Tom Barnes's Blog: Tom's 'RocktheTower' Blog - Posts Tagged "scott"
Selznick International and MGM Make a Deal
Let’s Go to the Movies
Selznick and Sam Goldwyn Not on Same Page
During the month of February 1938 Selznick and Sidney Howard were working hard on a script that would use every prominent line possible from the book.
Overall film length was a concern, but they hoped to have a script, that would meet their expectations as to content and running time, ready when cameras rolled. Selznick was so concerned with the overall length that he admonished Cukor to be careful not to add extra lines during the shooting process. Those line changes at the time might give the actors something fresh to work with, however in the long run they would be counter productive as they would end up adding dialogue and as a consequence too much to the overall length of the film.
Gary Cooper was high on Selznick’s list for the role of Rhett Butler and he was trying to put a deal together with Sam Goldwyn that would have United Artist distribute the film – but only as a package that included Gary Cooper. Sam Goldwyn was traveling to Europe and left on his trip before Selznick got any kind of agreement. And as a consequence Gary Cooper was taken off the number one prospect list to play Rhett Butler.
However, the concern over losing Cooper was short lived. The search teams out looking for Scarlett and supporting actors were being peppered with questions by book fans that were asking for Clark Gable. As the chorus grew louder the press picked up the fans enthusiasm and it soon became obvious that Gable was the public choice.
Selznick had not overlooked Gable, but in the early going he had little luck in making a deal with MGM for the loan of their biggest star. It was also known to Hollywood insiders that Gable didn’t want to be the stand-alone star in the film in case it was a dud. And secondly he didn’t want to do a Southern accent.
Of course Louis B. Mayer head of MGM might have something to say on the matter. And sometime in May 1938 Mayer posed the idea to Selznick to allow MGM to buy the property from Selznick International and produce the picture at MGM. The positive element in that proposal was the certainty that Clark Gable would play Rhett Butler and satisfy public demand.
David Selznick gave Mayer’s offer considerable thought, but after talking it over with Jock Whitney, the original champion of the film, Selznick said no.
Of course MGM had opened the door to possible negotiations and within a week they began to work on a deal. Louis B. Mayer had mentioned two of the most important issues in his original proposition to buy the film, Gable and distribution.
At the time those talks were going on between Selznick and Mayer the public was growing more vocal in its demand that Gable to play Rhett Butler. And in the end they got their wish because with the help of Jock Whitney securing more financing a deal was struck where MGM would loan Gable to Selznick International along with a million and a quarter dollars and distribution rights. Selznick International would in turn give up fifty percent of the films profit. A terrible deal on the surface, but the finance situation being what it was with Selznick, he likely figured half a loaf was better than none.
(To be continued)
Another part of ‘The Story Behind Gone With The Wind’
By Sally Trippett Rains author of ‘The Making of a Classic.’
Creative Book Publishers International
(Continued from last week)
“I was very close to Mr. Selznick,” Marcella Rabwin said. “People always said, ‘what did you do?’ and I say, ‘anything he didn’t have time for.’ I was involved in every phase of the production of his films from the beginning when you bought the thing to the time when it was finished and you could breathe again.” According to her (Marcella Rabwin) the film cost “four million, eighty-five thousand, seven hundred and ninety dollars.” Selznick’s original plan was for a movie that lasted 2 ½ hours and cost about two million. At that time it was the most expensive film ever made or even imagined. As noted by Tom Barnes, Selznick had originally turned away from buying the rights to Margaret Mitchell’s very famous book, but his money-man Jock Whitney--urged on by Kay Brown-- told him that if Selznick did not buy it, then Whitney was going to. “We had no idea of the enormous task ahead of us when we took it on,” said Marcella Rabwin. “That book (Gone With The Wind) had become such a Bible to so many people---there were 20 million copies of the book sold in the first year. The first time we ran it as a consecutive piece of work it was five hours, and I didn’t know how he was going to cut it. Every minute of it was a beauty but still he had to get it down to what it was; 3 hours and 45 minutes.” The year 2009 marks the 70th Anniversary of Gone With The Wind's movie premiere in Atlanta, Georgia. Author Sally Tippett Rains has interviewed over 70 people involved with the movie including actors, historians, and other authors. She was fortunate enough to work with one of Margaret Mitchell's cousins who has a scrapbook full of stories from her own family. Many of the stories that had been passed down from Mitchell's relatives who lived through the Civil War were similar to stories in Gone With The Wind. In her upcoming book The Making Of A Classic, Margaret Mitchell and Gone With The Wind. Rains gives insight into how Mitchell may have come to write about her various characters and stories. She worked with Tom Barnes on a chapter where there was a cross-over from one of his books, Doc Holliday's Road To Tombstone with Gone With The Wind. It seems Doc Holliday was a cousin to Margaret Mitchell. He had a special relationship with another of her cousins, Mattie Holliday (who was also his cousin.) Barnes' research tells him it was love, but it was unrequited, for he left to go out West. According to Barnes' book, after the Gunfight at OK Corral she realized he was never coming back. She joined the convent and changed her name to Sister Mary Melanie and she was called Sister Melanie. Was it a coincidence that there were at least two storylines which may have come from this Mitchell family story. There was a woman named Melanie (Melanie Wilkes)who married her cousin (Ashley); and in another part of the book, a memory of Scarlett's mother Ellen falling for her cousin, who left for the "west." Barnes has researched his book for many years and stands by his story.
