Buster Keaton - Wikipedia

Good evening my friend Maj Marty Hogan and thank you for making us aware that October 4 is the anniversary of the birth of American actor, comedian, film director, producer, screenwriter, and stunt performer Joseph Frank "Buster" Keaton.

National Geographic Buster Keaton History channel BBC Documentary
https://www.youtube.com/watch?v=HhwGZJCoTAw

Images:
1. Buster Keaton.
2. Buster Keaton in Vaudville circa 1900 at age 5.
3. Eleanor Norris and Buster Keaton, applying for their wedding license, 1940.
4. Pajama Party (11 Nov 1964) Buster Keaton as Chief Rotten Eagle.

Biography
1. tmlarts.com/buster-keaton/
2. imdb.com/name/

Background from tmlarts.com/buster-keaton/
"Buster Keaton: actor, producer, writer
Buster Keaton (October 4, 1895 – February 1, 1966) was an American actor, director, producer, writer, and stunt performer. He was best known for his silent films, in which his trademark was physical comedy with a consistently stoic, deadpan expression, earning him the nickname “The Great Stone Face.” Critic Roger Ebert wrote of Keaton’s “extraordinary period from 1920 to 1929, [when] he worked without interruption on a series of films that make him, arguably, the greatest actor-director in the history of the movies”.
Joseph Frank “Buster” Keaton was born into a vaudeville family in Piqua, Kansas, the small town where his mother, Myra Keaton (née Cutler), happened to go into labor. His father was Joseph Hallie “Joe” Keaton, who owned a traveling show with Harry Houdini called the Mohawk Indian Medicine Company, which performed on stage and sold patent medicine on the side.
According to a frequently repeated story, he acquired the nickname “Buster” at about 18 months of age. Keaton told interviewer Fletcher Markle that Houdini happened to be present one day when he took a tumble down a long flight of stairs without injury. After the infant sat up and shook off his experience, Houdini remarked to the boy’s father, “That’s some buster your son took!” In those days, the word “buster” was used to refer to a spill or a fall that had the potential to produce injury. After this, it was Keaton’s father who began to use the nickname to refer to the youngster.
At the age of three, Keaton began performing with his parents in “The Three Keatons.” He first appeared on stage in 1899 in Wilmington, Delaware. The act was mainly a comedy sketch. Myra played the saxophone to one side, while Joe and Buster performed on center stage. The young Keaton would goad his father by disobeying him, and the elder Keaton would respond by throwing him against the scenery, into the orchestra pit, or even into the audience. A suitcase handle was sewn into the boy’s clothing to aid with the constant tossing.
The act evolved as he learned to take trick falls safely; he was rarely injured or bruised on stage. This knockabout style of comedy led to accusations of child abuse, and occasionally, arrest. However, the child was always able to show the authorities that he had no bruises or broken bones. He was eventually billed as “The Little Boy Who Can’t Be Damaged,” with the overall act being advertised as “‘The Roughest Act That Was Ever in the History of the Stage.”
Decades later, Keaton said that he was never hurt by his father and that the falls and physical comedy were a matter of proper technical execution. In 1914, he told the Detroit News: “The secret is in landing limp and breaking the fall with a foot or a hand. It’s a knack. I started so young that landing right is second nature with me. Several times I’d have been killed if I hadn’t been able to land like a cat.”

The young vaudevillian claimed he was having so much fun that he would sometimes begin laughing as his father threw him across the stage. Noticing that this drew fewer laughs from the audience, he adopted his famous deadpan expression whenever he was working.
In February 1917, Keaton met Roscoe “Fatty” Arbuckle at the Talmadge Studios in New York City, where Arbuckle was under contract to Joseph M. Schenck. Joe Keaton disapproved of films, and Buster also had reservations about the medium. During his first meeting with Arbuckle, he asked to borrow one of the cameras to get a feel for how it worked. He took the camera back to his hotel room, dismantled and reassembled it. With this rough understanding of the mechanics of the moving pictures, he returned the next day, camera in hand, asking for work.
He was hired as a co-star and gag man, making his first appearance in The Butcher Boy. He later claimed that he was soon Arbuckle’s second director and his entire gag department. He appeared in a total of 14 Arbuckle shorts, running into 1920. They were popular and, contrary to Keaton’s later reputation as “The Great Stone Face”, he often smiled and even laughed in them. Keaton and Arbuckle became close friends, and Keaton was one of few people to defend Arbuckle’s character during accusations that he was responsible for the death of actress Virginia Rappe.

