MICHAEL A. HOEY DISCUSSES to Make a Film Called Palm Springs Weekend and I Took an Option on [1963]

just become a producer there, and I was about a political satire, and he MICHAEL A. HOEY DISCUSSES to make a film called Palm Springs Weekend and I took an option on [1963]. I’d been interested in another direc- the rights. He took it to his tor by the name of Jerry Hopper, who had agents and—it was amaz- directed a wonderful film called The Private ing—within like 48 hours, THE MAKING OF DR. GOLDFOOT War of Major Benson [1955], but the studio they put together a pack- didn’t think he was a big enough name and age which fell right into Interviewed by Tom Weaver so they asked me to meet Norman. I went out place at Warner Brothers. to MGM where he was filming It Happened Warners had just made a The Sean Connery-starring at the World’s Fair [1963] with Elvis Presley, film with Fred MacMurray James Bond series was a moneymaker and that’s when I met him. I met him on the called Kisses for My Presi- right from Day One and Dr. No set, watched him filming for a little while, dent [1964], kind of a loose (1962), yet that didn’t prepare the and then we went up to his office and had a political satire, and they industry for the box office reaction nice chat. And, I guess, kinda basically, we wanted a follow-up, and to Goldfinger (1964), a movie whose just “fell in love” with each other, we had a our project would have amazing grosses earned it a spot in terrific rapport. Norman came onboard as been perfect. Everything The Guinness Book of World Records. the director on Palm Springs Weekend and was going great, we had That sort of smash success, of course, we had a great time, and when that film Norman as director, I was inspires imitations and even spoofs, was finished, we talked about extending going to produce it, a very and in the latter category there were our business relationship. I found a proj- well-known writer by the probably few as farcical as Dr. Gold- ect, a play called A State of Mind, sort of name of Claude Binyon foot and the Bikini Machine. AIP’s most expensive production to date (in The amazing Norman Taurog (1899-1981) began writing 1965), it combined spies, sci-fi, sex, and directing films in silent days, when he was just out of and the company’s brand of kooky his teens. (Courtesy of Photofest) comedy, heretofore reserved for their “Beach” and “Party” series. was going to write the screenplay and Fred Set in San Francisco on “The MacMurray was going to star in it. And then Day After Tomorrow,” the film stars along came November 22, 1963. Vincent Price as Dr. Goldfoot, a mad MFTV: The assassination of President Ken- genius with a “Bikini Machine” in his nedy? castle-like lair beneath a cemetery. HOEY: Uh-huh. And at that point, of course, The Frug-dancing, gold bikini-clad nobody wanted to do a political satire. In female robots he manufactures in fact, Warners delayed releasing Kisses for it are all ravishing, and he sends My President for over a year. At almost ex- them out to sink their claws into the actly that time, Norman came down with a world’s wealthiest bachelors—and serious case of hepatitis, which tied him up their bankbooks. Other characters for the better part of a year. When he came in the nonsensical plot include the out of it, when his health returned, the first robot Diane (Susan Hart), prize rose thing that he had offered to him was an Elvis in Goldfoot’s diabolical garden of Presley movie called Tickle Me [1965]. He beauty, and Secret Intelligence Com- asked me if I would like to come onboard mand agent Craig Gamble (Frankie and work with him as a writer, an idea man, Avalon), who ineptly attempts to ride a gag man, whatever you want to call it. to the rescue of Diane’s new playboy They could never come up with a job title husband (Dwayne Hickman). There’s that would work for me, so I ended up get- even a re-creation of the ripping ting on-screen credit as “Dialogue Coach,” finale of AIP’s big hit Pit and the which couldn’t have been more inaccurate. Pendulum (1961), with Price back in But that’s how that started [the practice of his Spanish inquisitor costume, plus giving Hoey the job titles Dialogue Coach a wacky, stunt-filled chase finale on A gag shot of Hoey and Taurog in pith and Dialogue Director on Taurog movies for the streets of San Francisco. helmets on the MGM back lot during which he did no such thing]. Using his first and middle name, the making of Elvis Presley’s Speedway Then Norman told me that he’d made a (1968). Inset: Hoey and Taurog discuss James Hartford, for his on-screen the scene in progress on the set of Pres- two-picture deal with AIP. I thought, “AIP? writing credit, AIP president James ley’s Tickle Me (1965). (Photos Courtesy Why AIP?!” and then I realized, “Well, he H. Nicholson provided the original of Michael A. Hoey) was out of work for almost a year. Even story and hired as director Norman though I’m sure he’s well off, there must be Taurog, a Oscar® winner whose long expenses that come along, and he needs to and wide-ranging list of credits dated back day to final mix, and here provides the full, you initially hook up with Norman Taurog replenish his funds.” Norman was set to do to the heyday of silents. Taurog’s right-hand far-out story of the making of the movie. and begin working with him? two AIP films back to back, which turned man during the 1960s, Michael A. Hoey, MICHAEL A. HOEY: I met Norman when out to be Sergeant Dead Head [1965] and Dr. worked with him on Dr. Goldfoot from first MONSTERS FROM THE VAULT: How did I was a producer at Warner Brothers. I had Goldfoot and the Bikini Machine. We went 26 MONSTERS FROM THE VAULT #30 SPRING 2012 27.

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