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Silver Voices: Alice Terry Interview (1958)

Interview conducted by George Pratt. Photo court…

An episode of the George Eastman Museum podcast, hosted by George Eastman Museum, titled "Silver Voices: Alice Terry Interview (1958)" was published on November 30, 2020 and runs 70 minutes.

November 30, 2020 ·70m · George Eastman Museum

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Interview conducted by George Pratt. Photo courtesy Stills, Posters, and Paper Collections/George Eastman Museum 00:00:00 Introduction 00:00:29 Looking at Stills – Discussion of photo subjects: Ralph Barton, Emmett Flynn, John Ford, Peter Lorre, Alla Nazimova, Rudolph Valentino, Irving Thalberg 00:05:30 Career – THE GREAT DIVIDE (1925): negotiating her salary with MGM and working with Reginald Barker 00:09:45 Early Career – Meeting husband, filmmaker Rex Ingram 00:12:25 Early Career – THE FOUR HORSEMAN OF THE APOCALYPSE (1921) and working with Rudolph Valentino, 00:17:20 Early Career – THE CONQUERING POWER (1921) and passing up role in THE SHEIK (1921) 00:21:10 Early Career – THE PRISONER OF ZENDA (1922): working with Ramon Novarro and marrying Ingram during production 00:23:45 Ingram’s Career -- TRIFLING WOMEN (1922), stories of production and Ingram working with Barbara La Marr 00:28:50 Career -- WHERE THE PAVEMENT END (1923) 00:32:58 Career -- SCARAMOUCHE (1923) 00:38:30 Career -- THE ARAB (1924), Dark hair, filming in North Africa with Ingram 00:42:00 Career – MARE NOSTRUM (1926), filming of aquarium scene 00:51:20 Career – THE MAGICIAN (1926), THE GARDEN OF ALLAH (1927), Ingram’s production style 00:59:50 Late Career – Co-directing BAROUD (1932) with Ingram 01:04:00 Ingram’s Career – Early days at Universal Studios and anecdotes from their working life together The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19. Generous support for the introductions provided by Art Bridges, and made possible in part by the National Endowment for the Humanities: NEH CARES. Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.

Interview conducted by George Pratt. Photo courtesy Stills, Posters, and Paper Collections/George Eastman Museum 00:00:00 Introduction 00:00:29 Looking at Stills – Discussion of photo subjects: Ralph Barton, Emmett Flynn, John Ford, Peter Lorre, Alla Nazimova, Rudolph Valentino, Irving Thalberg 00:05:30 Career – THE GREAT DIVIDE (1925): negotiating her salary with MGM and working with Reginald Barker 00:09:45 Early Career – Meeting husband, filmmaker Rex Ingram 00:12:25 Early Career – THE FOUR HORSEMAN OF THE APOCALYPSE (1921) and working with Rudolph Valentino, 00:17:20 Early Career – THE CONQUERING POWER (1921) and passing up role in THE SHEIK (1921) 00:21:10 Early Career – THE PRISONER OF ZENDA (1922): working with Ramon Novarro and marrying Ingram during production 00:23:45 Ingram’s Career -- TRIFLING WOMEN (1922), stories of production and Ingram working with Barbara La Marr 00:28:50 Career -- WHERE THE PAVEMENT END (1923) 00:32:58 Career -- SCARAMOUCHE (1923) 00:38:30 Career -- THE ARAB (1924), Dark hair, filming in North Africa with Ingram 00:42:00 Career – MARE NOSTRUM (1926), filming of aquarium scene 00:51:20 Career – THE MAGICIAN (1926), THE GARDEN OF ALLAH (1927), Ingram’s production style 00:59:50 Late Career – Co-directing BAROUD (1932) with Ingram 01:04:00 Ingram’s Career – Early days at Universal Studios and anecdotes from their working life together The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19. Generous support for the introductions provided by Art Bridges, and made possible in part by the National Endowment for the Humanities: NEH CARES. Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.

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