After Keaton’s successful work with Arbuckle, Schenck gave him his own production unit, Buster Keaton Comedies. He made a series of two-reel comedies, including One Week (1920), The Playhouse (1921), Cops (1922), and The Electric House (1922). Keaton then moved to full-length features.
In 1921, he married Natalie Talmadge, sister-in-law of his boss, Joseph Schenck, and sister of actresses Norma Talmadge and Constance Talmadge. She co-starred with Keaton in Our Hospitality. The couple had two sons, Joseph, aka Buster Keaton Jr. (June 2, 1922– February 14, 2007),[49] and Robert Talmadge Keaton (February 3, 1924– July 19, 2009). After the birth of Robert, the relationship began to suffer.
Influenced by her family, Talmadge decided not to have more children, and this led to the couple staying in separate bedrooms. Her financial extravagance (she would spend up to a third of his salary on clothes) was another factor in the breakdown of the marriage.
In 1926, Keaton spent $300,000 to build a 10,000-square-foot (930 m2) home in Beverly Hills designed by architect Gene Verge, Sr., which was later owned by James Mason and Cary Grant. His “Italian Villa” can be seen in his film Parlor, Bedroom and Bath. Keaton later said, “I took a lot of pratfalls to build that dump.”

As his marriage was falling apart, Keaton began dating the actress Dorothy Sebastian beginning in the 1920s and later, actress Kathleen Key. After attempts at reconciliation, Talmadge divorced him in 1932, taking his entire fortune and refusing to allow any contact between Keaton and his sons, whose last name she had changed to Talmadge. (He was reunited with his sons about a decade later however, when his older son turned 18.) With the failure of his marriage and the loss of his independence as a filmmaker, Keaton lapsed into a period of alcoholism.
Throughout the 1920’s, he learned his craft, developed his style, and was extremely successful and prolific in the new art form of film making. His most enduring feature-length films include Our Hospitality (1923), The Navigator (1924), Sherlock Jr. (1924), Seven Chances (1925), The Cameraman (1928), and The General (1926).
It was during this time also that he made his most famous scene, from the film Steamboat Bill, Jr. Keaton had always insisted on doing his own stunts, his vaudeville training had prepared him for almost anything. But it would be the perfectly choreographed action of a house that falls on him, that would become legend:

The General, set during the American Civil War, combined physical comedy with Keaton’s love of trains, including the now famous locomotive chase (excellently restored version seen below) . Employing picturesque locations, the film’s storyline reenacted an actual wartime incident. Though it would come to be regarded as his greatest achievement, the film received mixed reviews at the time. It was too dramatic for some filmgoers expecting a lightweight comedy, and reviewers questioned Keaton’s judgment in making a comedic film about the Civil War, even while noting it had a “few laughs”.
It was an expensive misfire, and Keaton was never entrusted with total control over his films again. His distributor, United Artists, insisted on a production manager who monitored expenses and interfered with certain story elements. Keaton endured this treatment for two more feature films, and then exchanged his independent setup for employment at Hollywood’s biggest studio, Metro-Goldwyn-Mayer (MGM). His loss of independence as a filmmaker coincided with the coming of sound films (although he was interested in making the transition) and mounting personal problems, and his career in the early sound era was hurt as a result.