Writers Notebook:
Maxwell Perkins, one of America’s best-known editors worked for Charles Scribner’s Sons, New York and edited works of such famous writers as F. Scott Fitzgerald, Ernest Hemingway and Thomas Wolf. Perkins wrote in answer to a letter, received from a young man in the Military, regarding the active pursuit of a writing career had this advice for the young man. ‘As to perhaps a couple of years in college, I should think that might be a great advantage, in the general sense, but don’t try to learn about writing there. Learn something else. Learn about writing from reading. That’s the right way to do it. But then it can only be done by those who have eyes and ears, and by seeing and listening. Very few of the great writers had that formal education, and many of them never mastered spelling or grammar. They got their vocabulary by reading and hearing. But the way they teach literature and writing in college is harmful…’
Writing courses have changed a lot since Perkins made those remarks, however much of his advice is still valid. Being a good observer and developing good reading habits will likely take you farther along the path to a writing career than anything else.
Tom Barnes -- Actor, Writer and Hurricane Hunter.
Check out my website for books, blogs, western legends, a literary icon, reviews and interviews. Also my novels The Goring Collection and Doc Holliday’s Road to Tombstone along with a non fiction remembrance of The Hurricane Hunters and Lost in the Bermuda Triangle.
www.tombarnes39.com
www.RocktheTower.com
Selznick and Sam Goldwyn Not on Same Page
During the month of February 1938 Selznick and Sidney Howard were working hard on a script that would use every prominent line possible from the book.
Overall film length was a concern, but they hoped to have a script, that would meet their expectations as to content and running time, ready when cameras rolled. Selznick was so concerned with the overall length that he admonished Cukor to be careful not to add extra lines during the shooting process. Those line changes at the time might give the actors something fresh to work with, however in the long run they would be counter productive as they would end up adding dialogue and as a consequence too much to the overall length of the film.
Gary Cooper was high on Selznick’s list for the role of Rhett Butler and he was trying to put a deal together with Sam Goldwyn that would have United Artist distribute the film – but only as a package that included Gary Cooper. Sam Goldwyn was traveling to Europe and left on his trip before Selznick got any kind of agreement. And as a consequence Gary Cooper was taken off the number one prospect list to play Rhett Butler.
However, the concern over losing Cooper was short lived. The search teams out looking for Scarlett and supporting actors were being peppered with questions by book fans that were asking for Clark Gable. As the chorus grew louder the press picked up the fans enthusiasm and it soon became obvious that Gable was the public choice.
Selznick had not overlooked Gable, but in the early going he had little luck in making a deal with MGM for the loan of their biggest star. It was also known to Hollywood insiders that Gable didn’t want to be the stand-alone star in the film in case it was a dud. And secondly he didn’t want to do a Southern accent.
Of course Louis B. Mayer head of MGM might have something to say on the matter. And sometime in May 1938 Mayer posed the idea to Selznick to allow MGM to buy the property from Selznick International and produce the picture at MGM. The positive element in that proposal was the certainty that Clark Gable would play Rhett Butler and satisfy public demand.
David Selznick gave Mayer’s offer considerable thought, but after talking it over with Jock Whitney, the original champion of the film, Selznick said no.
Of course MGM had opened the door to possible negotiations and within a week they began to work on a deal. Louis B. Mayer had mentioned two of the most important issues in his original proposition to buy the film, Gable and distribution.
