Gene D. Philips Archives

Items

• Day of the Locust (1975) BTS with Conrad Hall and Dir. John Schlesinger
  Front: Dir. John Schlesinger behind the scenes of Day of the Locust (1975), standing among crew, including cinematographer Conrad Hall. Back: Stamp for Gene D. Phillips. Handwritten description: “Conrad Hall (eye to camera) cinematographer with John Schlesinger behind him on the Los Angeles street built at Paramount. Day of the Locust. Hall also shot Marathon Man.” Marked #24, in bottom corner 79% p. 98. In center, 51 ST-11 and “Use 76%” circled.
• Marathon Man (1976) with William Devane, Richard Bright, and Dustin Hoffman
  Front: Janeway (Devane) stabs Karl (Bright) as Babe (Hoffman) cowers on the bed below. Back: Marked #22. Two typewritten descriptions printed on stationery from Paramount Pictures. They read: “William Devane (left) stabs Richard Bright after the gruesome torture of Dustin Hoffman (on bed) in Paramount Pictures’ ‘Marathon Man,’ a Robert Evans-Sidney Beckerman production of a John Schlesinger film. The drama of suspense and intrigue, with a screenplay by William Goldman from his novel, also stars Laurence Olivier, Roy Schneider and Marthe Keller. Robert Evans and Sidney Beckerman produced with George Justin as associate producer. John Schlesinger directed.” “Paramount Pictures Presents a Robert Evans-Sidney Beckerman Production. A John Schlesinger Film. Dustin Hoffman, Laurence Olivier, Roy Schneider, William Devane, Marthe Keller. ‘Marathon Man.’ Associate Producer George Justin. Director of Photograph Conrad Hall, A.S.C. Screenplay by William Goldman From His Novel. Produced by Robert Evans and Sidney Beckerman. Directed by John Schlesinger.”
• Marathon Man (1976): Dir. John Schlesinger, Dustin Hoffman, and Laurence Olivier
  Front: In an empty brick cell, Laurence Olivier looks on as John Schlesinger, looking into the camera, stands over Dustin Hoffman, who is strapped to his chair with a lamplight shining in his eyes. Back: 2 stamps for Gene D. Phillips: one with return address and another meant to look like his signature. Handwritten description: “Laurence Olivier, John Schlesinger, Dustin Hoffman / Marathon Man.” Multiple numbers written and crossed out in the corners, ultimately marked #52. “MM5165-15” written along the side and crossed out.
• Yanks (1979) with Richard Gere and Chick Vennera
  Front: Matt (Gere) and Danny (Vennera) wait for the train among a crowd of fellow GIs. Below, information about reproduction allowed for newspapers and periodicals. Back: Stamp for Gene D. Phillips. Two typewritten descriptions on stationery from Universal Studios, taped to the document. They read: “GIs Matt (RICHARD GERE) and Danny (CHICK VENNERA) wait for the train, they hope to see their women one last time, in John Schlesinger’s World War II romance ‘Yanks.’ A Universal release.” “‘Yanks’ is A John Schlesinger Film for Universal release. A Joseph Janni and Lester Persky Production starring Richard Gere, Vanessa Redgrave, William Devane, Lisa Eichhorn, Rachel Roberts, Chick Vennera, Arlen Dean Snyder and Annie Ross, the film was produced by Joseph Janni and Lester Persky, and directed by John Schlesinger from a screenplay by Colin Welland and Walter Bernstein.” Marked #24, crossed out, remarked #22.
• The Falcon and the Snowman (1985) with Timothy Hutton
  Front: Christopher Boyce (Hutton) looks up amongst a cheering crowd. Back: Stamp for Gene D. Phillips. Handwritten description: “Timothy Hutton in The Falcon + the Snowman (1985).” Marked #52 and 68 3/4.
• Humerus bag
• Jammu and Kashmir (India), excavated mammoth tusk and bones
  Excavated tusk and bones of ice-age mammoth near Sombur, Kashmir Valley
• The Night of the Iguana 1964): Ava Gardner & Richard Burton
  Front: Maxine Faulk (Gardner) leans over Rev. Dr. T. Lawrence Shannon as he lays in a hammock. Back: 2 stamps for Gene Phillips (one typical return information, the other made to look handwritten). Marked # 67. Blue typewritten description: “NOI-81 Ava Gardner and Richard Burton in a scene from ‘THE NIGHT OF THE IGUANA.’ Richard Burton, Ava Gardner, Deborah Kerr and Sue Lyon star in ‘THE NIGHT OF THE IGUANA,’ screen version of the Tennessee Williams drama, which was voted the best play of the 1961-62 season by the New York drama critics. Filmed in Mexico, the picture, presented by Metro-Goldwyn-Mayer and Seven Arts, was produced by Ray Stark and directed by John Huston. The story centers on four persons imprisoned by their own loneliness who are thrown together in a remote and run-down hotel on the west coast of Mexico.”