In his first pictures with sound, he and his fellow actors would shoot each scene three times: one in English, one in Spanish, and one in either French or German. The actors would phonetically memorize the foreign-language scripts a few lines at a time and shoot immediately after (seen below, a short clip where he speaks phonetic Spanish…and actually does a rather fine job, actually). This technique is discussed in the TCM documentary Buster Keaton: So Funny it Hurt, with Keaton complaining about having to shoot lousy films not just once, but three times.
In 1932, MGM tried teaming the laconic Keaton with the rambunctious Jimmy Durante in a series of films, The Passionate Plumber, Speak Easily, and What! No Beer?. The latter would be Keaton’s last starring feature in his home country. He was so demoralized during the production of What! No Beer? that MGM fired him after the filming was complete, despite the film being a resounding hit (short clip below).
In 1934, Keaton accepted an offer to make an independent film in Paris, Le Roi des Champs-Élysées (the short clip below features one of his rare on-screen smiles). During this period, he made another film, in England, The Invader (released in the United States as An Old Spanish Custom in 1936).
Due to his continued drinking, financial and relationship issues, combined with his nearly obsessive drive to create, Keaton was at one point briefly institutionalized. According to the TCM documentary So Funny it Hurt, while there, though confined to one, he escaped a straitjacket with tricks learned during his vaudeville days.
In 1933, he married his nurse, Mae Scriven, during an alcoholic binge about which he afterwards claimed to remember nothing (Keaton himself later called that period an “alcoholic blackout”). Scriven herself would later claim that she didn’t know the actor’s real first name until after the marriage. The singular event that triggered Scriven filing for divorce in 1935 was her finding him with Leah Clampitt Sewell (libertine wife of millionaire Barton Sewell) on July 4 the same year in a hotel in Santa Barbara. When they divorced in 1936, it was again at great financial cost to Keaton.
In 1940, he married Eleanor Norris (July 29, 1918 – October 19, 1998), who was 23 years his junior. She has been credited by film historian Jeffrey Vance with saving Keaton’s life by stopping his heavy drinking and helping to salvage his career. The marriage lasted until his death. Between 1947 and 1954, they appeared regularly in the Cirque Medrano in Paris as a double act. She came to know his routines so well that she often participated in them on TV revivals.
The rest of his life, he continued to make films and he expanded into the world of television as well. He appeared in such programs as The Twilight Zone and the Donna Reed Show, as well as his own successful program The Buster Keaton Show. His last commercial film appearance was in A Funny Thing Happened on the Way to the Forum (1966), which was filmed in Spain in September–November 1965. He amazed the cast and crew by doing many of his own stunts, although Thames Television said his increasingly ill health did force the use of a stunt double for some scenes. His final appearance on film was a 1965 safety film produced in Toronto, Canada, by the Construction Safety Associations of Ontario in collaboration with Perini, Ltd. (now Tutor Perini Corporation), The Scribe. Keaton plays a lowly janitor at a newspaper. He intercepts a request from the editor to visit a construction site adjacent to the newspaper headquarters to investigate possible safety violations. Keaton died shortly after completing the film.
Buster Keaton died of lung cancer on February 1, 1966, aged 70, in Woodland Hills, California. Despite being diagnosed with cancer in January 1966, he was never actually told that he was terminally ill or that he had cancer, he thought that he was recovering from a severe case of bronchitis. Confined to a hospital during his final days, he was restless and paced the room endlessly, desiring to return home. In a British television documentary about his career, his widow Eleanor told producers of Thames Television that her husband was up out of bed and moving around, and even played cards with friends who came to visit the day before he died.
Today, many of Keaton’s films remain highly regarded, among his strongest admirers was Orson Welles, who stated that The General was cinema’s highest achievement in comedy, and perhaps the greatest film ever made. He was recognized as the seventh-greatest film director by Entertainment Weekly, and in 1999, the American Film Institute ranked him the 21st greatest male star of classic Hollywood cinema.
"

Background from imdb.com/name/nm0000036/bio
"Buster Keaton Biography
Overview
Born October 4, 1895 in Piqua, Kansas, USA
Died February 1, 1966 in Los Angeles, California, USA (lung cancer)
Birth Name Joseph Frank Keaton
Nicknames The Great Stone Face; Malec
Height 5' 5" (1.65 m)

Mini Bio
Joseph Frank Keaton was born on October 4, 1895 in Piqua, Kansas, to Joe Keaton and Myra Keaton. Joe and Myra were Vaudevillian comedians with a popular, ever-changing variety act, giving Keaton an eclectic and interesting upbringing. In the earliest days on stage, they traveled with a medicine show that included family friend, illusionist Harry Houdini. Keaton himself verified the origin of his nickname "Buster", given to him by Houdini, when at the age of three, fell down a flight of stairs and was picked up and dusted off by Houdini, who said to Keaton's father Joe, also nearby, that the fall was 'a buster'. Savvy showman Joe Keaton liked the nickname, which has stuck for more than 100 years.

At the age of four, Keaton had already begun acting with his parents on the stage. Their act soon gained the reputation as one of the roughest in the country, for their wild, physical antics on stage. It was normal for Joe to throw Buster around the stage, participate in elaborate, dangerous stunts to the reverie of audiences. After several years on the Vaudeville circuit, "The Three Keatons", toured until Keaton had to break up the act due to his father's increasing alcohol dependence, making him a show business veteran by the age of 21.

