Jean Byron
The Byronic Heroine
Q: Where were you born?
Byron: I was born Jean Burkhart in Paducah, Kentucky. I left there
when I was fairly young, and I went to Los Angeles when I was 19.
Q: How did you acquire the name Jean Byron? Was
it inspired at all by Lord Byron?
Byron: I was
working as a singer with January Savitt’s orchestra, and Jan asked me what name
I wanted to use. I said, “Why not my own?” But he said, “You don’t want to do
that.” So, I
said, “Well, anything that starts with a ‘B’ then.” The man looked across the
office and saw his friend Dave Shelley. That made him think of Lord Byron, so
he said,
“How about
Jean Byron?”
Q: Why did you decide to keep the name when you
started acting?
Byron: I used it when I got my Screen Actors Guild card because it was handy. I
never intended to keep it, and I always thought I would change it. Much later I
changed the spelling of my first name from “Jean” to “Jeane” because of a
suggestion by a friend who was deep into numerology. I didn’t believe in it but
I like the spelling. It was the same way Jeane Dixon spelled it.
Q: When did that come about?
Byron: Sometime in the early seventies. Most of my film and television credits
are as “Jean” Byron.
Q: How did you get started in show business?
Byron: Like so many young girls, I started taking dancing lessons when I was
very young. I also fell in love with movies, particularly those starring
Astaire and Rogers. So I wanted to become a dancer. I got a bird’s eye view of
professional theater when the Schuberts came to town to do some light opera.
Freddie De Cordova was part of the staff. They chose me and some other kids
from the dancing school for the chorus. I learned the life of a dancer was very
hard. I saw it was preferable to be a singer. The principal players, of
course, made the best money. John Schubert Jr. told the dance director Carl
Randall, “Put her in the middle of the chorus line.” He probably felt sorry for
me because Randall was always on my case when the choreography called for
ballet, especially point work. I had never been “on toe” before in my life.
There was one time where we performed the cakewalk, and Freddie De Cordova said
to me, “You were very good.” It thrilled me, and I never forgot it. Years
later, Freddie became the producer of The Tonight Show with Johnny
Carson. That was my start.
Q: When did you first get to Hollywood?
Byron: I almost got a contract when I was thirteen back in 1939. Jesse Lasky
came to town with his radio show called Gateway to Hollywood and I won
the local show. My mother and I went to California for the semi-finals. I did
a scene on the radio with Cary Grant. I was in shock. I just kept thinking how
great he was in Gunga Din (1939).
Q: How did he treat you?
Byron: It all went by too quickly. It was very professional. When Grant showed
up at the radio show, he came directly from the studio. He was still in
make-up. We had some conversation, but I was too much in shock to remember
anything. I asked him for his autograph. There was no table, so he asked me to
turn around, and he wrote it using my back. He was so charming.
Q: Did you win the contest?
Byron: No, Gale Storm won, but I had made a good impression. There was some
interest in me. They gave me a tour of the studios. I met Chester Morris and
George Saunders there. I remember Saunders looking down at me with a dour
expression. I even saw Lucille Ball at the time, and she looked gorgeous.
Q: Who impressed you most?
Byron: I was on the RKO lot when we ran into this most attractive man. His eyes
were just glowing. After he passed, I asked who he was. “That’s Orson Welles,”
they told me. “He’s shooting a picture here called Citizen Kane
(1941).” He made such an impression on me. Seeing him was the highlight of my
trip. Anyway, my mother and I talked it over, and we decided it was best for me
to finish my education. Then I could pursue a career.
Q: How did World War Two affect your plans?
Byron: After Pearl Harbor, my father was drafted. He was in his forties.
Mother got a job, and I started singing evenings in a nightclub while still
going to school by day. It really was a high class bar. There was a platform
behind the bar with three musicians and myself. It was good training. When my
father got out of the army after the war, we moved to Los Angeles. The Ben Bard
Players gave me a scholarship because they were looking for women performers.
They had a lot of men studying there because of the G.I. bill. I just
absolutely adored it. I couldn’t get enough of it, but I worked like a dog.
Q: How did you get into motion pictures?
Byron: I had a very good part at the “Players Ring” and one of the guys in the
show was Larry Stewart. His father was a casting director for Sam Katzman
Productions, which was operating out of Columbia Studios. After his father came
to the theater to see the play, he sent me a message to come and see him. He
was casting a film called Voodoo Tiger and I was offered the female
lead. It was one of the Jungle Jim series with Johnny Weissmuller. He was a
darling man. The picture was simply hysterical.
