Et la femme créa Hollywood (2016) Entire Documentary

Et la femme créa Hollywood (2016)

Very few people know that Hollywood was largely dominated by women as filmmakers in the 1910s and 20s, there were more women producers and directors in powerful positions before 1920 than at any other time in the motion picture history. Their names were Lois Weber, Mary Pickford, Frances Marion, Alice Guy Blaché, Dorothy Arzner etc … Before the Big Crash women were creatively working in Hollywood at all levels. Unbelievable as it may seem, it took until 2010 for a woman – Kathryn Bigelow – to receive an Oscar for Best Director! Casting in the documentary includes the most successful women to date, Paula Wagner, producer and business partner of Tom Cruise, Robin Swicord, screenwriter and Lynda Obst, producer of, amongst others, Sleepless in Seattle, Contact and Flashdance. And Lillian Gish and Sherry Lansing (archives)


American actress Lillian Gish (1893-1993) makes her only foray into directing with Remodeling Her Husband. In an “all-woman” production, Gish co-writes the screenplay with her sister Dorothy, who also stars, and recruits the American writer Dorothy Parker to write the intertitles.

In 1919 Lillian Gish was one of Hollywood’s most respected performers and D. W. Griffith’s favorite actress. That year, confident that her knowledge of the movies was equal to his own, Griffith asked her to direct a movie starring her sister Dorothy for Paramount. Convinced that women had already proven to be proficient directors, Gish happily accepted the offer. Griffith gave her a $50,000 budget and total liberty in the production. He also asked, however, that she supervise the conversion of a recently acquired Long Island estate into a studio, which was far from properly equipped for film production. It proved to be an enormous task, but she completed both it and the film successfully.

The first talkie was directed by Alice Guy, the first color film was produced by Lois Weber, who directed more than 300 films over 10 years. Frances Marion wrote screenplays for the Hollywood Star Mary Pickford and won two Oscars, Dorothy Arzner was the most powerful film director in Hollywood. And what do all of them have in common? They are all women and they have all been forgotten. Incredibly, it also took until 2010 for the first woman, Kathryn Bigelow, to win the Oscar for Best Director. Even if underrepresented women have always played a big part in Hollywood and it is this part of the film history left untold that this documentary sets out to uncover.


  •                 Sherry Lansing  
  •                 Lillian Gish          
  •                 Margaret Booth

Rest of cast listed alphabetically:

  •                 Ally Acker … Self
  •                 Dorothy Arzner … Self (archive Footage)
  •                 Cari Beauchamp … Self
  •                 Alice Guy … Self (archive Footage)
  •                 Edith Head … Self (archive Footage)
  •                 Anita Loos … Self (archive Footage)
  •                 Ida Lupino … Self (archive Footage)
  •                 Frances Marion … Self (archive Footage)
  •                 June Mathis … Self (archive Footage)
  •                 Mabel Normand … Self (archive Footage)
  •                 Lynda Obst … Self
  •                 Mary Pickford … Self (archive Footage)
  •                 Robin Swicord … Self
  •                 Virginia Van Upp … Self (archive Footage)
  •                 Paula Wagner … Self
  •                 Lois Weber … Self (archive Footage)
  •                 Mae West … Self (archive Footage)

Directed by Clara Kuperberg and Julia Kuperberg

  • Clara Kuperberg … (co-director)
  • Julia Kuperberg … (co-director)

Written by Clara Kuperberg … (writer)

  •  Clara Kuperberg … ()
  •  Julia Kuperberg … (writer)

Produced by

  • Clara Kuperberg … producer
  • Julia Kuperberg … producer
  • Susan Michals … line producer

Cinematography by Peter Krajewski and Mike Nolan

Et la femme créa Hollywood (2016) HDV 720p

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KQED – Lillian Gish – Mary Martin 1981 interview (TV Capture)

Lillian Gish – Mary Martin (Over Easy Camera, New York)

Critics, historians, and scholars are virtually unaminous in their agreement that Griffith’s greatest performer was Lillian Gish. John Barrymore compared her with Bernhardt and Duse. Critics rhapsodized over her “Dresden porcelain” beauty. She started with Griffith in 1912 at the age of sixteen and became his preeminent interpreter in such major works as The Birth of a Nation, Broken Blossoms, Way Down East, and Orphans of the Storm.

