Later he upgraded his quarters to a vestibule near the woman’s restroom at the Chateau Marmont on Sunset Boulevard. He arrived in Hollywood, with only a temporary visa and almost no English, to share a room and a can of soup a day with the actor Peter Lorre. Wilder, driven by Hitler’s ascendancy, left Berlin his mother, grandmother, and stepfather, who stayed in Vienna, perished later in the Holocaust. There he worked as a crime reporter, drama critic, and (so he claims) gigolo, before he began to produce scenarios for the booming German film industry, finally writing over two hundred, including the notable precursor of neorealism, People on Sunday (1929). After years as a reporter-highlighted by a single day during which he interviewed Richard Straus, Arthur Schnitzler, Alfred Adler, and Sigmund Freud-Wilder gravitated to Berlin. Samuel “Billy” Wilder was born Jin Vienna, in the Austro-Hungarian Empire.
Indeed, he has cowritten all twenty-four of his films. Like many of the medium’s great filmmakers, Wilder began his career as a writer, yet he is unique in the extent of his involvement in the development of the material he has directed. Interviewed by James Linville Issue 138, Spring 1996īilly Wilder, one of American cinema’s premiere writer-directors, has always maintained that movies are “authored,” and has always felt that much of a film’s direction ideally should take place in the writing.
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