At the time those talks were going on between Selznick and Mayer the public was growing more vocal in its demand that Gable to play Rhett Butler. And in the end they got their wish because with the help of Jock Whitney securing more financing a deal was struck where MGM would loan Gable to Selznick International along with a million and a quarter dollars and distribution rights. Selznick International would in turn give up fifty percent of the films profit. A terrible deal on the surface, but the finance situation being what it was with Selznick, he likely figured half a loaf was better than none.
(To be continued)
Another part of ‘The Story Behind Gone With The Wind’
By Sally Trippett Rains author of ‘The Making of a Classic.’
Creative Book Publishers International
(Continued from last week)
“I was very close to Mr. Selznick,” Marcella Rabwin said. “People always said, ‘what did you do?’ and I say, ‘anything he didn’t have time for.’ I was involved in every phase of the production of his films from the beginning when you bought the thing to the time when it was finished and you could breathe again.” According to her (Marcella Rabwin) the film cost “four million, eighty-five thousand, seven hundred and ninety dollars.” Selznick’s original plan was for a movie that lasted 2 ½ hours and cost about two million. At that time it was the most expensive film ever made or even imagined. As noted by Tom Barnes, Selznick had originally turned away from buying the rights to Margaret Mitchell’s very famous book, but his money-man Jock Whitney--urged on by Kay Brown-- told him that if Selznick did not buy it, then Whitney was going to. “We had no idea of the enormous task ahead of us when we took it on,” said Marcella Rabwin. “That book (Gone With The Wind) had become such a Bible to so many people---there were 20 million copies of the book sold in the first year. The first time we ran it as a consecutive piece of work it was five hours, and I didn’t know how he was going to cut it. Every minute of it was a beauty but still he had to get it down to what it was; 3 hours and 45 minutes.” The year 2009 marks the 70th Anniversary of Gone With The Wind's movie premiere in Atlanta, Georgia. Author Sally Tippett Rains has interviewed over 70 people involved with the movie including actors, historians, and other authors. She was fortunate enough to work with one of Margaret Mitchell's cousins who has a scrapbook full of stories from her own family. Many of the stories that had been passed down from Mitchell's relatives who lived through the Civil War were similar to stories in Gone With The Wind. In her upcoming book The Making Of A Classic, Margaret Mitchell and Gone With The Wind. Rains gives insight into how Mitchell may have come to write about her various characters and stories. She worked with Tom Barnes on a chapter where there was a cross-over from one of his books, Doc Holliday's Road To Tombstone with Gone With The Wind. It seems Doc Holliday was a cousin to Margaret Mitchell. He had a special relationship with another of her cousins, Mattie Holliday (who was also his cousin.) Barnes' research tells him it was love, but it was unrequited, for he left to go out West. According to Barnes' book, after the Gunfight at OK Corral she realized he was never coming back. She joined the convent and changed her name to Sister Mary Melanie and she was called Sister Melanie. Was it a coincidence that there were at least two storylines which may have come from this Mitchell family story. There was a woman named Melanie (Melanie Wilkes)who married her cousin (Ashley); and in another part of the book, a memory of Scarlett's mother Ellen falling for her cousin, who left for the "west." Barnes has researched his book for many years and stands by his story.
Writers Notebook:
Maxwell Perkins, one of America’s best-known editors worked for Charles Scribner’s Sons, New York and edited works of such famous writers as F. Scott Fitzgerald, Ernest Hemingway and Thomas Wolf. Perkins wrote in answer to a letter, received from a young man in the Military, regarding the active pursuit of a writing career had this advice for the young man. ‘As to perhaps a couple of years in college, I should think that might be a great advantage, in the general sense, but don’t try to learn about writing there. Learn something else. Learn about writing from reading. That’s the right way to do it. But then it can only be done by those who have eyes and ears, and by seeing and listening. Very few of the great writers had that formal education, and many of them never mastered spelling or grammar. They got their vocabulary by reading and hearing. But the way they teach literature and writing in college is harmful…’
Writing courses have changed a lot since Perkins made those remarks, however much of his advice is still valid. Being a good observer and developing good reading habits will likely take you farther along the path to a writing career than anything else.
Tom Barnes -- Actor, Writer and Hurricane Hunter.
Check out my website for books, blogs, western legends, a literary icon, reviews and interviews. Also my novels The Goring Collection and Doc Holliday’s Road to Tombstone along with a non fiction remembrance of The Hurricane Hunters and Lost in the Bermuda Triangle.
www.tombarnes39.com
www.RocktheTower.com
Oz, Wind and The Great Gatsby
Let’s Go to the Movies
Part 14
Exhausted!
