David O. Selznick filmography

Selznick began working in the film industry while in his early teens. He was employed—after school hours—by his father, film producer Lewis J. Selznick, initially as head of publicity and advertising and later as a newsreel Film editor. When the elder Selznick went bankrupt in 1923, young David took a job as a promoter for a two-reel short about prizefighter Luis Firpo. Afterwards he convinced the Mineralava Beauty Clay Company to produce a two-reel film of a beauty contest they were sponsoring with actor Rudolph Valentino as the judge.[3]

I promoted and made for $17,000 a little picture called Roulette … As I recall, it didn't lose any money, but it didn't make any worth mentioning.

— David O. Selznick[4]

I become manager of the writer's department, then head of the writer's department, then assistant story editor, then associate story editor, then assistant stooge to Harry Rapf, and then finally was given my chance to make a Tim McCoy Western … I decided that … it would be just as easy to make two of them at a time as one.

— David O. Selznick[21]

In October 1926, Selznick secured a job at Metro-Goldwyn-Mayer as a script reader for producer Harry Rapf.[21]

After the McCoy Westerns, Selznick was assigned as assistant to producer Hunt Stromberg on the film White Shadows in the South Seas (1928). Disagreements with Stromberg and senior producer Irving Thalberg over the choice of the film's director (W. S. Van Dyke or Robert J. Flaherty) led to Selznick's termination with the company.[22]

In response to my question as to what will happen to Schulberg, he [Lasky] said, in effect, that they would be kicking him upstairs. … One of my rows with Paramount … was my insistence that no one man could possibly personally produce more than a few pictures per year.

— David O. Selznick[23]

In early 1928 Selznick accepted the position of assistant to producer B. P. Schulberg at Paramount Studios. The professional relationship between the two, however, eventually deteriorated after Schulberg went to Europe for several months in 1929. During his absence, studio head Jesse L. Lasky placed Selznick into Schulberg's position and decided to keep him there. Selznick remained with Paramount until his resignation in June 1931.

Selznick worked in a variety of jobs (i.e. supervisor, producer, associate producer, executive producer, or substantial contributor). The 13 films listed below were those whose production he was known to be heavily involved in.[24] Except where noted these films are all-talking.

I sold him [David Sarnoff, President of RCA, parent company at the time to RKO Radio and RKO Pathé] the idea of putting me in charge not only of production at RKO, but also his rival production unit, Pathé. In October 1931, I signed a contract to take over both and to merge them.[6] I stayed at RKO until my contract expired in 1933. My new contract … was about to be signed when "Deac" Aylesworth became head of the company. Aylesworth insisted upon the new but still unsigned contract being changed to the extent of giving him approval of everything connected with production. I refused to accept this.

— David O. Selznick[25]

In 1931 Selznick and director Lewis Milestone attempted to form their own production company. After several months, however, the two were unsuccessful in achieving financial backing. Milestone eventually accepted an offer to because head of production at United Artists while Selznick accepted a similar position at RKO Radio.[6]

As Vice-President in Charge of Production, Selznick was personally involved in the 22 RKO films listed here.[24]

After refusing to sign a new contract with RKO, Selznick returned to MGM in 1933, this time in the position as vice-president in charge of his own unit.[27] During the next two years he personally produced 11 features for the studio before departing to form his own production company.[28]

I simply had to fulfill my ambitions of starting my own company. It had always been an obsession of mine … that there be no interference with our work; that we must have authority.

— David O. Selznick[30]

In 1935 Selznick left MGM to form his own production company, Selznick International Pictures.[31] He also took over the operation of Pioneer Pictures, a production company designed to produce films in Technicolor and formed by his friend and ex-associate (at RKO) Merian C. Cooper.[30] Selznick International produced a total of 11 features, of which all but one were distributed by United Artists.[32] Gone With the Wind was released by MGM as part of a deal with Selznick in exchange for the loan of Clark Gable in the role of Rhett Butler.[33]

Following the highly successful releases of Gone With the Wind and Rebecca, Selznick began a three-year liquidation of Selznick International Pictures in order to draw profits for himself and his outside investors.[36] He developed and sold film projects to other producers and studios, and arranged loan outs of his contracted artists. Without outside backers he formed David O. Selznick Productions, Inc., which in 1941 became owner of one-fourth of United Artists.[37]

Selznick established a film production company, Vanguard Films (1943–1951).[38] The first three features for his new company were distributed by United Artists.[39] In 1946 Selznick broke with UA over the distribution of Duel in the Sun,[40] and founded his own distribution company, Selznick Releasing Organization.[41]

I was tired … Additionally, it was crystal clear that the motion picture business was in for a terrible beating from television … My company financed itself with bank loans; and these loans, with interest, had been extended to a total of about $12,000,000 … as part of the plans for the liquidation of my company and its debts, we devised what has since become known as coproduction.

— David O. Selznick[44]

In 1949 Selznick closed down his production facilities and he greatly reduced the staff of Selznick Releasing Organization. He and Jennifer Jones began traveling in Europe and were married in July 1949.[45] For the remainder of his career he collaborated with other film producers and also made his sole venture into television.