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Browse by: Jackie Cooper (Biography) (0.18 seconds)
 
 
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A lot of people like to run in plays because it's a nice, steady job.
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A nice, steady job I don't need that bad. I'm not that satisfied with it.
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Also, I was very excited about somebody considering I had a talent they could develop a little bit, and very anxious to please.
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But I want to do good work, after this series.
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But the working I would always want to do.
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For the child actor, it was difficult.
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From that, I became very anxious to produce something of my own.
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I got schooled over at NBC on a soap opera, and I had a Sunday-afternoon show, an hour show sponsored by the Ford Foundation, a documentary, half live with film integration. I directed that.
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I had directed a little in summer theater, and I liked it, and I started getting interested in directing, in live television.
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I hope this series is good work, but it is in the half-hour medium, which is limited to a kind of mediocrity that sponsors are just dying to have right now, and the public, for some reason, is unconsciously demanding.
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I just knew how to do the one thing I did, and whether I did it well or not depended on who the director was.
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I need a steady job like running in this new series, because we own the negative to every show that goes on the air, my partner and I.
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I never say too much about that in public interviews, because it disappoints the public to tell them you're not that crazy about a property you did that possibly they liked.
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I remember Mr. Mayer very well. He sort of liked to be the father - no, he liked to be treated like you thought he was Daddy, but he didn't treat you like Daddy at all.
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I was a terrible little do-gooder, saccharine, most unreal kind of a character - except once in a while a director or script or combination of the two came along where I began to look like something else and sound like something else.
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I was thrilled, naturally, at that age, if somebody wanted me to look and act a couple of years older than I was.
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I would also like to act, once in a while, but not get up every morning at 5:30 or six o'clock and pound into the studio and get home at 7:30 or eight o'clock at night, or act over and over and over every night on Broadway, either.
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I would love to have a good director working with me and going through the early stages of putting a play together with me.
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I wouldn't just want to retire.
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If it's boring, then it's tiring.
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In those days, even as a boy, I watched some people that I knew were living way beyond their means.
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No, I was typecast all the time.
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People like Spencer Tracy held up because they had the background originally, but to this day they never have changed Mr. Gable's role, or most of them.
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So I felt, well, I'll make the money and, with the money, do what I want to do.
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So I'm in that half-hour business where the most money is, so that eventually I feel like the people that put on the Dupont show, like maybe my artistic effort is going to be a little different.
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So if I keep making mistakes on Broadway or tape or film, producing, directing or acting, I can go along and do it - so long as I'm not investing too much capital in these things.
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So then you have to say to yourself: Do I want to be rich, or do I want to do good work?
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So whatever I might have started to learn at that age was all undone by the next director and next crew in the next cheap picture, because I was allowed to get away with murder.
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The studio didn't ask them to learn their trade, they just worked them, and when that personality or that gimmick or whatever they had ran dry at the box office, they were dropped and out.
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The swimming pool was important, the Cadillac was important, the best table at the Trocadero - I heard all of this as a child.
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There was never any effort made out there to improve the artist.
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There was nothing real about teenagers - nobody talked about them in those days, nobody did anything about them.
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There was only so much television you could do.
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They had to start shaving my chin when I was 12 years old because light started to pick it up.
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They kept me in short pants as long as they could, until they were shaving the hair on my legs because it was beginning to photograph.
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They thought in terms of: whatever you had that started you at the box office, this was it.
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To me, the series was the end of the actor, when the series ended.
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Well, they just don't know anything else except that one form of their business, acting, and they don't really want to learn any other part of it, or they would. Directing and producing and putting a show together is very creative, for me.

Biography

Jackie Cooper (born John Cooper, Jr. on September 15, 1922) is an American actor and film director, one of the few child actors who managed to transition into an adult career. Born in Los Angeles, California the nephew of director Norman Taurog, Cooper first appeared in the movies in Boxing Gloves in 1929, one of the Our Gang comedies. He continued to appear in Our Gang for two more years, becoming its main character. His most notable Our Gang shorts explore his character's crush on Miss Crabtree, the schoolteacher played by June Marlowe.

His first non-Our Gang role was in 1931, when his uncle Norman Taurog hired him to star in Skippy, for which he was nominated for the Academy Award for Best Actor (the youngest actor ever to receive the nomination).

The movie catapulted young Jackie into super-stardom. Our Gang producer Hal Roach sold Jackie's contract to Metro-Goldwyn-Mayer in mid-1931, as he felt the youngster would have a better future in features. He began a long on-screen relationship with actor Wallace Beery in such films as The Champ (1931), The Bowery (1933), Treasure Island (1934), and O'Shaughnessy's Boy (1935).

Cooper had problems finding roles as he became an adolescent, and he served in World War II, so his career was at a nadir when he starred in two popular television series, The People's Choice and Hennesey. It was his television acting that convinced him that he could become a director, and he successfully moved behind the camera, to become one of the busier television directors, for which he won Emmy Awards.

Later in the 1970s, he found renewed fame as Clark Kent's editor, Perry White, in the Superman feature film series starring Christopher Reeve.

His autobiography, Please Don't Shoot My Dog, was published in 1981. The title comes from Norman Taurog's threat to shoot young Jackie's dog if he couldn't cry in Skippy.

Cooper has a star on the Hollywood Walk of Fame at 1501 Vine Street.



...(more on Wikipedia)

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Jackie Cooper".
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