Pete Hammond speaks with producer Carter DeHaven about Dead Heat on a Merry-Go-Round.
The KCET Cinema Series concluded its summer season on August 2 at the historic Aero Theatre in Santa Monica with a 50th anniversary screening of Dead Heat on a Merry-Go-Round. The 1966 heist film stars James Coburn as Eli Kotch, a convict with many identities who romances his way out of prison and into a series of wealthy homes as he steals his way towards a bank robbery for the ages.
As Pete Hammond, host of the KCET Cinema Series, noted in his introduction, 1966 was the year that Coburn transitioned to a Hollywood leading man with Dead Heat on a Merry-Go-Round, as well as What Did You Do in the War, Daddy? and Our Man Flint. The film also features the first on-screen appearance of Harrison Ford. Joining Hammond before the screening was Carter DeHaven, who produced Dead Heat on a Merry-Go-Round. This was the first film he produced. Below is an excerpt of their conversation.
The KCET Cinema Series summer season was generously sponsored by the E. Hofert Dailey Trust and the James and Paula Coburn Foundation. Tickets for the fall season, which begins on August 16 at the Aero Theatre, are now available. The series will continue to screen some of the most anticipated films of the season including must-see, likely Oscar contenders and the best of the top film festivals. Series members will have the chance to preview Birth of a Nation the winner of the Grand Jury Prize at this year's Sundance Film Festival and the comedy The Hollars directed by award-winning actor John Krasinski, who co-stars in the film with Anna Kendrick and Margo Martindale. The fall series runs through October 10 and is sponsored by the James and Paula Coburn Foundation. To purchase season passes go to KCET.org/cinemaseries.
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On the evolution of Dead Heat on a Merry-Go-Round
It was my first film and it was important, that we do it right... [James Coburn] was my first choice, my only choice and that wasnt necessarily the story of the studio, but we overcame that.
They wanted somebody that you just alluded to, Pete, with more of a name and somebody that might support the movie, perhaps a little better and I disagreed.
For me, it was kind of a perfect storm. I was working at Universal as an assistant director and production manager, spent five years of my life there and I wanted out. I wanted to produce movies and I went to them and said why dont you let me produce them. They said, no, youre too valuable with what youre doing. I said, no, so I quit. I was married at the time and had one or two children and it was a big risk, but I just thought it was time to do something.
I worked with a director named Bernard Girard. Barney wrote this script and directed it. I said, listen, I just quit yesterday. If youve got anything that might be good, I got to get a job. So, he said, listen, Im working on something. Give me a week. Well, he gave me this script and I flipped over it. I said, Jesus, Ill make a deal with this. He said, how do you know that? I said, I dont know, but I will, and got lucky. The first people I sent it to said, lets make the movie.
On working with James Coburn
I can honestly say -- and Ive done a lot of pictures with a lot of stars -- he, and I dont say that because his daughter is here tonight, because I mean it, he was an absolute gem.
Ill never forget, he had something he didnt want to do on the set and he said, can we talk? He and I and Barney sat down and went to lunch and he was right. His version was right. We changed it and we did it the right way.
He was a neat guy. He was always on time. Thats an important thing. Getting somebody to show up in make-up and wardrobe in the morning is what theyre supposed to do, right? Being on time is a good thing. Some of these guys dont understand that.
I will tell you one story about when I read the script. I said to Barney, theres one guy who comes through to me, Jimmy Coburn, I dont know him. He wasnt familiar with him. I said, lets look at him. He said, youre right, lets get him. I called the agent and set it up. Please, would you get him the script? Thats how different things were then. Called him up and said, Ive got a great script, would you consider him for an offer... Agent jumped at it. Said Jimmy loved the material, he would like to see you. I said, fine, well meet at the hotel. He said, no, no no, he wants to meet you up on Tower Road at his house. I said, great. Barney and I showed up there for what was ostensibly supposed to be a short meeting, but lasted six hours. Never did get any lunch. A lot of talking, but it was a romance. We got along great. When he came down to the living room, there was a very beautiful, dark-haired lady by the name of Beverly and he introduced her as his wife. She stayed every minute of the meeting and she had a lot of comments. They were good comments. I dont know if Im putting this correctly, but I would consider she was a big help. Whenever there were problems, she would solve them for us.
Harrison Ford in Dead Heat on a Merry-Go-Round.
On casting Harrison Ford in a bit part
I had no idea who he was because it was one line. Youll see it going through the Biltmore Hotel, I think we were, or someplace, calling out for Mr. so-and-so. There was a wonderful casting lady, a legendary one in this business. She said, Carter, youve got to see this guy, hes terrific. I said, for one line? Thats what youre getting paid for. You dont need me. Hire him. She said, no no no, I think this guy is going to be something and I want you to have credit with hiring him. I said, well, arent you darling? I walked down, looked at him and said, hire him! The worst that could have happened is we would dub his lines. As it turned out, she had a great eye and she found him.
On filming at LAX
It was the only spot. It was writ
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Pete Hammond speaks with producer Carter DeHaven about Dead Heat on a Merry-Go-Round. 
