 By transcription, Bidwell McCormick takes you behind the scenes in Hollywood. With all the proverbial California sunshine, what do the Hollywood movie producers use when they want a scene with fog? Well vaporized mineral oil is the answer to that. This can be directed with fans and blowers almost anywhere desired on the set. It is interesting to watch this man-made fog roll in. To a person watching the scene being shot, it looks more like smoke, but on the screen it resembles natural fog to perfection. Well I understand that this vaporized mineral oil has a tantalizing bland odor to which persons with highly developed olfactory senses sometimes object. Rita Hayworth is one of these. And as a result, 68 men had some tall explaining to do when they went home to dinner one night. It was during the filming of Columbia's Technicolor Dramatic Musical, Tonight and Every Night. Well how did Rita and the mineral oil put 68 men on the spot at home? Well Rita didn't like the odor of the mineral oil and asked fog maker Freddie Wolf if he couldn't do something about it and do something he did. Freddie obtained a half ounce bottle of perfume and poured the stuff into the fog generator a few drops at a time. The results were really aromatic. I suppose pretty soon the whole stage reeked with the perfume that's strong scent liberated all at once by the vaporizing process. Yes, it really got out of hand and fog maker Wolf was sorry to have ever gotten into the thing at all. So were Rita and the 68 men who were innocent bystanders. All of their wives wanted to know how come. Donald Duck recently observed his 10th birthday. It's the happiest birthday yet for this virtuoso of women, this patron saint of frustration since Walt Disney dipped his magic pin. And for the first time Donald can brag, I'm a star now. In addition to the short short subjects in which he is currently appearing throughout the country, Donald Duck has achieved Broadway stardom in the Three Caballeros, the Technicolor feature roles released by RKO Radio. Donald having achieved a record run of ten weeks on the main stem can now strut with the best of them. A man of a dozen careers and a hundred interests, yet Hugh Herbert is known to the average moviegoer simply as the whimsical woo-woo comedian. Herbert currently appearing in Columbia's Ever Since Venus has played in 110 pictures. But Hugh originally came to Hollywood as a writer. And when the film industry was first revolutionized by talking pictures, Hugh wrote the first all talking film. The picture was Lights of New York which he wrote in collaboration with Murray Roth and the print of which is now in the Smithsonian Institute. When Hugh scripted The Great Gabbo starring Eric von Stroheim, he became the first man in Hollywood to hold a three-way ticket, writing, directing and acting. While Hugh was directing the first film on his new contract, the comedian of the picture became ill. The producer asked Hugh to step into the breach and Hugh laid aside his megaphone to become the comedian that he is today. His first theatrical job was being the voice behind the screen during the silent picture era. He read the lines of all the male characters in the silence. The stock company manager heard Herbert's voice one night and offered him a job with his troupe in Massachusetts. More stock companies followed until Hugh finally hit Broadway. Here he distinguished himself not only as an actor, but as director, author as well. Herbert is credited with the authorship of more than 150 plays, sketches and Vaudville acts. Herbert was born in Binghamton, New York, August the 10th, 1887. A graduate of Cornell University, he's a great student of literature. Noel Coward is his favorite playwright and Catherine Cornell epitomizes to him the best in the theater. Do you think Lionel Barrymore is the greatest screen player? An hour word from your local announcer. By transcription, Bidwell McCormick takes you behind the scenes in Hollywood. Many stories have been circulated that movie heroes wear lifts on their shoes or stand on blocks to appear taller than their leading ladies. Well, 20th Century Fox has plenty of proof to explode that time-worn theory. Take, for example, the cast of a recent murder mystery starring Laird Krieger, Linda Barnel and George Sanders. Oh, that was the picture the studio had so much trouble finding stand-ins for the male members of the cast because of their height. Yes, Krieger and Sanders are both six feet three inches tall. Glenn Langan, who appeared in one of the supporting roles, is six feet four. Frederick Warlock, who played the part of the Scotland Yard Detective, was the midget of the crowd, I suppose. He only measured six feet two. The height of these men certainly would not show any need for heel lifts to make them appear any taller. But they would present quite a serious problem in the matter of providing stand-ins who themselves no doubt had to stand on blocks. Because of a promise, Gunner Dolan E. McKinner, USAT, somewhere in the South Pacific, was the first person to receive still photographs of the enchanted cottage. Just before Herbert Marshall appeared before the studio's cameras as co-star, he met Gunner McKinner at the Seattle broadcast. The star was presented by the Gunner with a ring made of magnesium from a Jap Zero he bagged at Saipan. Wear it for luck in your next picture, McKinner said. I'm heading back to get another zero and can make plenty more. His only request was to be informed of the name of the picture in which Marshall wears the ring. By studio arrangement, the Gunner was the first person to receive still photographs from early sequences of the picture showing the ring on the star's finger. A rock at Santa Monica Beach has been named after Anne Rutherford, co-star of RKO Radio's forthcoming mystery drama, Two O'Clock Courage. And this is by way of tribute. For several years, she posed for hundreds of art pictures with a rock for background. Peggy Ann Gunner did the impossible. She became a star at the awkward age. Yes, and behind that fact, there is a great human interest story. Peggy Ann was born February 3, 1932 in Canton, Ohio. When she was four, her father became American legal advisor to the British Embassy in Washington, D.C., and the family moved there. Soon afterwards, her mother took Peggy Ann to Newark, New Jersey for a visit with her grandparents. Grandmother Craig read the Sunday Wandaads just out of curiosity, and she came across an ad Child Models wanted and suggested driving over to New York and finding out, just for fun, what kind of a place wanted Child Models? And they discovered that the address was that of the