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Cecil B. DeMille

Biography

Cecil B. DeMille

Overview

  • Born
    August 12, 1881 · Ashfield, Massachusetts, USA
  • Died
    January 21, 1959 · Hollywood, Los Angeles, California, USA (heart ailment)
  • Birth name
    Cecil Blount DeMille
  • Nicknames
    • C.B.
    • The Master of Spectacle
    • The Master of the Biblical Epic
  • Height
    5′ 10″ (1.78 m)

Biography

  • His parents Henry C. DeMille and Beatrice DeMille were playwrights. His father died when he was 12, and his mother supported the family by opening a school for girls and a theatrical company. Too young to enlist in the Spanish-American War, Cecil followed his brother William C. de Mille to the New York Academy of Dramatic Arts, making his stage debut in 1900. For twelve years he was actor/manager of his mother's theatrical company. In 1913, Jesse L. Lasky, Samuel Goldwyn and DeMille formed the Lasky Film Company (which years later evolved into Paramount Pictures), and the next year went west to California and produced the successful six reeler, The Squaw Man (1914), of historical significance as the first feature length film produced in Hollywood. He championed the switch from short to feature-length films and is often credited with making Hollywood the motion picture capital of the world. Rather than putting his money into known stars, he emphasized production values. He also developed stars, notably Gloria Swanson. He produced and directed 70 films and was involved in many more. Many of his films were romantic sexual comedies (he is supposed to have believed that Americans were curious only about money and sex). His best-known were biblical/religious epics: Joan the Woman (1916), The Ten Commandments (1923), The King of Kings (1927), The Sign of the Cross (1932), The Crusades (1935), Samson and Delilah (1949), and The Ten Commandments (1956). From 1936 to 1945 he hosted and directed the hour-long "Lux Radio Theatre", which brought the actors and stories of many movies to the airwaves and further established him as the symbol of Hollywood. He appeared as himself in the classic Sunset Boulevard (1950) with his former star Gloria Swanson as the fictitious disturbed former silent film actress Norma Desmond. His niece Agnes de Mille was the acclaimed choreographer of both the original Broadway production and film version of Oklahoma! (1955).
    - IMDb mini biography by: Ed Stephan <stephan@cc.wwu.edu>

Family

  • Spouse
      Constance Adams(August 16, 1902 - January 21, 1959) (his death, 4 children)
  • Children
      Cecilia de Mille
      Katherine DeMille
      John de Mille
      Richard de Mille
  • Parents
      Henry C. DeMille
      Beatrice DeMille
  • Relatives
      William C. de Mille(Sibling)
      Agnes de Mille(Niece or Nephew)
      Valentina Quinn(Grandchild)
      Cecilia DeMille Presley(Grandchild)
      Ian DeMille(Great Grandchild)

Trademarks

  • Film epics, religious or otherwise.
  • Attention to detail
  • Films with protagonists who feel a sense of duty or leadership
  • Films with strong-willed women
  • Films with love triangles

Trivia

  • To promote The Ten Commandments (1956), he had stone plaques of the commandments posted at government buildings across the country. Many of them are still standing to this day, and some are now the subjects of First Amendment lawsuits.
  • DeMille is the subject of many Hollywood legends. According to one famous story, DeMille once directed a film that required a huge, expensive battle scene. Filming on location in a California valley, the director set up multiple cameras to capture the action from every angle. It was a sequence that could only be done once. When DeMille shouted "Action!", thousands of extras playing soldiers stormed across the field, firing their guns. Riders on horseback galloped over the hills. Cannons fired, pyrotechnic explosives were blown up, and battle towers loaded with soldiers came toppling down. The whole sequence went off perfectly. At the end of the scene, DeMille shouted "Cut!". He was then informed, to his horror, that three of the four cameras recording the battle sequence had failed. In Camera #1, the film had broken. Camera #2 had missed shooting the sequence when a dirt clod was kicked into the lens by a horse's hoof. Camera #3 had been destroyed when a battle tower had fallen on it. DeMille was at his wit's end when he suddenly remembered that he still had Camera #4, which he had had placed along with a cameraman on a nearby hill to get a long shot of the battle sequence. DeMille grabbed his megaphone and called up to the cameraman, "Did you get all that?". The cameraman on the hill waved and shouted back, "Ready when you are, C.B.!".
  • In another famous story, DeMille was on a movie set one day, about to film an important scene. He was giving a set of complicated instructions to a huge crowd of extras, when he suddenly noticed one female extra talking to another. Enraged, DeMille shouted at the extra, "Will you kindly tell everyone here what you are talking about that is so important?". The extra replied, "I was just saying to my friend, 'I wonder when that bald-headed son-of-a-bitch is going to call lunch.'" DeMille glared at the extra for a moment, then shouted, "Lunch!".
  • One of the 36 co-founders of the Academy of Motion Picture Arts and Sciences (AMPAS).
  • At his death, DeMille was in the process of producing/directing an epic film about the creation of the Boy Scouts, to star James Stewart. His estate papers include a script and extensive research material.

Quotes

  • The public is always right
  • [to his crew] You are here to please me. Nothing else on Earth matters.
  • Give me any two pages of the Bible and I'll give you a picture.
  • It was a theory that died very hard that the public would not stand for anyone dressed in clothes of another period... I got around this objection by staging what we call a vision. The poor working girl was dreaming of love and reading "Tristan and Isolde". The scene faded out, and scenes were depicted on the screen that the girl was supposed to be reading... Thus a bit of costume picture was put over on the man who bought the picture for his theater, and there was no protest from the public.
  • Every time I make a picture the critics' estimate of American public taste goes down ten percent.

Salaries

  • Sunset Boulevard (1950) - $10,000
  • The Captive (1915) - $500 /week
  • The Warrens of Virginia (1915) - $500 /week

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