Victor Fleming never got a break between his work on ‘The Wizard of Oz’ and his assignment to ‘Gone With the Wind.’
Under normal circumstances, with only a couple of days rest it would have been enough for a routine transition. However, his assignment to ‘Gone With the Wind,’ was anything but routine. The general public had already formed opinions and had high expectations of what they wanted from reading the 1034 page novel. And David Selznick had every intention of satisfying those expectations.
In a sense Fleming’s first hurdle was in the area of public relations. He was replacing George Cukor, a very popular director; through no fault of his own, nonetheless it was a touchy situation, as some members of the GWTW cast didn’t like the change at all.
Second and probably more important was that the script was still in pieces and had to be assembled, one script written by Sidney Howard and the other by Oliver Garrett. David Selznick picked and chose from, not unlike a Chinese Restaurant menu, scenes by selecting from Side A or Side B. Now this is just an educated guess, but I suspect that Ben Hecht was the go to guy to write, when necessary, transitions and any other slight modifications that Selznick came up with. For the most part those changes within the scenes came from the book. You see Selznick, continued to sift through Margaret Mitchell’s novel and, when he found a fit, he transferred dialogue or a phrase or two straight out of the book to the shooting script. Sounds insane, but you have to admit that when all the pieces were assembled – it worked.
The trouble was that Victor Fleming didn’t have a clue about the eventual outcome. To him at that moment it probably looked like a train wreck in the making.
That was in mid February of 1939 and it took about two months before the shooting schedule and other duties began to take a physical tole on the director.
The first indication of a problem was a hush, hush memo dated April 14, 1939 from Selznick to his Vice President Henry Ginsberg and first assistant Daniel O’Shea.
The memo posed the possibilities of again having to halt production. ‘…I have for some time been worried that Fleming would not be able to finish the picture because of his physical condition….’
Fleming’s doctor thought he was in good enough shape to continue work, but from Selznick’s personal observation he said ‘…he is so near the breaking point both physically and mentally from shear exhaustion that it would be a miracle, in my opinion, if he’s able to shoot for another seven or eight weeks.’
Selznick certainly didn’t want his opinion to get back to Fleming, but during the course of the memo he mentioned a couple of possible replacement directors Bob Leonard from the MGM staff and Bill Wellman at Paramount.
Selznick’s intuition regarding Fleming’s physical condition likely came from his knowledge about what brought him to GWTW in the first place. Fleming had been working in a pressure cooker situation over at MGM on ‘The Wizard of Oz,’ the directors position had been like playing the game of musical chairs. Some of the directors that had been assigned and later replaced were Norman Taurog, Richard Thorpe, George Cukor, and Victor Fleming, sound familiar? When Fleming was pulled off Oz to replace Cukor on ‘Gone With the Wind’ he was replaced by King Vidor.
And although Victor Fleming wasn’t there for the final takes of ‘The Wizard of Oz’ he got sole credit for directing the film. Screen Credits are part of the inside Hollywood politics and while several directors might work on and contribute to a film, usually only one gets the screen credit while the others go Unaccredited.
On April 26, Fleming collapsed on the set from exhaustion and was out for a two-week rest. Sam Wood took over for the ailing Fleming. Wood came over from MGM and was not without credentials, he had directed Ginger Rogers in her Oscar winning performance in Kitty Foyle.
(To be continued)
More about Nazi Stolen art and ‘The Goring Collection.’
When Jacob asked why the painting was withdrawn from the auction a tight-lipped manager was trotted out and asserted, “Due to confidentiality agreements with the seller we can offer no reason why the painting has been withdrawn.”
“Is there any possibility that it will be offered at a later time?” Jacob asked.
“We have no way of knowing that,” the manager said in a tone that dismissed any further questions.
‘Jacob knew the man was lying and was frustrated by his own actions that had allowed the painting to be snatched right out from under his nose. Suddenly he felt pangs of guilt, not for his present thoughts, but what he hadn’t recognized in the past. For soon after the Nazi’s took the painting he had simply dismissed Papa’s Pissarro as just another relic that could easily be replaced. Of course, looking back at the situation he could only attribute that callous dismissal to his youth. But when the painting turned up, at the Auction House, he saw everything in a different light and suddenly realized just how much the painting had meant to him and his sister during the war years. And at that moment he made a solemn promise, in the memory of his parents, to use every resource at his disposal to find Papa’s cherished painting. Jacob furrowed his brow as he thought about the daunting task ahead.’