While in New York looking for work, a chance run-in with the wildly successful film star and director Roscoe 'Fatty' Arbuckle, resulted in Arbuckle inviting him to be in his upcoming short The Butcher Boy (1917), an appearance that launched Keaton's film career, and spawned a friendship that lasted until Arbuckle's sudden death in 1933. By 1920, after making several successful shorts together, Arbuckle moved on to features, and Keaton inherited his studio, allowing him the opportunity to begin producing his own films. By September 1921, tragedy touched Arbuckle's life by way of a scandal, where he was tried three times for the murder of Virginia Rapp. Although he was not guilty of the charges, and never convicted, he was unable to regain his status, and the viewing public would no longer tolerate his presence in film. Keaton stood by his friend and mentor through out the incident, supporting him financially, finding him directorial work, even risking his own budding reputation offering to testify on Arbuckle's behalf.

In 1921, Keaton also married his first wife, Natalie Talmadge under unusual circumstance that have never been fully clarified. Popular conjecture states that he was encouraged by Joseph M. Schenck to marry into the powerful Talmadge dynasty, that he himself was already a part of. The union bore Keaton two sons. Keaton's independent shorts soon became too limiting for the growing star, and after a string of popular films like One Week(1920), The Boat (1921) and Cops (1922), Keaton made the transition into feature films. His first feature, Three Ages (1923), was produced similarly to his short films, and was the dawning of a new era in comedic cinema, where it became apparent to Keaton that he had to put more focus on the story lines and characterization.

At the height of his popularity, he was making two features a year, and followed Ages with Our Hospitality (1923), The Navigator (1924) and The General (1926), the latter two he regarded as his best films. The most renown of Keaton's comedies is Sherlock Jr. (1924), which used cutting edge special effects that received mixed reviews as critics and audiences alike had never seen anything like it, and did not know what to make of it. Modern day film scholars liken the story and effects to Christopher Nolan Inception(2010), for its high level concept and ground-breaking execution. Keaton's Civil War epic The General (1926) kept up his momentum when he gave audiences the biggest and most expensive sequence ever seen in film at the time. At its climax, a bridge collapses while a train is passing over it, sending the train into a river. This wowed audiences, but did little for it's long-term financial success. Audiences did not respond well to the film, disliking the higher level of drama over comedy, and the main character being a Confederate soldier.

After a few more silent features, including College (1927) and Steamboat Bill, Jr. (1928), Keaton was informed that his contract had been sold to MGM, by brother-in-law and producer Joseph M. Schenck. Keaton regarded the incident as the worst professional mistake he ever made, as it sent his career, legacy, and personal life into a vicious downward spiral for many years. His first film with MGM was The Cameraman (1928), which is regarded as one of his best silent comedies, but the release signified the loss of control Keaton would incur, never again regaining his film making independence. He made one more silent film at MGM entitled Spite Marriage (1929) before the sound era arrived.

His first appearance in a film with sound was with the ensemble piece The Hollywood Revue of 1929 (1929), though despite the popularity of it and his previous MGM silents, MGM never allowed Keaton his own production unit, and increasingly reduced his creative control over his films. By 1932, his marriage to Natalie Talmadge had dissolved when she sued him for divorce, and in an effort to placate her, put up little resistance. This resulted in the loss of the home he had built for his family nicknamed "The Italian Villa", the bulk of his assets, and contact with his children. Natalie changed their last names from Keaton to Talmadge, and they were disallowed from speaking about their father or seeing him. About 10 years later, when they became of age, they rekindled the relationship with Keaton. His hardships in his professional and private life that had been slowly taking their tole, begun to culminate by the early 1930s resulting in his own dependence on alcohol, and sometimes violent and erratic behavior. Depressed, penniless, and out of control, he was fired by MGM by 1933, and became a full-fledged alcoholic.

After spending time in hospitals to attempt and treat his alcoholism, he met second wife Mae Scrivens, a nurse, and married her hastily in Mexico, only to end in divorce by 1935. After his firing, he made several low-budget shorts for Educational Pictures, and spent the next several years of his life fading out of public favor, and finding work where he could. His career was slightly reinvigorated when he produced the short Grand Slam Opera(1936), which many of his fans admire for giving such a good performance during the most difficult and unmanageable years of his life.

In 1940, he met and married his third wife Eleanor Norris, who was deeply devoted to him, and remained his constant companion and partner until Keaton's death. After several more years of hardship working as an uncredited, underpaid gag man for comedians such as the Marx Brothers, he was consulted on how to do a realistic and comedic fall for In the Good Old Summertime (1949) in which an expensive violin is destroyed. Finding no one who could do this better than him, he was given a minor role in the film. His presence reignited interest in his silent films, which lead to interviews, television appearances, film roles, and world tours that kept him busy for the rest of his life.

