David O. Selznick (1902–1965) was an Americanmotion picture producer whose work consists of three short subjects, 67 feature films, and one television production made between 1923 and 1957. He was the producer of the 1939 epicGone with the Wind.^[1] Selznick was born inPittsburgh and educated in public schools inBrooklyn andManhattan.^[2] He began working in the film industry in New York while in his teens as an assistant to his father, jeweler-turned-film producerLewis J. Selznick.^[3] In 1923, he began producing films himself, starting with two documentary shorts and then a minor feature,Roulette (1924).^[4] Moving to Hollywood in 1926, Selznick became employed atMetro-Goldwyn-Mayer (MGM), where he produced two films before switching toParamount in early 1928.^[5] After helping to guide Paramount into thesound era, Selznick moved toRKO Radio in 1931 where he served as the studio's executive producer. During his time at RKO he oversaw the production ofKing Kong (1933) and helped to developKatharine Hepburn andMyrna Loy into major film stars.^[6]

In 1933 Selznick returned to MGM, this time as a vice-president in charge of his own production unit. During his two years with the studio he produced elaborate versions ofLeo Tolstoy'sAnna Karenina andCharles Dickens'David Copperfield andA Tale of Two Cities. In 1935, he left MGM to form his own production company,Selznick International Pictures, where he produced adaptations ofRobert Smythe Hichens'The Garden of Allah (1936),Frances Hodgson Burnett'sLittle Lord Fauntleroy (1936),Anthony Hope'sThe Prisoner of Zenda (1937), andMark Twain'sThe Adventures of Tom Sawyer (1938). Selznick also became a pioneer in the use ofTechnicolor with the first and last of these films and also with his productions ofA Star Is Born andNothing Sacred (both 1937). In 1939, Selznick brought Swedish actressIngrid Bergman to the United States to star inIntermezzo and the following year he broughtAlfred Hitchcock over from England to directRebecca. Also in 1939, Selznick produced his epic version ofMargaret Mitchell'sGone With the Wind, which became the most financially successful film of all time.^[7]

Selznick liquidated his corporation in the early 1940s but returned to independent producing in 1943. His work from this period included two more Hitchcock films,Spellbound (1945) andThe Paradine Case (1948) and several films starringJennifer Jones, among themSince You Went Away (1944),Duel in the Sun (1946) andPortrait of Jennie (1948). Selznick ceased his independent productions in 1948. Beginning withCarol Reed'sThe Third Man (1949), he entered into a period of co-producing motion pictures with other filmmakers. In 1954, he made his sole venture into television with the productionLight's Diamond Jubilee.^[8] Selznick retired from filmmaking after producing an adaptation ofErnest Hemingway'sA Farewell to Arms (1957).

Selznick's productions were the recipients of numerousAcademy Award nominations. Two of his films—Gone With the Wind andRebecca—wonAcademy Awards for Best Picture.^[9][10] Six other films that he produced—Viva Villa! (1934),David Copperfield (1935),A Tale of Two Cities (1935),A Star is Born (1937),Since You Went Away (1944), andSpellbound (1945)—were nominated for Best Picture.^{[10][11][12][13][14][15]} As of 2013, four of the films Selznick produced have been added to theNational Film Registry:King Kong (1933),The Prisoner of Zenda (1937),Gone With the Wind (1939), andThe Third Man (1949).^[16] For his work in motion pictures, Selznick received a star on theHollywood Walk of Fame.^[17]

The release dates, titles, and names of the directors for Selznick's films are derived from the filmographies presented in the booksMemo From David O. Selznick byRudy Behlmer andDavid O. Selznick's Hollywood byRonald Haver. The quotes are derived from Behlmer's book.^[19][20]

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

I promoted and made for $17,000 a little picture calledRoulette … 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 aTim 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 atMetro-Goldwyn-Mayer as a script reader for producerHarry Rapf.^[21]

After the McCoy Westerns, Selznick was assigned as assistant to producerHunt Stromberg on the filmWhite Shadows in the South Seas (1928). Disagreements with Stromberg and senior producerIrving Thalberg over the choice of the film's director (W. S. Van Dyke orRobert 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 possiblypersonally produce more than a few pictures per year.

— David O. Selznick^[23]

In early 1928 Selznick accepted the position of assistant to producerB. P. Schulberg atParamount Studios. The professional relationship between the two, however, eventually deteriorated after Schulberg went to Europe for several months in 1929. During his absence, studio headJesse 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 areall-talking.

I sold him [David Sarnoff, President ofRCA, parent company at the time to RKO Radio and RKOPathé] 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 directorLewis 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 atUnited Artists while Selznick accepted a similar position atRKO 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 toMGM 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 inTechnicolor 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 byUnited Artists.^[32]Gone with the Wind was released by MGM as part of a deal with Selznick in exchange for the loan ofClark Gable in the role ofRhett Butler.^[33]

Following the highly successful releases ofGone With the Wind andRebecca, Selznick began a three-yearliquidation ofSelznick 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 ofUnited 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 ofDuel 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 andJennifer 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.

Of the 68 features that Selznick produced 22 received a total of 82Academy Award nominations with 21 wins.^[20] In addition to these Selznick himself was twice nominated for theIrving G. Thalberg Memorial Award. He won the second of these two nominations.^[53]

Primary

• Behlmer, Rudy (1972).Memo from David O. Selznick.New York, NY:Viking Press.ISBN 0375755314.
• Haver, Ronald (1980).David O. Selznick's Hollywood.New York, NY:Alfred A. Knopf.ISBN 0-394-42595-2.

Secondary

• Trent, Paul (1975).Those Fabulous Movie Years: The 30s.Barre, Massachusetts: Barre Publishing.ISBN 0517512408.

• David O. Selznick atIMDb
• David O. Selznick at theTCM Movie Database

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