.
|
|
|
Pre-production Files
|
|
|
Correspondence
|
|
|
Box
29
Folder
1
|
Casting, September-October, 1972, undated
|
|
|
Box
29
Folder
2
|
Directors, General, January-February, 1972
|
|
|
Box
29
Folder
3
|
Kotcheff, Ted, February, 1972-May, 1974
|
|
|
Box
29
Folder
4
|
Sharp, Alan, July, 1971-March, 1972
|
|
|
Production Files
|
|
|
Box
29
Folder
5-6
|
Call Sheets, October-December, 1972
|
|
|
Box
29
Folder
7
|
Credits, April-November, 1973
|
|
|
Box
29
Folder
8
|
Miscellany, February, 1971-February, 1978, undated
|
|
|
Box
29
Folder
9
|
Music, April-May, 1973, undated
|
|
|
Box
29
Folder
10-11
|
Production and Progress Reports, October-December, 1972
|
|
|
Box
29
Folder
12
|
Schedules, circa 1972
|
|
|
Box
29
Folder
13
|
Script, Revised Final, by Alan Sharp, August 15, 1972
|
|
|
Box
29
Folder
14
|
Trailer, October, 1973
|
|
|
Box
29
Folder
15
|
Unit and Cast List, March-September, 1972
|
|
|
Post-production Files
|
|
|
Box
29
Folder
16
|
Artists Correspondence, May-October, 1973
|
|
|
Box
29
Folder
17
|
Documentary Film, June, 1973
|
|
|
Box
29
Folder
18
|
Film Expo - Ottawa, July-September, 1973
|
|
|
Box
29
Folder
19
|
Miscellany, October, 1972-July, 1973
|
|
|
Box
29
Folder
20
|
Premiere, July, 1973
|
|
|
Publicity
|
|
|
Box
29
Folder
21
|
Advertising, December, 1972-March, 1974
|
|
|
Micro 696
Reel
1
|
Clippings and Reviews, 1971-1974
|
|
|
U.S. Mss 122AN
Box
30
Folder
1
|
Correspondence, July, 1972-May, 1974
|
|
|
Box
30
Folder
2
|
Teheran Film Festival, November, 1973
|
|
|
F.I.S.T. (, 1978)
: Production company unknown. United Artists.
|
|
|
Box
30
Folder
3
|
Script, Third Revised, by Joe Eszterhas and Sylvester Stallone, March, 1977
|
|
|
Box
30
Folder
4
|
Script, Final, by Joe Eszterhas and Sylvester Stallone, April, 1978
|
|
|
Series: Motion Pictures (Unproduced)
|
|
|
Judgment of Corey
|
|
|
Box
24
Folder
7
|
Correspondence, 1965 August 13 - 1966 September 12
|
|
|
Box
24
Folder
8
|
Script, 1965 October 22
|
|
|
Box
24
Folder
9
|
Script, 1966 March 1
|
|
|
Box
25
Folder
1
|
Scripts
|
|
|
Box
25
Folder
2
|
Scripts and Revisions
|
|
|
Box
25
Folder
3
|
Technical Production: Breakdown sheets
|
|
|
Running Scared
|
|
|
Box
25
Folder
4
|
Correspondence, 1967 April 20 - 1968 August 13
|
|
|
Box
25
Folder
5
|
Script
|
|
|
Box
25
Folder
6
|
Script, 1968 June 17
|
|
|
Box
25
Folder
7
|
Script, 1968 July 23
|
|
|
The Confessions of Nat Turner
|
|
|
Box
26
Folder
1
|
Correspondence, 1968 January 15 - 1969 April 24
|
|
|
Box
26
Folder
2
|
Script: Outline, Scene breakdown
|
|
|
Script, 1968 January
|
|
|
Box
26
Folder
3
|
pp. 1-172
|
|
|
Box
26
Folder
4
|
pp. 173-239
|
|
|
Box
26
Folder
5
|
Contracts
|
|
|
Box
26
Folder
6
|
Personnel: Writers, casting suggestions
|
|
|
Box
26
Folder
7-8
|
Clippings
|
|
|
Box
26
Folder
9
|
Finance: Accounting
|
|
|
Spector
|
|
|
Box
26
Folder
10
|
Correspondence, 1968 September 30 - 1969 November 19
|
|
|
Script
|
|
|
Box
26
Folder
11
|
pp. 1-158
|
|
|
Box
26
Folder
12
|
pp. 159-310
|
|
|
Box
27
Folder
1
|
Contracts: Option agreement
|
|
|
Box
27
Folder
2
|
Clippings
|
|
|
Series: Submissions
|
|
|
Correspondence and synopses
|
|
|
Box
27
Folder
3
|
1962 August 20 - 1964
|
|
|
Box
27
Folder
4
|
1965 - 1966 March
|
|
|
Box
27
Folder
5
|
1966 April - December
|
|
|
Box
27
Folder
6
|
1967 January - June
|
|
|
Box
27
Folder
7
|
1967 August - 1968 June
|
|
|
Box
27
Folder
8
|
1968 July - 1969 April
|
|
|
Box
27
Folder
9
|
1969 May - 1970 April, undated
|
|
|
Scripts
|
|
|
Box
28
Folder
1
|
Shout Up a Morning, 1963
|
|
|
Box
28
Folder
1
|
But Where Are the Indians?, 1964 February 14
|
|
|
Box
28
Folder
2
|
On a Clear Day You Can See Forever, 1965 October
|
|
|
Box
28
Folder
3
|
Eldest Son of the Eldest Son of the Eldest Son, 1966 January
|
|
|
Box
28
Folder
4
|
Father One, 1968 March 18
|
|
|
Box
28
Folder
4
|
Tunc, 1968 May
|
|
|
Box
28
Folder
4
|
Baker Street, 1968 August 6
|
|
|
Box
28
Folder
5
|
Some Sweet Morning, 1969 June 10
|
|
|
Miscellaneous scripts and synopses, undated
|
|
|
Box
28
Folder
6
|
B-H
|
|
|
Box
28
Folder
7
|
N-T
|
|
|