• The Night of the Iguana (1964): Richard Burton in Prayer
  Front: Closeup of Rev. Dr. T Lawrence Shannon (Burton), dressed in Episcopal robes and knelt in prayer, staring into the distance. Back: 2 stamps for Gene Phillips (one typical return information, the other made to look handwritten) and a stamp identifying the photograph as being from the Museum of Modern Art/Film Stills Archive. Marked # 65. Handwritten label “Richard Burton / ‘Night of the Iguana.’”
• Suddenly, Last Summer (1959): Liz Taylor on the Beach
  Front: Catherine Holly (Taylor) looks up at a Speedoed man standing over her at the beach of Cabeza De Lobo. Note: This image is a still that is edited in the actual film as half of a split screen with Taylor’s face as part of a flashback. Back: 2 stamps for Gene Phillips (one typical return information, the other made to look handwritten. Marked # 45. Handwritten label “Suddenly Last Summer.”
• Suddenly, Last Summer (1959): Julián Ugarte & Crowd
  Front: Sebastian Venable (Ugarte) attempting to outrun both the angry mob of boys and his fate at Cabeza De Lobo. Back: 2 stamps for Gene Phillips (one typical return information, the other made to look handwritten) and a stamp identifying the photograph as being from the Museum of Modern Art/Film Stills Archive. Marked # 46. Handwritten label “Suddenly Last Summer.”
• Suddenly, Last Summer (1959): Katharine Hepburn & Montgomery Clift
  Front: Violet Venable (Hepburn) speaks sternly with Dr. Cukrowicz (Clift) out on the terrace by the garden. Back: 2 stamps for Gene Phillips (one typical return information, the other made to look handwritten) and a stamp identifying the photograph as being from the Museum of Modern Art/Film Stills Archive. Marked # 41. Handwritten description: “Montgomery Clift / Katharine Hepburn / ‘Suddenly Last Summer.’”
• Sweet Bird of Youth (1962): Geraldine Page & Paul Newman
  Front: A disheveled Chance Wayne (Newman) gesticulates as he talks to Alexandra Del Lago (Page,) who is laying on her stomach on the bed and propped up on her elbows. Back: 2 stamps for Gene Phillips (one typical return information, the other made to look handwritten) and a stamp identifying the photograph as being from the Museum of Modern Art/Film Stills Archive. Marked # 39. Handwritten description “Paul Newman + Geraldine Page / ‘Sweet Bird of Youth.’”
• Cat on a Hot Tin Roof (1958): Liz Taylor & Paul Newman
  Front: Image of Maggie (Taylor), in her iconic white slip, gently embraces Brick (Newman) from behind as Brick stares into his glass, holding his casted right foot aloft behind him. Back: 2 stamps for Gene Phillips (one typical return information, the other made to look handwritten). Marked # 31. Blue typewritten description: “1735-21….FIGHT AGAINST LOVE….Elizabeth Taylor and Pau[sic] Newman are the dynamic young people of ‘Cat On A Hot Tin Roof’ and it is in this sequencer that Miss Taylor as ‘Maggie,’ lashes out at her young husband in the words of Tennessee Williams’ Pulitzer Prize Play: ‘I’m Maggie-the-Car,’ a very determined girl where my husband is concerned. And there’s nothing more determined than a cat on a hot tin roof.’ The Avon Production which MGM releases also stars Burl Ives, Jack Carson and Judith Anderson. Richard Brooks directs from his own screenplay. Lawrence Veingarten produces.” In pen, a handwritten “l” corrects the typo on Paul Newman’s name; in addition, it underlines Taylor and Newman’s names and the title.
• Sweet Bird of Youth (1962) Behind the Scenes: Paul Newman & Richard Brooks
  Front: Paul Newman speaks emphatically to Sweet Bird of Youth director Richard Brooks, whose feet are on the side table near Newman, a box for Old Forester Distilling Co. bourbon at Brooks’ feet. The crew looks on, with one looking into the camera. Back: 2 stamps for Gene Phillips (one typical return information, the other made to look handwritten). Marked # 37. Handwritten description “Paul Newman + Director Richard Brooks,” below “Sweet Bird of Youth” underlined.
• Baby Doll (1956): Karl Malden, Carroll Baker, & Eli Wallach
  Front: Silva Vacarro (Wallach) watches as Archie Lee Meighan (Malden) presses his lips to an apparently disgusted Baby Doll (Baker)’s neck, with Archie looking up to make eye contact with Vacarro. Back: 2 stamps for Gene Phillips (one typical return information, the other made to look handwritten). Marked # 20. Handwritten description “Karl Malden, Carroll Baker, Eli Wallach / Baby Doll.”
• Summer and Smoke (1961): Geraldine Page & Laurence Harvey
  Front: Alma Winemiller (Page) sits at the base of a fountain, a stone angel above her, while John Buchanan Jr. (Harvey) leans in to speak to her, foot on the fountain and jacket over his shoulder. Back: 2 stamps for Gene Phillips (one typical return information, the other made to look handwritten). Handwritten description “Geraldine Page and Lawrence Harvey.” Below, the label “Summer v Smoke.” Marked #54.