Q: What stands out most in your mind about
Voodoo Tiger (1952)?
Byron: There was this seven year old chimp that I carried around on my hip. The
chimp was very gentle and she was called Tamba. I played an English lady with
an accent who comes to the jungle in search of stolen art treasures. The Nazis
stole some art treasures from France and hid them in the jungle. Some gangsters
were also after the treasure, and headhunters were also around. My next film
was Magnetic Monster (1953).
Q: That was a most unusual film. It evidently
influenced by Dragnet (1952 – 1970) except with scientists instead of
detectives. You really looked wonderful in that film.
Byron: You know, I made that in one day. I played Richard Carlson’s wife, so
you got to see a little of his home life. He kept getting called off to deal
with this threat, the element that became the magnetic monster. They used a lot
of impressive old footage from a German film.
Q: That was Gold (1934), which starred
Brigitte Helm. The effects were really quite good.
Byron: Well they spliced it together and that became the climax.
Q: Your character was pregnant in the film, and
Richard Carlson kept complaining you were too thin.
Byron: He kept trying to feed be white bread and all these high fat foods. It’s
just the opposite of what you should eat. So the scientist pushing this diet
seems rather funny today.
Q: What do you recall about Serpent of the
Nile (1953)?
Byron: That was also for Sam Katzman. He used all the old sets from the Rita
Hayworth film Salome (1953). Those sets were really beautiful. Rhonda
Fleming played Cleopatra and Raymond Burr played Marc Antony. Rhonda was a very
nice lady, and the prettiest girl I had ever seen. I played Charmain, her
handmaiden. I saw this film about three years ago, and the thing that impressed
me most was my belly (laughs). I had a wonderful costume on and they weren’t
supposed to photograph my naked belly. You were supposed to wear a belt or
something. Leonard Katzman was the assistant director, and he was a very nice
man. He was the nephew of Sam Katzman. The director was William Castle.
Q: What do you recall of William Castle?
Byron: He was kind of hard to work with. He was so wired: he worked fast, he
talked fast, he moved fast. Of course, I didn’t know anything about high blood
pressure then, but there was something about him that made me uneasy. I felt
subconsciously that he wasn’t taking good care of himself. I prefer a calmer
director like Arthur Hiller.
Q: When did you work with Hiller?
Byron: I was on a very early NBC television series called Matinee Theatre,
and it was wonderful. I had such fun doing it. It was at NBC in Burbank and
was produced by Al McCleary. They did five of them a week, and they were
individual dramas one hour long. Arthur Hiller was calm, quiet and he knew
exactly what he wanted. He never told you what to do. He took what you had and
very gently focused it. It was such a joy to work with him. I’m sorry I never
had a chance to work with him again after that program.
Q: Did you do a lot of television?
Byron: Oh, yes, and many commercials too. I almost died doing one show. It was
a quiz show called Can Do from CBS in New York, and the host was Robert
Alda. It was a live show for Revlon, and opening night was November 26, 1956.
Just before air time, my gown exploded. It was an expensive gown that was
imported and not flame retardant. It was a strapless, beaded gown with a tight
crepe skirt under a larger tulle skirt that went down to the floor. I am a
very, very lucky lady, because I also had long hair. I was in the dressing room
for a touch-up on my hair. There was very little space in there. The technical
director came to the door and said, “One minute to air time!” One of the
account execs was with him. I put down my cigarette and started walking
towards them. The technical director was going to usher me toward my marker
where I was to open the show saying, “Good evening. I’m Jean Byron. Welcome to
Can Do.” The camera’s first position was way back to see the gown. They
wanted a shot of me sitting on a bench before they dollied in. Anyway, as I got
to the door, the tulle skirt just exploded. I guess it was a spark from the
cigarette. They grabbed me to pull it off. They tore this stinking black mess
off me, just leaving the slip. Not a word was spoken, not from the hairdresser
or the crew. I went over to the bench. The cameraman took one look at me, and
dollied in for an above-the-waist shot. Just then the red light went on and I
said, “Good evening, I’m Jean Byron…”
Q: You must have been on automatic pilot.