KQED – Lillian Gish – Mary Martin 1981 interview – HDV 720p TV Capture

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Lillian Gish, 1978 CBC Archives

Lillian Gish, 1978 CBC Archives – TV capture VHS quality

First lady of the screen, Miss Lillian Gish in an interview filmed in 1978, presented by CBC as an episode in their “Retro-Bites” series.

Lillian Gish, 1978 CBC Archives – TV capture VHS quality

*** Admin note: Featured photo of Lillian Gish was taken in 1978 indeed, but is a still frame from an interview at BBC Television London. The material above has a low VHS resolution (TV capture) thus any still frame will be affected by the poor footage quality. Thank you for your understanding.

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Mrs Winchester’s House – CBS 5 – HDV 720p 29.97 fps (Entire Documentary)

Mrs. Winchester’s House

• TV Movie
• 1963
• 29min

Documentary about the life and legend of Sarah L. Winchester, heiress to the Winchester Repeating Arms Company who, after the death of her husband and only child moved to San Jose, California and constructed non-stop what came to be known as the Winchester Mystery House during the last 38 years of her life. The film traces Mrs. Winchester’s life from her marriage into the wealthy Winchester family, whose family business supplied many of the repeating rifles sold to the United States Army during and after the Civil War and follows her eccentric life in California where, according to legend, she was advised by a mystic to provide shelter for spirits of the victims of her husband’s rifles or follow him to an early grave. It provides point-of-view shots of the interior and exterior of the rambling Victorian mansion.

• Director – Dick Williams

• Writers
o R.E. Pusey Jr.
o Ray Hubbard

• Star
o Lillian Gish (voice)

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“Arsenic and Old Lace” 1969 – Entire film (TV capture)

During one of her visits to Rapollo, Lillian was invited to co-star with her longtime friend, actress Helen Hayes, in a television production of Joseph Kesselring’s hit homicidal comedy, Arsenic and Old Lace. Lillian and Helen would be playing two sweet, elderly ladies, sisters, who murder lonely old men after extending an invitation to them to visit and sample their special elderberry wine. Helen Hayes jokingly told this author at their first meeting that she and Lillian had known each other forever.

As I grow older, I get forgetful too, but I haven’t reached that point yet. And neither had Lillian when it came to work. She’s sharp as a tack then, as I discovered when we appeared on TV together in Arsenic and Old Lace. It was a challenging production, shot live on a multilevel set that would have tested Edmund Hillary’s climbing ability. (Helen Hayes)

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Actress breaks ‘Kate Jackson Doll’ (Minneapolis Tribune – 1981)

  • Minneapolis Tribune – February 15, 1981 (Page 30)
  • Actress breaks ‘Kate Jackson Doll’

Charleston S.C. – Sitting in Charleston under a hair dryer, preparing to go out into 105 – degree heat and pretend that it was a cool spring day, Kate Jackson told us how her acting career was back on the track.

She stars as Linda Rivers, a 26-year old high school teacher who has a controversial love affair with a 18-year-old student, in “Thin Ice” at 8 p.m. on the “CBS Tuesday Night Movies.”

As she prepared for a scene with Lillian Gish, legendary star who portrays her grandmother, Jackson reflected on her career.

She was born in Birmingham, Ala., and attended college at Ole Miss, but she didn’t participate in theater ventures there. “The theater people were considered weird people,” Jackson said, “I hope that’s no longer true. But when I was in school, all the talented kids who played the flute or wanted to act where made fun of. I worry about the sensitive people who are so easily crushed, simply because the values of our society are so misplaced.

“My way around that was to just not tell anyone I wanted to be an actress. I figured I would just go and do it, and then the other people could talk about it.”

That’s what she did. At 19 she moved to New York, where she enrolled in a two-year course at the American Academy of Dramatic Arts. When she graduated, her class’s graduation speaker was Gish.


“I remember she said she couldn’t stand behind the podium because she was too short,” Jackson recalled, “so she stepped around and stood in front of it. Then she proceeded to say wonderful, encouraging things to us, just the very things you would expect a sensitive woman to say to graduates who have a dream that is to extremely difficult to achieve.”