Even today Nazi stolen art still grabs headlines.
U.S. Customs Seizes Old Master Lost in Nazi-Era Forced Sale
By Catherine Hickley
For Old Master story Click Here
http://www.bloomberg.com/apps/news?pi...
Writers Notebook:
F. Scott Fitzgerald
In a long ago April, 1925, F. Scott Fitzgerald and his editor Maxwell Perkins were bantering about who should get credit for the structure of ‘The Great Gatsby.’ As the release date approached everyone at Scribner’s along with the author believed they had a best seller on their hands. As it turned out the critic’s had other ideas.
Two days after publication The New York World described F. Scott Fitzgerald’s latest A Dud. And unfortunately most of those early critics’s arrived at that same conclusion.
The book didn’t sell and Scribner’s warehouse had several thousand copies of the unsold books to prove it. But to find a reason why later generations gave ‘Gatsby’ a new life, one might look back at H.L. Mencken’s remarks at the time of publishing. Mencken said he found the form ‘No more than a glorified anecdote and a far inferior story at bottom.’ But he did recognize ‘the novel as plainly the product of a sound stable talent, conjured into being by hard work. And he appreciated the craft of revision that accounted for so much, and it shows on every page.’
Mencken also credited Fitzgerald with ‘depicting the rattle and hullabaloo of society with great gusto and sharp accuracy.’ (The flapper, Speakeasies and Bathtub gin)
Of course there were some good reviews at the time that were drowned out by the other side. However, even today with its rebirth and popularity when talk gets around to ‘The Great Gatsby’ you can still find good arguments on both sides of the debate.
Tom Barnes -- Actor, Writer and Hurricane Hunter.
Check out my website for books, blogs, western legends, a literary icon, reviews and interviews. Also my novels The Goring Collection and Doc Holliday’s Road to Tombstone along with a non fiction remembrance of The Hurricane Hunters and Lost in the Bermuda Triangle.
www.tombarnes39.com
www.RocktheTower.com
Part 14
Exhausted!
Victor Fleming never got a break between his work on ‘The Wizard of Oz’ and his assignment to ‘Gone With the Wind.’
Under normal circumstances, with only a couple of days rest it would have been enough for a routine transition. However, his assignment to ‘Gone With the Wind,’ was anything but routine. The general public had already formed opinions and had high expectations of what they wanted from reading the 1034 page novel. And David Selznick had every intention of satisfying those expectations.
In a sense Fleming’s first hurdle was in the area of public relations. He was replacing George Cukor, a very popular director; through no fault of his own, nonetheless it was a touchy situation, as some members of the GWTW cast didn’t like the change at all.
Second and probably more important was that the script was still in pieces and had to be assembled, one script written by Sidney Howard and the other by Oliver Garrett. David Selznick picked and chose from, not unlike a Chinese Restaurant menu, scenes by selecting from Side A or Side B. Now this is just an educated guess, but I suspect that Ben Hecht was the go to guy to write, when necessary, transitions and any other slight modifications that Selznick came up with. For the most part those changes within the scenes came from the book. You see Selznick, continued to sift through Margaret Mitchell’s novel and, when he found a fit, he transferred dialogue or a phrase or two straight out of the book to the shooting script. Sounds insane, but you have to admit that when all the pieces were assembled – it worked.
The trouble was that Victor Fleming didn’t have a clue about the eventual outcome. To him at that moment it probably looked like a train wreck in the making.
That was in mid February of 1939 and it took about two months before the shooting schedule and other duties began to take a physical tole on the director.
The first indication of a problem was a hush, hush memo dated April 14, 1939 from Selznick to his Vice President Henry Ginsberg and first assistant Daniel O’Shea.
The memo posed the possibilities of again having to halt production. ‘…I have for some time been worried that Fleming would not be able to finish the picture because of his physical condition….’
Fleming’s doctor thought he was in good enough shape to continue work, but from Selznick’s personal observation he said ‘…he is so near the breaking point both physically and mentally from shear exhaustion that it would be a miracle, in my opinion, if he’s able to shoot for another seven or eight weeks.’
Selznick certainly didn’t want his opinion to get back to Fleming, but during the course of the memo he mentioned a couple of possible replacement directors Bob Leonard from the MGM staff and Bill Wellman at Paramount.