After several more film, television, and stage appearances through the 1960s, he wrote the autobiography "My Wonderful World of Slapstick", having completed nearly 150 films in the span of his ground-breaking career. His last film appearance was A Funny Thing Happened on the Way to the Forum (1966) which premiered seven months after Keaton's death from the rapid onset of lung cancer. Since his death, Keaton's legacy is being discovered by new generations of viewers every day, many of his films are available on YouTube, DVD and Blu-ray, where he, like all gold-gilded and beloved entertainers can live forever.

Spouse (3)
Eleanor Keaton (28 July 1940 - 1 February 1966) ( his death)
Mae Elizabeth Scrivens (8 January 1933 - 4 October 1935) ( divorced)
Natalie Talmadge (31 May 1921 - 25 July 1932) ( divorced) ( 2 children)

Trade Mark (4)
1. Pork pie hat, slapshoes, deadpan expression
2. His films contain elaborate gadgets of his own devising
3. Used the camera to help comedy, e.g. to create effect of rocking boat in beginning of The Boat (1921).
4. Small and slight frame

Trivia (55)
1. Son of Joe Keaton and Myra Keaton.
2. Father, with Natalie Talmadge, of sons Buster Keaton Jr. and Bob Talmadge.
3. Older brother of Harry Keaton and Louise Keaton.
4. Unlike many silent movie stars, Buster was eager to go into sound considering he had a fine baritone voice with no speech impediments and years of stage experience, so dialogue was not a problem.
5. Following his death, he was interred at Forest Lawn Memorial Park in Los Angeles, California.
6. Pictured on one of ten 29¢ US commemorative postage stamps celebrating stars of the silent screen, issued 27 April 1994. Designed by caricaturist Al Hirschfeld, this set of stamps also honored Rudolph Valentino, Clara Bow, Charles Chaplin, Lon Chaney, John Gilbert, Zasu Pitts, Harold Lloyd, Theda Bara and the Keystone Kops.
7. Fractured his neck while filming Sherlock Jr. (1924) and did not learn about it until a doctor saw X-rays of his neck during a routine physical examination many years later.
8. Died quietly at home, in his sleep, shortly after playing cards with his wife.
9. He was already quite sick with the cancer that would eventually kill him by the time he made his last completed film, A Funny Thing Happened on the Way to the Forum (1966). He used a stunt double in this film, as well as most of the films he made as an MGM contract player. Before signing with MGM in 1928, he had performed all of his own stunts, and even doubled for cast members in his own films, as in Sherlock Jr. (1924), where he played both himself, riding on the handlebars of a motorcycle, and the man who falls off the back of there.
10. His mother was of British/German ancestry, and his father was of Scottish/Irish ancestry.
11. Because most of his childhood was spent in vaudeville with his parents, he had few peers. However, he enjoyed a more regular childhood during his family's annual summer getaways to an Actor's Colony on Lake Michigan in Muskegon, MI. In fact, the city of Muskegon has erected a historical marker to note his stomping ground.
12. First married Mae Scriven in Mexico on January 1, 1932 before his divorce from Natalie Talmadge was final, then again legally in 1933.
13. He became an alcoholic when he his career collapsed around 1930, only kicking his habit and regaining his self-esteem when he married Eleanor Norris (Eleanor Keaton), his wife from 1940 until his death in 1966.
14. Was voted the seventh Greatest Director of all time by Entertainment Weekly, making him the highest rated comedy director. Charles Chaplin did not make the list.
15. Biography in: John Wakeman, editor. "World Film Directors, Volume One, 1890-1945". Pages 523-531. New York: The H.W. Wilson Company, 1987.
16. He was voted the 35th Greatest Movie Star of all time by Entertainment Weekly.
17. When he married Natalie Talmadge, the Talmadge family was one of the great acting dynasties in both theater and film, and the gossip in Hollywood was that Keaton married her to gain respect in the industry, a rumor he never quite lived down during his peak. Ironically, Keaton is now a film legend, while most people would be hard-pressed to answer who the Talmadges are.
18. Not only did Keaton do all his own stunts, but, when needed, he acted as a stunt double for other actors in the films.