Byron: I was. I have no idea how I got through it. The adrenaline was so
strong, and I didn’t have time for a delayed reaction. You know, the producers
never so much as acknowledged what happened. Nowadays, everyone would be
thinking lawsuit, but that thought never crossed my mind. It probably was
against the law to import the fabric used in the gown. Can Do also
turned out to be a bomb, and the program lasted six weeks.
Q: You were also the “Lux” girl in the late
fifties.
Byron: Yes, I hadn’t had a vacation in a long time, and I was in New York just
enjoying myself, going to the theater and seeing the sights. Then I got a call
from J.W. Thompson who asked, “Would you be interested in doing some commercials
for Lux soap?” So I made an appointment to do a test, and he gave me three
scripts. There were a group of observers there, men in black suits to whom I
was introduced, and that should have tipped me off that they were having
difficulties finding someone. So I chatted with the director and then did two
takes of each script, one in color and one in black and white. The director
printed six consecutive commercials, each one with the first take. They were
very impressed. By the time I got home, the phone was ringing with an offer for
me to be the “Lux” spokesperson. This was for The Rosemary Clooney Show
(1957-58) on NBC, and I also did The Lux Playhouse (1958-59). Years
earlier, I did Lux Video Theater (1950-57). That was in 1952 and 1953.
I worked with Thomas Mitchell at that time, who was such an incredibly nice
individual. I was having a little bit of trouble with one scene, and he helped
me out. He knew just how to handle it.
Q: Did you work with any of the great TV
comedians?
Byron: In the real early days of television, I worked with Ed Wynn. I remember
we did one crazy sketch where I had to stand on my head. Of course, I could do
it, but when I straightened up, I acted a little dizzy. “Oh no!” Ed exclaimed.
“Don’t do that! When you stand up, don’t do anything!” So I said, “O.K.” He
seemed worried about anything that detracted the spotlight from him, but I also
learned something about comedy timing from him.
Q: You appeared on a lot of television shows.
Which ones come to mind?
Byron: There were so many I couldn’t keep track of them. There was Cheyenne
(1955-63) with Clint Walker. I enjoyed working with him very much. There was
Laramie (1959-63) and I was also on Batman (1966-68). I was on a
lot of anthology shows such as Studio 57 (1954-55) and Science Fiction
Theater (1955-57). Then there was that series with Rod Serling.
Q: The Twilight Zone?
Byron: Yes, and then I was in the original pilot for Columbo with Peter
Falk in 1971.
Q: Tell us about your two famous television
series. When did you sign for The Many Loves of Dobie Gillis?
Byron: That was in 1959. I played Ruth Adams, the high school teacher. That
show had a really good cast. Dwayne Hickman was wonderful. He was a real
peach. The last time I saw him was shortly before I left Los Angeles, when he
came to see a play I was doing. His brother Darryl was on the show for awhile,
too, and he was a nice guy. The careers of some of the people from the first
season really took off. There was Ron Howard, for example. He was just a kid
but he was very poised and rather nice. Today he is one of our leading
directors. Then there was Tuesday Weld as Thalia Menniger. Do you recall who
played the rich kid that competed with Dobie for Thalia? It was Warren Beatty.
I could really tell he was going places. He played Milton Armitage. His mother
was played by Doris Packer. She was divine and a lot of fun. She did her part
very, very well. After Warren left the show, they introduced another rich kid,
Chatsworth Osborne Jr. played by Steve Franken. But they kept Doris, however,
and changed her from Clarice Armitage to Mrs. Chatsworth Osborne Sr.
Q: Didn’t you play two different characters
also?
Byron: The second season, the boys went to college. The producer Rod Amateau
liked me, however, so I became a college teacher in the next season. They used
my real name and I became Dr. Burkhart. They kept changing my specialty. One
week I was an anthropologist, and the next I was a historian or something else.
I worked on the show frequently. They had a great cast and I enjoyed the whole
experience very much.
Q: Any recollections of Bob Denver?
Byron: He was quite memorable as Maynard G. Krebbs. He played the beatnik part
so well. He was very nice and quite charming, but you know, we didn’t work much
together. The paths of our characters just didn’t cross, and I don’t think we
ever had a scene with just the two of us. The cast of that show really worked
well together. The show ran for four years, and the boys were starting to
outgrow their parts.
Q: Your next series followed immediately. How
did you become involved with The Patty Duke Show?