• The Rose Tattoo (1955): Anna Magnani & Burt Lancaster
  Front: Serafina Delle Rose (Magnani) and Alvaro Mangiacavallo (Lancaster) speak outside the door in dappled light and shadow. Behind Magnani is the interior of the house, partially visible. Below is production information, with the copyright date “1955” underlined in blue ink by hand. Back: 2 stamps for Gene Phillips (one typical return information, the other made to look handwritten). Handwritten description “Anna Magnani / Burt Lancaster / Rose Tattoo.” Marked #23.
• A Streetcar Named Desire (1951): Vivien Leigh on Desire
  Front: Blanche DuBois (Leigh) stepping off the titular streetcar named Desire. The conductor looks into the camera and other passengers are obscured in shadow. Back: 2 stamps for Gene Phillips (one typical return information, the other made to look handwritten) and a stamp identifying the photograph as being from the Museum of Modern Art/Film Stills Archive. Marked # 16. Typewritten description on write paper and taped to image: “Viven Leigh as Blanche getting off the streetcar named Desire. (Museum of Modern Art/Film Stills Archive)”. Handwritten description: “Vivien Leigh” and below “A Streetcar Named Desire.”
• The Glass Menagerie (1950): Jane Wyman with Unicorn
  Front: Laura Wingfield (Wyman) admires her glass unicorn, with the light from the window catching her face and making the unicorn glitter. Back: 2 stamps for Gene Phillips (one typical return information, the other made to look handwritten) and a stamp identifying the photograph as being from the Museum of Modern Art/Film Stills Archive. Marked #10. Handwritten description “Jane Wyman” and “The Glass Menagerie.”
• The Glass Menagerie (1950) with Kirk Douglas, Gertrude Lawrence, & Jane Wyman
  Front: Jim O’Connor (Douglas) speaks with Amanda Wingfield (Lawrence) as Laura (Wyman) watches them in the background. Back: 2 stamps for Gene Phillips (one typical return information, the other made to look handwritten), typewritten label identifying Douglas, Lawrence, and Wyman. Marked #9. Note: This image is printed on higher-quality paper than others in this file with a visible textural weave of fibers.
• Last of the Mobile Hot Shots (1970) Promo Spread
  Front: 4-Photo Spread. On left: Lynn Redgrave in Last of the Mobile Hot Shots; Top: Carroll Baker in Baby Doll; Center: Liz Taylor and Paul Newman in Cat on a Hot Tin Roof; Bottom: Richard Burton and Ava Gardner in Night of the Iguana. Below, a typewritten description identifying each photograph and the works of Tennessee Williams adapted in each, including “The Seven Descents of Myrtle” for Last of the Mobile Hot-Shots and “27 Wagons Full of Cotton” for Baby Doll. The final line states that Lynn Redgrave will star opposite James Coburn and Robert Hooks in Last of the Mobile Hot-Shots. Back: 2 stamps for Gene Phillips (one typical return information, the other made to look handwritten), a label of “ART #1,” and a stamp identifying the photograph as being from the Museum of Modern Art/Film Stills Archive. Marked #5.
• Behold a Pale Horse (1964): Zinnemann directs Anthony Quinn
  Front: Quinn, dressed as his character Vinolas, and Zinnemann lean against a brick wall to discuss a scene. Back: Handwritten label "Anthony Quinn & Fred Zinnemann (1964)." Below, faded handwritten note "Chapter 6- Fred Zinnemann Behold a Pale Horse."
• The Day of the Jackal (1973): Research
  Front: The Jackal (Edward Fox) looks up from a pile of papers. Note below that image is for newspaper and magazine reproduction. Back: Typewritten description: "5145-33 THE DAY OF THE JACKAL UNIVERSAL STUDIO "The Jackal becomes an authority on General de Gaulle, the man he has been hired to assassinate, through books, magazines and news articles. A scene from Fred Zinnemann's Film, "The Day of the Jackal," screen version of Frederick Forsyth's best-selling book, starring Edward Fox as "The Jackal," Alan Badel, Tony Britton, Cyril Cusack, Michel Lonsdale, Eric Porter and Delphine Seyrig. Kenneth Ross wrote the screenplay for the John Woolf Production, made by Warwick Film Productions and Universal Productions France, S.A. Fred Zinnemann directed and John Woolf produced the suspense-intrigue drama in Technicolor on locations in Vienna, Rome, Genoa, Menton, Paris and London and at Studios de Boulogne in Paris." Below, stamp for Gene Phillips.
• The Day of the Jackal (1973): Cyril Cusack & Edward Fox with a Custom Rifle
  Front: The Gunsmith (Cusack) continues his work as the Jackal (Fox) tests the scope of the custom rifle for his mission. Note at the bottom that the image is for newspaper and magazine reproduction. Back: Handwritten, "Day of the Jackal" in black and "PIX 24" in blue. Stamp for Gene Phillips.