After a nine-month stint on “Dark Shadows” daytime series, Jackson became the female lead in the police action series “The Rookies,” which ran from 1972 to 1976. She went straight from that into the role of Sabrina Carver on “Charlie’s Angels,” starring for three seasons until 1979. During her stint on this series, she admitted, she began to lose perspective on her career.

“I don’t want to knock that series,” she began, “because that show did a lot of good things for me. But during those years I got distracted by the very things that I had always promised myself I would be never distracted by – namely, the hype and the huge amounts of money.

“It becomes funny money. It doesn’t mean anything. Yet, at the same time, it’s pretty hard to quit. It’s hard to look a million dollars in the face and tell it to get into somebody else’s pocket.

“But that third year, I was beginning the question why I disliked the thing that I knew I loved most in the world – acting. I’d reached a point where I not only didn’t love to act, I didn’t even know why I acted.

“You tend to lose perspective when there’s a Kate Jackson Doll. But I knew that I had become an actress in order to communicate with people. I didn’t want to be a Kate Jackson Doll. I didn’t want to be a Kate Jackson lunch box.

“Now,” she said, “once again I’m working for the right reasons – because of the artist that I hope is inside me. And on this particular project I find again all the reasons that I wanted to become an actress in the first place. Now I know why I act, and love it again.

In Tuesday’s movie Jackson portrays Linda Rivers, a South Carolina history teacher whose husband died three years earlier. Rather than renew an active social life, she lives with her grandmother (Gish) and focuses her energies on teaching. By chance during spring vacation, she spends time with 18-year-old Paul McCormick (Gerard Prendergast), one of her students. Almost against her will, they fall in love and enter into an involvement.

Fully aware of the danger in their relationship, Linda and Paul go to great lengths to keep their involvement discreet. But when news of their affair leaks, a community controversy erupts that dramatically alters their lives and compels the couple to confront the seriousness of their actions.

Gish recalled the script “beautiful and intelligent.” She said, “I feel so guilty. My agents are darling with me. They send me scripts by the dozen. If I were starving, maybe I would have to do them. But I’m not, so I don’t.

“Then I was sent ‘Thin Ice’. I said I’d be delighted to be in it because at last, here was a script for adults.”


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The history of movies is the history of Lillian Gish – By Mike Hughes (San Bernardino Sun, 1988)

  • San Bernardino Sun, 11 July 1988
  • The history of movies is the history of Lillian Gish
  • By Mike Hughes Gannett News Service

She was born in a quieter century, in a cozier part of the world. Risks were rare, expectations low.  “We were from Ohio,” Lillian Gish says in a film to be broadcast a 9 tonight on KVCR. (American Masters) “Ladies had their name in print when they were born, when they got married and when they died but NEVER for anything else.” But fate intervened and her career has embraced most of the history of movies. Now it’s recalled in a masterful opener for the “American Masters” season. Here is a life that can be illustrated through 106 movies spread over 75 years. And here is someone interviewed at just the right time; at 93, Gish overflows with rich  memories. Her quiet Ohio life was disrupted because her father couldn’t keep work. Her mother “the most perfect human being I ever knew” told him not to come back until he could. “He would follow us around and beg Mother to take him back,” she says in the film. “But he didn’t have a job.” So the Gishes turned to the stage for money. At the ages of 5 and 4, Lillian and her sister Dorothy became touring actresses, They were quite haughty about it, feeling sorry for their friend, Gladys Smith, who “had to go to the movies to make a living.” But Gladys did well, after changing her name to Mary Pickford. Pickford also introduced them to D.W. Griffith, Hollywood’s first great director. “He said, ‘Can you act?’ And Dorothy pulled herself up and said, ‘We are of the legitimate theater.’ And he said, ‘I don’t mean reading lines. Can you act’?”” They could.