Byron: Writer Max Schulman created Dobie Gillis and he wrote another
pilot and created a role especially for me. I was the second lead. The leading
part was played by a beautiful girl named Mary LaRoche. Unfortunately, this
pilot did not sell. But United Artists saw the pilot and liked it. They were
casting The Patty Duke Show, which was written by Sidney Sheldon. The
pilot had Patty playing a dual role as two identical cousins. Well, United
Artists called my agent and said, “We want to cast Jean Byron for this pilot.”
So I went down to pick up a script and sign a contract. As I was going out the
door, Bill Asher said that if the show got picked up, it would be filmed in New
York. After a long pause, I said, “Oh?” That was unexpected.
Q: Was the pilot set in New York?
Byron: No, it was set in San Francisco. They did quite a bit of location work
with Patty there. Mark Miller played the original father, Martin Lane. Mark
later played the lead in Please Don’t Eat the Daisies (1965-67). Later,
they couldn’t come to terms with Mark and he was replaced by William Schallert.
Ross Lane, the son, was played in the pilot by Charles Herbert. John McGiver
was also in the pilot as Martin’s boss, the head of the newspaper where Martin
worked. Anyway, I recall watching the Oscar awards, and when they announced
“Patty Duke” for an Oscar, I knew I had a job and that the series would be
picked up.
Q: What were some of the changes made after the
pilot?
Byron: The European cousin, Cathy, became more elegant. The family became less
affluent and lived in a more middle class home in Brooklyn Heights. They also
eliminated the large dog, a sheep dog, and perhaps that was for the best. My
only disappointment on the show was that they changed my character somewhat from
the pilot, but it still worked out fine.
Q: Was filming in New York a real hardship for
you?
Byron: It was a sacrifice. I missed my family. Eventually they did return to
film in Hollywood by the show’s last season.
Q: What do you recall about the program?
Byron: It was a real heavy schedule. It was almost a seven-day-a-week job. My
day ran from 7 AM to 7 PM, and I came in even before Patty. It was a very heavy
schedule for Patty Duke as well, because she played two roles. Of course, there
was a double on the set at all times. Sometimes I felt sorry for her since she
really didn’t have that much to do. She was mostly photographed from behind in
over-the-shoulder shots talking with Patty. They also relied on split screen
effects quite often. Patty was marvelous. She was a real workhorse, like me.
She and I would do pick-up shots every Friday. We worked together so well, and
we would always get our things done in one take. She was simply marvelous and
like quicksilver. She would change her clothes so quickly.
Q: How did you enjoy working with the rest of
the cast?
Byron: They were all fine. I knew William Schallert for a long time, and I
worked with his wife Leah as well. He played Professor Leander Pomfritt on
Dobie Gillis so we worked together on both these series. I was very fond of
Paul O’Keefe, who played my son Ross Lane. When we took publicity shots, I
would always reach down and put my arm on him. But between seasons he grew so
quickly. When we started one season, I was surprised when he spoke to me. His
voice had gotten so deep, I was startled. One of my all-time favorites was John
McGiver. You could just eat him with a spoon he was so sweet and considerate.
What a precious darling he was. I felt devastated when he died. He had such a
delicious personality, and it came through in the parts he played. You know, we
had a large number of guest stars on the show. I met very many interesting
people.
Q: There were many popular recording stars.
Byron: Yes, we had a big teenage audience, so a number of the guests reflected
that. There was Paul Anka, Frankie Avalon, Bobby Vinton and Sammy Davis Jr.
They all were wonderful, with perhaps one exception. There was one big guest
star who was so rude that nobody could stand him.
Q: Did you do a third series?
Byron: I was a semi-regular in another show in the seventies with Pat Paulsen.
It was Pat Paulsen’s Half a Comedy Hour (1970) and we did a number of
skits. I would sometimes play a very grand lady. I would say something, and
then you would hear a toilet flush (laughs). It was a lot of fun.
Q: Let’s return to your film career. Did you do
any other films for producer Sam Katzman?
Byron: I did another jungle picture for him called Jungle Moon Men
(1955). This was also with Johnny Weissmuller. By this time, Sam Katzman had
lost the rights, I think, to the character of Jungle Jim, so Johnny Weissmuller
simply used his own name for the new character who was just like Jungle Jim.