19. He often surrounded himself with tall and heavyset actors in his films, typically as his antagonist, to make his character seem to be at as much of a physical disadvantage as possible. The similarly diminutive Charlie Chaplin (Charles Chaplin) also did this.
20. The three top comedians in silent-era Hollywood were Keaton, Charles Chaplin and Harold Lloyd. All three produced, controlled and owned their own films. Keaton was convinced to sell his studio and films to MGM in the 1920s, while Chaplin and Lloyd retained ownership of their films. Chaplin and Lloyd became wealthy, while Keaton endured years of financial and personal problems.
21. In one scene in Sherlock Jr. (1924), filmed at a train station, Keaton was hanging from a tube connected to a water basin. The water poured out and washed him on to the track, fracturing his neck. This footage appears in the released film.
22. Was named the 21st Greatest Actor on The 50 Greatest Screen Legends List by the American Film Institute
23. Was hearing-impaired since 1918, after serving in Germany fighting World War I.
24. Met Roscoe 'Fatty' Arbuckle for the first time strolling down Broadway in New York City. Arbuckle was with Keaton's old vaudeville acquaintance Lou Anger, who introduced them. Arbuckle immediately asked Keaton to visit the Colony Studio, where he was set to begin a series of comedies for Joseph M. Schenck. The famous comedy team was born.
25. Loved to play baseball. He would sometimes play between takes on the movie set. Furthermore, for the annual Hollywood charity baseball game for Mt. Sinai Hospital in the 1930s, he always led the comedians' team and developed comedy business on field with his writers.
26. Said he learned everything about moviemaking and comedy from Roscoe 'Fatty' Arbuckle.
27. The Navigator (1924) was his most successful movie by gross revenue.
28. There is much legend regarding the conception of his nickname, Buster. Many attribute the name to the legendary Harry Houdini, who was the partner of Joe Keaton (Buster's father) in the medicine-show group "Kathleen Marownen", after he saw a young Buster fall down a set of stairs without any injury. Others have said that it was Joe who conceived the name after he saw Buster's accident, while still others say that Joe Keaton fabricated the incident for a good story to tell on vaudeville. Which of these stories is actually true is unknown.
29. He and his parents formed an acrobatic group called "The Three Keatons" in his early youth.
30. Wanted to become an engineer as a child.
31. His performance as Johnny Gray in The General (1926) is ranked #34 on Premiere magazine's 100 Greatest Performances of All Time (2006).
32. His last film work was The Railrodder (1965), but because it was such a short film it was released before other movies, like A Funny Thing Happened on the Way to the Forum(1966), which had completed filming before "The Railrodder".
33. Is mentioned in the song "Cinéma" by Paola Del Medico.
34. When he was three years old he got his right index finger caught in a clothes wringer and it was crushed and had to be amputated at the first knuckle. The injury is most clearly visible in The Garage (1920), when Keaton steadies Roscoe 'Fatty' Arbuckle's head with his right hand while wiping oil off his face with his left.
35. He died the same day as his The Stolen Jools (1931), Speak Easily (1932) and Sunset Boulevard (1950) co-star Hedda Hopper.
36. In 1952 while remodeling his home, James Mason discovered several reels of Keaton's "lost" films (Mason had purchased Keaton's Hollywood mansion) and immediately recognized their historical significance. He took upon himself the responsibility for their preservation.
37. He is believed to be the first person to use "Buster" as a name, and popularized its usage ever after.
38. Keaton was one of the few actors who welcomed the advent of sound films. He knew his character didn't need dialog, but he looked forward to sound effects. "When somebody goes boom, they really go *boom*" he once said.
39. Keaton, Charles Chaplin and Stan Laurel all referred to their screen characters as "The Little Fellow".
40. A baseball fanatic, Keaton not only held games between takes, but also incorporated it into applications for employment. According to legend, two of the questions on the application he used to hire actors read "Are you a good actor?" and "Are you a good baseball player?". Anyone who answered "Yes" to either had a job with Keaton.