Selznick’s intuition regarding Fleming’s physical condition likely came from his knowledge about what brought him to GWTW in the first place. Fleming had been working in a pressure cooker situation over at MGM on ‘The Wizard of Oz,’ the directors position had been like playing the game of musical chairs. Some of the directors that had been assigned and later replaced were Norman Taurog, Richard Thorpe, George Cukor, and Victor Fleming, sound familiar? When Fleming was pulled off Oz to replace Cukor on ‘Gone With the Wind’ he was replaced by King Vidor.
And although Victor Fleming wasn’t there for the final takes of ‘The Wizard of Oz’ he got sole credit for directing the film. Screen Credits are part of the inside Hollywood politics and while several directors might work on and contribute to a film, usually only one gets the screen credit while the others go Unaccredited.
On April 26, Fleming collapsed on the set from exhaustion and was out for a two-week rest. Sam Wood took over for the ailing Fleming. Wood came over from MGM and was not without credentials, he had directed Ginger Rogers in her Oscar winning performance in Kitty Foyle.
(To be continued)
More about Nazi Stolen art and ‘The Goring Collection.’
When Jacob asked why the painting was withdrawn from the auction a tight-lipped manager was trotted out and asserted, “Due to confidentiality agreements with the seller we can offer no reason why the painting has been withdrawn.”
“Is there any possibility that it will be offered at a later time?” Jacob asked.
“We have no way of knowing that,” the manager said in a tone that dismissed any further questions.
‘Jacob knew the man was lying and was frustrated by his own actions that had allowed the painting to be snatched right out from under his nose. Suddenly he felt pangs of guilt, not for his present thoughts, but what he hadn’t recognized in the past. For soon after the Nazi’s took the painting he had simply dismissed Papa’s Pissarro as just another relic that could easily be replaced. Of course, looking back at the situation he could only attribute that callous dismissal to his youth. But when the painting turned up, at the Auction House, he saw everything in a different light and suddenly realized just how much the painting had meant to him and his sister during the war years. And at that moment he made a solemn promise, in the memory of his parents, to use every resource at his disposal to find Papa’s cherished painting. Jacob furrowed his brow as he thought about the daunting task ahead.’
Even today Nazi stolen art still grabs headlines.
U.S. Customs Seizes Old Master Lost in Nazi-Era Forced Sale
By Catherine Hickley
For Old Master story Click Here
http://www.bloomberg.com/apps/news?pi...
Writers Notebook:
F. Scott Fitzgerald
In a long ago April, 1925, F. Scott Fitzgerald and his editor Maxwell Perkins were bantering about who should get credit for the structure of ‘The Great Gatsby.’ As the release date approached everyone at Scribner’s along with the author believed they had a best seller on their hands. As it turned out the critic’s had other ideas.
Two days after publication The New York World described F. Scott Fitzgerald’s latest A Dud. And unfortunately most of those early critics’s arrived at that same conclusion.
The book didn’t sell and Scribner’s warehouse had several thousand copies of the unsold books to prove it. But to find a reason why later generations gave ‘Gatsby’ a new life, one might look back at H.L. Mencken’s remarks at the time of publishing. Mencken said he found the form ‘No more than a glorified anecdote and a far inferior story at bottom.’ But he did recognize ‘the novel as plainly the product of a sound stable talent, conjured into being by hard work. And he appreciated the craft of revision that accounted for so much, and it shows on every page.’
Mencken also credited Fitzgerald with ‘depicting the rattle and hullabaloo of society with great gusto and sharp accuracy.’ (The flapper, Speakeasies and Bathtub gin)
Of course there were some good reviews at the time that were drowned out by the other side. However, even today with its rebirth and popularity when talk gets around to ‘The Great Gatsby’ you can still find good arguments on both sides of the debate.
Tom Barnes -- Actor, Writer and Hurricane Hunter.
Check out my website for books, blogs, western legends, a literary icon, reviews and interviews. Also my novels The Goring Collection and Doc Holliday’s Road to Tombstone along with a non fiction remembrance of The Hurricane Hunters and Lost in the Bermuda Triangle.
www.tombarnes39.com
www.RocktheTower.com
Tom's 'RocktheTower' Blog
I do a variety blog and post every Wednesday. I am an actor, writer and hurricane hunter and my subjects are generally written about those fields. During Hurricane Season I do at least one story every
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