Tamba the chimp became Kimba. The plot was a variation on H. Rider Haggard, and
I played an anthropologist who was threatened by this powerful lost tribe headed
by Helene Stanton.
Q: Do you have any recollections of Johnny
Concho (1956)?
Byron: It was a western, and it had a great cast with Frank Sinatra, Keenan
Wynn, William Conrad, Phyllis Kirk, Wallace Ford and Claude Akins. The director
was Don McGuire. He used to be an actor and writer. He was a damned good
writer. He wrote the screenplay to Johnny Concho with David Harmon.
Years ago, Don McGuire used to take me out. All we did was laugh. He was the
funniest man I ever knew. Then we went our own ways. So I guess when he was
casting this film, he saw my name as a possibility for a part, and he said,
“God, yes, let’s use her!” It was an interesting role. I was the town madame
actually, but I didn’t have a very heavy shooting schedule. I really enjoyed
working with Don. Wallace Ford was a darling also. He was great to be around.
I really got a good impression of Frank Sinatra. He sent flowers to my dressing
room on the first morning. With the flowers was a card that said, “Welcome to
Johnny Concho and best wishes, Frank.” I thought that was so nice. You
know, sometimes you see people briefly over the years, and they would say, “Hi,
how are you, darling,” but they don’t really don’t remember your name. Sinatra
was different. I ran into him over the years, and he always called me by name
every time. He was a very kind man. He was number one in my book. He also did
a lot of charity over the years, very quietly. The filming of Johnny Concho
was very ordinary, very workaday, but it was a very pleasant set.
Q: You also did There’s Always Tomorrow
(1956) at the same time?
Byron: It was shortly after but it was just a one day role for me. It was a
Barbara Stanwyck and Fred MacMurray picture. Joan Bennett was in it also. I
played a saleslady. Douglas Sirk was the director. Everything went smoothly.
The stars like it when there are no delays because they could get on with making
the picture.
Q: You had the female lead in Invisible
Invaders (1959)?
Byron: It was another quick, low-budget affair. Edward Cahn directed. John
Agar, Robert Hutton, and John Carradine rounded out the leads.
Q: Any recollections of Carradine?
Byron: I don’t believe we had any scenes together. Most of his work was
voice-overs added later. A lot of the footage in Invisible Invaders was
stock footage. Most of my scenes in the film were in this hidden laboratory
bunker. John Agar was our military supervisor. Robert Hutton and I played
scientists who were working on a counter-weapon to fight the invaders. We were
also trying to make them visible. At first, only my father believed they
existed. Then they began to take over the bodies of the dead. I forget the
name of the actor who played my father, who was the senior scientists.
Q: That was Philip Tonge. In fact he died
shortly after the film. Did he seem unwell on the set?
Byron: Not that I remember. He had no difficulty in shooting his scenes. The
picture was filmed rather quickly. I remember the director moving from one
set-up to the very next rapidly.
Q: Some of it was shot in Bronson Canyon.
Byron: Yes. That was when we were testing our sonic weapon. I guess you could
say I was an action heroine. John Agar was on the roof of our truck, operating
this sonic cannon. Robert Hutton was in the back of the truck, operating the
equipment for the weapon. My father remained in the lab to contact all the
other labs. That left me to operate the truck and drive through the zombies.
The terrain was rather rough too.
Q: Invisible Invaders is sometimes cited
as an influential film, prefiguring such pictures as Night of the Living Dead
(1968).
Byron: Well, I’m sure they wish they had a bigger budget so they could’ve shown
some bizarre or weird aliens. But special effects are costly. They spend a
fortune today creating these creatures with costly masks and costumes. So it
was far less expensive for them to show walking zombies in dress suits instead
of strange alien invaders.
Q: Your hair was blonde in that film. Why did
you change it?
Byron: The film was shot while I was still doing Lux commercials. The only
change Lux asked me was that I lighten my hair. So I had blonde hair for a
time. Did you like it better?
Q: I think you looked more striking with darker
hair.
Byron: Yes, that is my natural color. I think it fits my face better.
Q: How did you enjoy working with John Agar?
Byron: John was very sweet. It’s the one quality that makes a man most
memorable to me. When I work with rude people, I tend to forget them. John was
memorable, professional and kind. He seemed easy-going and worked effortlessly
in front of the camera.
Q: Your next film was Wall of Noise
(1962). What do you recall about this film?