41. He appears in four of the American Film Institute's 100 Funniest Movies: The General(1926) at #18, It's a Mad Mad Mad Mad World (1963) at #40, Sherlock Jr. (1924) at #62 and The Navigator (1924) at #81.
42. Broke his ankle while filming The Electric House (1922) when he slipped on the escalator and was still recovering from it when he made The Play House (1921) in which his stunts were considered to be tamer than usual.
43. Ex-son-in-law of Margaret Talmadge.
44. Ex-brother-in-law of Norma Talmadge and Constance Talmadge.
45. On a whim, Keaton took crew member Edward Brophy and used him in a comedy role in The Cameraman (1928). That decision launched Brophy on his own notable comedy career.
46. Acting mentor to comedienne Lucille Ball.
47. He was awarded 2 Stars on the Hollywood Walk of Fame for Motion Pictures at 6619 Hollywood Boulevard; and for Television at 6321 Hollywood Boulevard.
48. Most biographers overlook his appearance on the ABC-TV variety show The Hollywood Palace (1964). At the end of the first winter-spring season, series producers Nick Vanoffand William O. Harbach scheduled the show's host Gene Barry with guest stars Keaton and Gloria Swanson to appear together in a comedy sketch. Keaton was at that time appearing in It's a Mad Mad Mad Mad World (1963). Bringing famous Hollywood film stars onto the show was the producers' main goal. Getting Swanson and Keaton on the show was considered a coup and an opportunity to promote the film. The sketch starred Swanson as Cleopatra and Keaton as Marc Antony, staged on a stepped Roman platform terrace surrounded by a 20-inch-high parapet wall and Roman columns, with the pair falling in love. It was written by Joe Bigelow and Jay Burton, but director Grey Lockwoodencouraged Swanson and Keaton to contribute any bits, routines and ideas that they wanted to, which they did. On the first day of rehearsal Swanson was on the stage, gazing up at the lighting fixtures overhead. She asked for lighting director Jack Denton to come to the stage, which he did, and Swanson began pointing out how she wanted which lights to focus on her and Keaton during the sketch--side light, key light, back light, which color gels to use, etc. Denton made sure that all of her suggestions were implemented. Keaton's idea was that the sketch should end with "Antony" and "Cleopatra" sitting on the parapet wall bench, join hands, raising their legs high and falling backwards out of sight over the wall. He and Swanson rehearsed the fall several times, and did the stunt themselves when it came time to actually shoot the scene for the show.
49. Contributed gags (uncredited) to the Red Skelton film A Southern Yankee (1948). No one could figure out a simple, yet funny way to get Aubrey out of the house when he was being held captive by the angry dog. Buster, employed by MGM as a roving gag man, was called to the set, looked at the set up, and came up with the idea of removing the door hinges and letting the dog in as Aubrey got out. The most famous gag in the movie took him all of five minutes to devise. Some of the other gags he contributed were some he had done himself years earlier.
50. David Jason is one of his biggest fans, and claims to channel him whenever he did his own stunts. He was quite honored when the Daily Mirror compared them.
51. Perhaps as a result of an accident that crushed his right index finger at age three, he developed the ability to use his right hand for certain tasks and his left hand for others. He wrote left-handed but played the ukulele right-handed. When he played baseball (his favorite sport), he threw right-handed and batted left-handed.
52. A heavy smoker for most of his life, he was diagnosed with lung cancer during the first week of January 1966 after a month-long coughing bout, but he was never told that he was terminally sick or that he had cancer, as his doctors feared that the news would be detrimental to his health. Keaton thought that he was recovering from a severe case of bronchitis. Despite his failing health, he was active and walking about almost until the day he died.
53. Made appearances in three Best Picture Oscar nominated films: The Hollywood Revue of 1929 (1929), Sunset Boulevard (1950) and Around the World in 80 Days (1956). In the first two, he plays himself. The last of these is the only one which won the Best Picture award.
54. His own favourite short was Hard Luck which was a long missing film until a copy was found.
55. His favourite film was 'Hard Luck' (1921), which was a lost film but a copy has been found.

