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with FISHER & ELDRIDGE My interview with Jerry Lewis was set for 6:15 a.m., long be fore most of you even think of opening one eye. I wasn’t too wide awake myself, but there in his executive office, at Para mount Studios, sat one of the most famous millionaire come diennes in the world. Figurative ly speaking, but not physically, Jerry Lewis is jumping up and down, all by himself, in the office that represents the nerve center of his success. Jerry Lewis captain of the in dustry, glanced around the room, focal point of the Lewis Empire. “I’ve wanted this all my life,” he said. “I can remember as far back as when I was an usher at Paramount Theatre, in New York I wanted to be a movie star. I’ve always wanted it, and I’m work ing hard to keep it. It’s an un believable pace, a breakneck schedule of movies, television, night clubs, records, charity drives, producing. Jerry leaned back in his swivel chair, plopped a tennis shoe on the edge of a king-size desk, and continued, “it’s a wonderful spot to be in-at the top, above the crowd. It’s a nice feeling. And I defy any man to tell me he’d * rather be in the 13th line of a parade than in front with a fontrm I get here about 6:15 in the morning — earlier if I’m produc ing a picture. It’s beautifully quiet here those first couple of hours — after all we have four separate companies going right in this office. I function as a businessman, not just as people see me in the movies, and it thrills me to do it, and to know that all four of my companies are doing so well. The companies — Jerry Lewis Pro ductions, Jerry Lewis Enterprises, Patti Enterprises and Gar-Ron— each handles a different phase of Jerry’s activities. And, in the end, it is Jerry who makes final decisions, many of them in the uncluttered crack-of-dawn hours. “But that’s not all I do in those early hours, I sit here and I laugh to myself, I remind myself that I have attained what I always ■wanted. I have no shame what soever about the fact that I m still excited about this kind of success. I’ve seen the champion jump around the ring after he’s flatten ed the other fellow, and I’veseen famous baseball pitchers jump for joy after a winning pitch, so if those guys can jump up and down, I can, too — the skinny little Jewish busboy from New Jersey. I can remember 6 a.m. in those days too, in the Borscht Belt, the kick on the door and ‘c’mon, get up, you no good — _ cniiPP7P the orange juice. “Now I’m doing everything I love and the figures I get paid for it is staggering. As I said, it’s a wonderful spot to be in. I’ve always wanted it and I’m working hard to keep it. It s that simple.” This is the answer to the pro pellant behind the Jerry Lewis rocket, a refreshing “straight and honest answer. “I just can’t hate a good look ing dame, they do me sump n . And we quote verbatum Victor Mature’s sentiments in Irwin Al lens Allied Artists Picture. “The Big Circus”, soon to be released. Visiting on the set that repre sents the winter quarters of “The *' Biggest Show on Earth, cer tainly gave us the feeling that this institution will never die out. Pretty well covering the 18 acres were several colorful large size tents, a few smaller ones, and 36 circus wagons, seven or eight an imal cages, and two railroad cars. “What you see here,” explain ed director Joseph Newman, “is actually the equipment^ of five small circuses combined. They were getting ready *o shoot a scene in which Vic, who plays the part of the circus own er, arrives from New York with a circus-hating banker, played by Red Buttons. They discover the circus has hired a new press agent from Madison Ave., New York — red haired beauteous Rhonda Fleming. “What, a woman press agent!” exclaims Vic as the camera rolls and he cooly surveys Rhonda. “No woman has ever publicized a circus.” “There’s always a first time,” says the lady. “Not with my circus there won’t be.” “Cut,” interrupts di rector Newman, “this is supposed to be an UNHEARD of violation of practically the last province of the male—a WOMAN publicizing a circus. You HATE this woman on sight." "Not me,” Vic shouts back to Newman, “and not this woman. She can violate my province any time." “Okay," the director grins, “but remember that comes later in the script. We’ll shoot it again," but Newman won’t accept the second :ry either. “More hate," he shouts to Vic. “Can’t you get her to change that dress, or change into something else, so she won’t look so darn pretty?” pleads Mature. Twice more Vic attempts to become convincingly outraged with the beautiful red-haired publicity agent, and finally New man is satisfied with Vic’s per formance. I stopped Vic on his way to his dressing room, and that’s when he confided, with a big smile on his handsome face that he just couldn’t hate a good looking dame. A Favor, PLEASE I This Is A Commercial I I And It Costs Us Money I I So, Please Read: I I BASIC MOTIVE: To moke money. BACKGROUND: In early 1957 we published a 36-page booklet of "Editorial Re-prints from The Petal Paper" which sold for 50c. Al together we sold 7,000 booklets. Since having sold them, requests have continued to come in for the booklets. THE PRESENT PITCH: What with being money mad and all that, and having requests for certain editorials written since the first booklet pub lication, we propose to print a booklet of either 52 or 60 pages, which will sell for $1.00. Since a good bit of money is involved, we feel it wise to make an effort to determine how many (if any) booklets can be sold. Therefore, if you are interested in purchasing a booklet, would you kind ly fill in the coupon below and mail it to us? ! p ! .3'