Byron: That was produced at Warners. There were a number of good people in it
like Ralph Meeker and Suzanne Pleshette, Ty Hardin, Dorothy Provine and Simon
Oakland. The picture was about horse racing, and breeders who loved
thoroughbred horses. It was a bit of a soap opera about the people behind the
scenes. My part wasn’t very big. I played Mrs. Harrington. I believe the
actor who played my husband was Gary Petrie.
Q: You later appeared in Flareup (1969).
Byron: Now that was a day’s work I remember (laughs)! My scene was shot on
location in a real smelly bar. There was quite a bit of dialogue involved in
the sequence. James Neilson was the director, and he was a darling man. He was
having problems with last minute dialogue changes that Raquel Welch wanted to
include. So the dialogue was all changed and everything was altered, and that
caused a delay. I had no problem with the changes, but there were always
additional ones. Anyway, the sequence was finally done late in the day. Now
Raquel was polite and friendly. She thanked me as I was leaving. She was nice
enough but she made the day so difficult. Then James Neilson took me aside, and
thanked me for a tough day’s work. It was unusual for me to remember a one day
shoot, but this day I recall most clearly. You know, actor James Stacy was in
this film, and it wasn’t long afterwards that he had a horrible accident. He
was on a motorcycle on Mulholland Drive, and he was sideswiped by a car. It was
terrible, and he lost an arm and a leg. Stacey was a very nice individual. It
was such an unfortunate nightmare.
Q: Another of your credits was Where Does It
Hurt? (1972). Here you are billed as “Jeanne” Byron.
Byron: That was a black comedy about the medical profession. I thought my
performance was so terrible that I never saw it. It played in Los Angeles, and
I wouldn’t go to see it. I played Dr. Kincaid, and my character was altered
from a male to a female doctor. That change didn’t really work in the script,
and it was awkward at times. The director was Rod Amateau, and we go way back
to the Dobie Gillis series. Rod liked my work, but we just didn’t have
time to iron out these problems. Two other things stand out in my mind about
that film. I simply adored Peter Sellers. I found him to be a most delightful
person, even more delightful than he was on the screen. I was thrilled to work
with him. Another was the opportunity to perform with Harold Gould, a marvelous
actor. We were born on the same day in the same year. Harold’s work was simply
wonderful. I especially enjoyed him in The Sting (1973), where he played
one of the scammers. He is the one who plays the phony Western Union guy. He
was also a frequent guest star on The Golden Girls television series, and
he also co-starred in a television film with Katherine Hepburn.
Q: When did you leave Hollywood?
Byron: By the late eighties, I really didn’t get enough work to justify
remaining in Los Angeles. I did theater and other things, but I wanted to live
in a smaller town. Most of my neighbors are “non-combatants” so they enjoy
hearing about my career.
Q: Non-combatants?
Byron: Well, sometimes the industry seems like the front lines. A lot of people
see only the glamour, but there is a lot of hard work in addition to the
glamour.
Q: What are you most proud of in your career?
Byron: Just making a living in Hollywood for so long, I guess. What I have
enjoyed most about my work was meeting so many interesting people. Some of them
were very nice people, too. Now Cecil B. DeMille did not have a very good
reputation for sweetness and light, but he was very gracious with me. I
auditioned for him for The Greatest Show on Earth (1952). My credits
were only television and plays at the time. I mentioned that I hadn’t worked
much, and he smiled, put me at my ease, and said, “That’s no problem. I’m Cecil
B. DeMille. Just relax and tell me about yourself.” He treated me well, even
though I didn’t get the part.
Q: Who did you most enjoy as fellow performers?
Byron: There were a number of them. I already mentioned Thomas Mitchell. There
was also Louis Hayward, Ann Sothern and many more. Lucille Ball was also very
special. Working with these individuals were probably the best moments of my
career.
Q: Do you have any plans to return to acting?
Byron: I have been approached for a project in the near future. CBS is planning
a Patty Duke reunion show for autumn 1998 release. It will be done in
Vancouver with the entire cast. Patty called me about it last week, and she
thinks it will be a real hoot. I am eagerly looking forward to doing it, and
seeing everyone after all these years. Of course, I’m happy with my television
series Patty Duke and Dobie Gillis and I look forward whenever
they are revived. And I am so happy that so many people remember those small
genre pictures like Magnetic Monster and Invisible Invaders. It
is gratifying to be remembered.