True Grit was initially rated “M” (for mature audiences) by the Motion Picture Association of America (MPAA), as stated in the Var. The Var noted that the preview would occur at the 1,800-seat Capitol Theatre in Salt Lake. Prior to the premiere, scheduled for at the Cinema 150 Theatre in Charles Portis’s hometown of Little Rock, AK, a preview screening was set to take place on at the Golden Spike Centennial, a celebration of the 1869 joining of the Central Pacific and Union Pacific Railroads, in Salt Lake City, UT. The Var noted that the radio spots not only advertised the film, but the Signet paperback version of Portis’s novel, slated for release around the same time. Promotions included sixty-six one-minute radio commercials, recorded by Wayne, Darby, and Campbell, and set to air in the Los Angeles, CA, area. In a item, LAT stated that musician Al De Lory had been enlisted to “arrange, conduct and produce Glen Campbell’s title song” for the film. Delos Jewkes, cast in the role of a minister Hank Worden, cast as an undertaker Richard O’Brien and Andy Davis, Jay Silverheels, and Clyde Howdy, set to play condemned men. The following actors were listed as cast members in the and issues of LAT: Guy Wilkerson, who was set to play a hangman J.
which slapped down studio-domination of distribution-exhibition some decades ago.” The item noted that such bidding was not “quite within the jurisdiction of the Justice Dept. While the picture was still being shot, the Var reported that Paramount had already received several “reverse blind bid” offers from exhibitors, hoping to secure the film for showings at their theaters, presumably based on the popularity of John Wayne and the success of his recent pictures, El Dorado (1967, see entry) and The Sons of Katie Elder. Production then shifted to the Paramount Pictures studio lot in Hollywood, CA, where filming was underway as of mid-Dec 1968. Location shooting took place in Ridgway and Montrose, CO, and Mammoth Lakes, CA, according to items in the DV and DV. Principal photography was set to begin on. On, DV announced the official casting of twenty-one-year-old Kim Darby, who was known, at the time, as a television actress. Genevieve Bujold claimed in the Var that she had been offered the role, but had refused it without reading the script because she was unwilling to work with Wayne. Weeks later, the DV named Mia Farrow as the top contender, and stated that the fictional Mattie would now be portrayed as an eighteen-year-old. Several actresses in their twenties were considered for the role of fourteen-year-old “Mattie Ross.” The DV noted that Wayne wanted twenty-eight-year-old Katharine Ross, with whom he had recently worked on Hellfighters (1968, see entry), to play the part, and she was enthusiastic about the project after reading Portis’s novel. Several actresses in their twenties were considered for the role of fourteen-year-old “Mattie Ross.” The DV noted that Wayne wanted twenty-eight-year-old Katharine. Co-star Glen Campbell’s salary was cited in the DV as $100,000.
TRUE GRIT CAST PLUS
Wayne’s salary was not specified in the LAT, although it stated his going rate “for the last several years” was $1 million plus gross profit participation. The project marked a re-teaming of Wallis, Hathaway, and Wayne, who had worked together on The Sons of Katie Elder (1965, see entry). Marguerite Roberts, who had worked on Wallis’s previous Western, 5 Card Stud (1968, see entry), was hired to adapt the script, and Henry Hathway was brought on to direct for Paramount Pictures. The novel was scheduled to be published by Simon & Schuster on, and prior to that, it was set to be serialized in SEP.
Despite losing the bid, Wayne remained interested in playing the role of “Rooster Cogburn,” which he suspected was written with him in mind, even though Portis denied it, according to the LAT. Aubrey and John Wayne’s Batjac Productions. Hazen, had paid $300,000 for the option and a percentage of the film’s gross, after beating out rival bidders James T. Two months later, the DV noted that Wallis and his partner, Joseph H. Wallis optioned screen rights to Charles Portis’s novel, True Grit, while it was still in galley form, as stated in the DV.
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