Personal Quotes (25)
1. No man can be a genius in slapshoes and a flat hat.
2. Tragedy is a close-up; comedy, a long shot.
3. I gotta do some sad scenes. Why, I never tried to make anybody cry in my life! And I go 'round all the time dolled up in kippie clothes--wear everything but a corset . . . can't stub my toe in this picture nor anything! Just imagine having to play-act all the time without ever getting hit with anything!
4. [Asked by a reporter at an MGM premiere, "Are you happy to be here?"] Of course, I got off location for this!
5. What used to get my goat at MGM were comedians like The Marx Brothers or [Bud Abbott] and [Lou Costello], who never worried about the script or the next scene. My God, we ate, slept and dreamed our pictures.
6. Is Hollywood the cruelest city in the world? Well, it can be. New York can be like that, too. You can be a Broadway star here one night, and something happens, and then you're out--nobody knows you on the street. They forget you ever lived. It happens in Hollywood, too.
7. The first thing I did in the studio was to want to tear that camera to pieces. I had to know how that film got into the cutting room, what you did to it in there, how you projected it, how you finally got the picture together, how you made things match. The technical part of pictures is what interested me. Material was the last thing in the world I thought about. You only had to turn me loose on the set and I'd have material in two minutes, because I'd been doing it all my life.
8. They say pantomime's a lost art. It's never been a lost art and never will be, because it's too natural to do.
9. [on his time working as an uncredited gag writer for The Marx Brothers at MGM] It was an event when you could get all three of them on the set at the same time. The minute you started a picture with the Marx Brothers you hired three assistant directors, one for each Marx brother. You had two of 'em while you went to look for the third one and the first two would disappear.
10. Think slow, act fast.
11. Silence is of the gods; only monkeys chatter.
12. [on the differences between his and Charles Chaplin's characters] Charlie's tramp was a bum with a bum's philosophy. Lovable as he was, he would steal if he got the chance. My little fellow was a working man and honest.
13. All my life, I have been happiest when the folks watching me said to each other, "Look at the poor dope, will ya?".
14. Not long ago, a friend asked me what was the greatest pleasure I got from spending my whole life as an actor. There have been so many that I had to think about that for a moment. Then I said, "Like everyone else, I like to be with a happy crowd.".
15. Dumb show is best for screen people, if they must appear in public.
16. I've had few dull moments [in my life] and not too many sad and defeated ones. In saying this, I am by no means overlooking the rough and rocky years I've lived through. But I was not brought up thinking life would be easy. I always expected to work hard for my money and to get nothing I did not earn. And the bad years, it seems to me, were so few that only a dyed-in-the-wool grouch who enjoys feeling sorry for himself would complain.
17. Only things that one could imagine happening to real people, I guess, remain in a person's memory.
18. When I've got a gag that spreads out, I hate to jump a camera into close-ups. So I do everything in the world I can to hold it in that long-shot and keep the action rolling. Close-ups are too jarring on the screen, and this type of cut can stop an audience from laughing.
19. Half of our scenes, for God's sakes, we only just talked over. We didn't actually get out there and rehearse 'em. We would just walk through it and talk about it. We crank that first rehearsal. Because any thing can happen--and generally did . . . We used the rehearsal scenes instead of the second take.
20. [on the advent of sound in the movies] In every picture it got tougher. They'd laugh their heads off at dialogue written by all your new writers. They were joke-happy. They didn't look for action; they were looking for funny things to say.
21. I always want the audience to out-guess me, and then I double-cross them.
22. A comedian does funny things. A good comedian does things funny.
23. [on why he did all his own stunts] Stuntmen don't get laughs.
24. Pop made me the featured performer of our act when I was five. There were dozens of other family acts in vaudeville at the turn of the century, but none of the children in them was featured as early as that. Many of those kids were very talented, and their parents were as eager as mine to give them the same head start in show business that I was getting. The reason managers approved of my being featured was because I was unique, being at that time the only little hell-raising Huck Finn type boy in vaudeville. The parents of the others presented their boys as cute and charming Little Lord Fauntleroys. The girls were Dolly Dimples types with long, golden curls. I doubt that any kid actor had more attempts made to save him [by civic do-gooders] than did our Little Buster. The reason of course was our slam-bang act. Even people who most enjoyed our work marvelled when I was able to get up after my bashing, crashing, smashing sessions with pop.
25. Railroads are a great prop. You can do some awful wild things with railroads.

Salary (16)
Le roi des Champs-Élysées (1934) $15,000
Palooka from Paducah (1935) $2,500
One Run Elmer (1935) $2,500
Hayseed Romance (1935) $2,500
Tars and Stripes (1935) $2,500
The E-Flat Man (1935) $2,500
The Timid Young Man (1935) $2,500
Three on a Limb (1936) $2,500
Grand Slam Opera (1936) $2,500
Blue Blazes (1936) $2,500
The Chemist (1936) $2,500
Mixed Magic (1936) $2,500
Jail Bait (1937) $2,500
Ditto (1937) $2,500
Love Nest on Wheels (1937) $2,500
Sunset Blvd. (1950) $1,000"

FYI Sgt (Join to see)SFC (Join to see)LTC (Join to see)Sgt John H.PVT Mark Zehner1sg-dan-capriSGT Robert R.CPT Tommy CurtisSGT (Join to see) SGT Steve McFarlandCol Carl WhickerSGT Mark AndersonSSG Michael NollSFC David Reid, M.S, PHR, SHRM-CP, DTMSFC Jack ChampionA1C Ian WilliamsPO2 John ZodunCpl James R. " Jim" Gossett JrPVT Kenneth Krause

Great actor.

Maj Marty Hogan Love his silent movies.