American Film Institute salute to actress Lillian Gish – – Chicago Tribune (Chicago, Illinois)17 Apr 1984, Tue Page 37

Lillian Gish A long life and a lot of memories

Beginning in 1912, these teens and their incredibly expressive faces were being molded by a master. “Griffith got into films in 1908, and by the time I got (there), he had given films their form and grammar.” Gish was in the movie that made him famous “Birth of a ‘Nation,” released in 1915 and “Intolerance,” the one that destroyed him just a year later. “Theaters wouldn’t take it,” Gish says of the latter film’s original, marathon length. “And he cut it and ruined it. Because it still remains the greatest film ever made.” She bridles at the way he was treated after that. “He couldn’t take orders from business people. It was just not possible.” And other Hollywood attitudes grate on her. Once, movie mogul Louis Mayer suggested that Gish (who has never married) start a scandal to generate publicity. She also complains about the characters she was given (“I played those little virgins that after five minutes you got so sick of’) and the industry’s obsession with happy endings, Tonight’s “Masters” provides a vivid example of that the absurd new ending ordered by the studio for “The Wind,” in 1928. “Frances Marion, who did the script, never took anything in film seriously again, and I came back to the theater,” Gish remembers. She would retreat often to the stage, but certainly didn’t forget Hollywood and her life’s work: “I never doubted film was the mind and heartbeat of our century,” she says.

In recent summers, PBS’ Monday lineup has come as a vibrant surprise. “Masters” crafts portraits with intelligence and detail; “Alive From Off Center” is both deft and daft. And now both start their new seasons in appropriate style. “Off Center” (10 p.m. locally) has two mismatched films a witty and stylish satire of a high-tech ad agency and a pointless and (almost) endless segment from the movie “Aria.” And “Masters” (9 p.m.) is at its very best with the Gish profile.

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Interviewing Lillian Gish


“We got along all right on that one, I’d say. I did everything I could do to please her, of course. I don’t recall ever having had an actor or an actress with whom I couldn’t get along. I’ve never thought about my being first or second in the billing, and I never brought up the fact that my name should be used, above or below the title. If it wasn’t used it was better for me, I thought, because of my family. I just never had any big head about “me,” and I always felt that I was so lucky. Everyone was so good to me throughout my career, and I can say in all honesty that I don’t recall having had a quarrel with anyone ever.” (Lillian Gish – The Whales of August)

From the outset, Gish took her responsibility to this new medium very seriously, and as early as 1913, she was quoted as saying: “To play for the pictures is mostly a matter of the face and of learning to think inside.” Griffith himself, in 1914, stated modestly: “I did not ‘teach’ the players with whom my name is linked. We developed together; we found ourselves in a new art, and, as we discovered the possibilities of that art, we learned together.”

Gish remembers Selznick as a man of taste: “He was delightful for me to work with. He was charming and intelligent, and all the consideration he showed to Jennifer [his then wife, Jennifer Jones], he showed to me as well.” (Duel in the Sun)

Gish’s most important film role in recent years was as the grandmother in Robert Altman’s A Wedding (1978): “Robert Altman had no script but he came to see me and told me the story. It had so many characters I really couldn’t make head nor tails of it, but he told me I was to die with comedy. Well, that intrigued me. It was a challenge. I had died every way except that, and I accepted the part because it would be a new experience. I am very glad I did.” Interviewed upon completion of that film, Altman commented on Gish’s death scene: “She went out rather beautifully. . . . She had a smile on her face, that famous smile, lingering, fading like a candle being blown out.”

In “Broken Blossoms,” for instance, and in “Way Down East,” I had physical distress to help me out. My appeal was in a measure made for me. I always had something the matter with me. In one I was a poor, frail, half-living little thing and in the other a down-trodden, storm-tossed girl. As Henriette I was well taken care of, beloved by the dashing Chevalier, watched over by Danton. Of course, I had lost my sister, but I was not sure that she was not well cared for, too. I had to make the loss of my sister and my instinctive fear for her overshadow my own personal well-being. That made Henriette a more difficult role than any I have yet played. (Motion Picture Magazine 1922)

“ I don’t believe I had more than two weeks off in the past year,” she remarked. “I did a season of Shakespeare up in Stratford, Conn. Then I came right out here for “Follow Me Boys” at the Disney Studios. “After that, I went back to New York to begin rehearsals for ‘Anya,’ which George Abbott directed. It was a beautiful play which lasted only a month in New York because of three bad reviews. I think it will have the same fate as ‘Porgy and Bess,’ which did poor business because of reviews when it opened, then was reviewed to become an American classic.

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