famous Powers Agency. So Mrs. Gunner registered Peggy Ann with Powers, and she was soon being called several times a week to pose for pictures. Then Peggy Ann was giving Dancin' and dramatic lessons, and she made her stage debut in a stock company production of Mrs. Wigs of the Cabbage Patch. Everyone said that child should be in the movies, and so a trip to Hollywood followed. After five weeks of heartbreaking rebuffs, the young mother finally got inside a studio and talked with director John Farrell, pleaded with him to make a screen test of Peggy Ann. The child won a small role in Little Miss Thurrah Bread. Although she had given a good performance in her screen debut, no other role came Peggy Ann's way for the next year and a half. Casting directors kept saying, sorry, they want a cute little girl with curls. Peggy Ann was plain with straight blonde hair. Mrs. Gunner resolutely kept her child as she was, refused to try to change her into a doll-like movie child, and finally came her first real break. After testing for the role of Roddy McDowell's refugee sister in The Pied Piper and losing out in the final round to another little girl, she was suddenly recalled to 20th Century Fox and given the role a week after production had started. See, the other little girl had come down with measles. And then after long discouraging months, 20th Century Fox paged Peggy Ann to play Joan Fontan as a child in Jane Eyre. Her performance as the plain-spirited Jane was one of the standout things in the picture, which also posted two other promising child actresses, Margaret O'Brien and Elizabeth Taylor. A contract followed. The contract began with the small role of Nora as a child in the Keys of the Kingdom and then came a tree grows in Brooklyn with the great role of plain, natural, normal, Francie, for which only one child in Hollywood seemed to have the necessary qualifications, Peggy Ann Garner. An hour word from your local announcer. By transcription, Bidwell McCormick takes you behind the scenes in Hollywood. Though thousands of people visit Hollywood every year, and many of them see the studios and know where they're located, there are still millions who wonder just what Hollywood really is. Well, as a matter of fact, Hollywood as a city doesn't exist. That's right. It's really just a part of Los Angeles, but a very glamorous part. Contrary to many people's opinion, the studios are scattered far and wide, and while a letter addressed to Mythical Hollywood, California would reach any studio, many of them are not even located in Hollywood itself. Yes, there is Universal at Universal City, others at Culver City and Santa Monica. Of course, there are dozens of studios located right in what we know as Hollywood. RKO, for instance, at Melrose and Gower, the Golden Studios, and many others. Then there are countless small independents and huge producing concerns which release their pictures through the national distributors. All in all, Hollywood is and it isn't. Is that about the way you sum it up? Well, you might say so, but I would say that it very distinctly is, judging from the influence it has had upon the nation and the world, for that matter. Well, in spite of the fact that Hollywood doesn't really exist and that many of the Hollywood productions are not even made in Hollywood, it is still plenty important. Well, you certainly said something that time for about the most important thing that can happen to a person is to make good in Hollywood. There's usually a McCue in the Leo McCary production, an old McCary custom. This producer is sure there's magic in this Irish name. In Going My Way, which won Bing Crosby the Academy Award, Frank McCue plays Bing's pal. Unavailable from McCary's Rainbow production, The Bells of St. Mary's, which RKO Radio will release, his brother Matt was in the cast. With a McCue in his picture, McCary feels all's well with Hollywood. Tall, blonde and handsome, young Richard Haynes wants to keep moving up all the time. He'd rather be broken hungry than to sit in one successful spot too long. And as a result, he doesn't know whether it's his successes or his failures, which have made him what he is today. About four years ago, he left Hollywood for New York to try to peddle some songs he'd been writing. He persuaded Harry James, who'd just organized his band, to listen to some. The band leader said, your songs don't gel, but I'll buy your voice. And so Dick became James' vocalist, and he was a hit. He found happiness while he was with James. While singing at the Hotel Lincoln in New York, he noticed a beautiful blonde at a ringside table. He found someone to introduce them, and they were married on September 21, 1941. A few months later, Dick left Harry James to start out on his own. He staffed a full-sized, 14-piece dance orchestra. But the activity met disaster in the form of the Selective Service Act, which drained his band of its key men. Resuming as a vocalist, he sang for Benny Goodman and his orchestra. Then Tommy Dorsey asked him to accompany his band to the west coast. Having a longing for sunny California, Dick agreed, and the Haynes family, there was now young Skipper, aged one month, came west. After the band's nine weeks' stay at the Palladium, Haynes left the band. My wife and I figured I had gone just as far as I could singing with a band. There was no place to go but down unless I tried something else. So I just left Tommy and refused to take another job as a vocalist with a band. On my own, I tried selling some more songs. I tried to get engagements as a feature singer. I tried several things, but I didn't get anywhere. Money ran low, and I sent Joan and Skipper back to New York, where they had to live in a furnished room. I nearly starved out here. Finally, Helen O'Connell, who was a friend of Joan's, talked to her manager, Bill Burton, about me. She sold him on the idea of handling me. Joan was about down to the last of her funds, and I was completely broke. Bill moved Joan into an apartment and wired me $175 on which to go east. All this without my signature on a contract, too. And Bill certainly changed their lives. Things began to happen fast. Within a month, he was booked at La Martinique, a grand show place for singers in New York. Within a few days, he was signed for DECA Records and for a coast-to-coast radio program, Here's to Romance. Bill had him record, You'll Never Know, with a vocal background when the orchestra recording band was on. And that record alone has passed a million mark in sales. Within four months, he was signed to a seven-year contract by 20th Century Fox Studios. And now a word from your local announcer.