Wauwatosa’s Nancy Olson Recalls her Hollywood Years

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'A Front Row Seat' by Nancy Olson Livingston

In 1950, Nancy Olson, a 21-year-old actress from Milwaukee, was cast as Betty Schaefer in the film Sunset Boulevard. As a result of her solid performance, she co-starred in subsequent movies with William Holden, John Wayne, Sterling Hayden, Van Johnson, and Fred MacMurray. Seventy-two years later, Olson has compiled her memories into a new book, A Front Row Seat.

The City of Wauwatosa will proclaim October 13 Nancy Olson Livingston Day. Mayor Dennis McBride will lead the virtual celebration, which will be held at noon on Thursday, October 13. 

In a recent interview, Olson recalled her Milwaukee roots and events that guided her to becoming an actress. She was given a supporting role in a play at Juneau High School that she says changed her life forever. “When the play was over, something was very different” she said. “Strangers stopped to talk with me. Teachers whispered to each other and smiled at me.” Olson said that was the moment she knew what she wanted to do with her life. At age 94, Olson remains a sharp, lively conversationalist willing to talk about anything, including her age.

You sound so young. I’d have guess you were around 70.

Thank you, but even 70 sounds old to me. Before we begin, I’d like to ask you some questions.

OK…

After I did the play at Juneau, my father sensed there was something different about me, and he helped me transfer to Wauwatosa High School because of their outstanding drama and theater program. He believed attending that school would foster any emerging talent I may have had. At that time, Wauwatosa was recognized as one of the best schools in the Midwest. Do they still have that standing? Is the theater program still being offered?

I can’t speak to the school’s regional reputation but within the city the rating is very favorable. My son was in the theater program and my daughter was in forensics.

Really? That’s wonderful. I was fortunate to have a teacher, Mrs. Gibson, who taught drama and English. She worked with me to refine the way I spoke, and that’s something I’ve never forgotten.In addition to yourself, Wauwatosa’s alumni list includes film critic Richard Schickel and actor Spencer Tracy.

I don’t think I knew that. How about Downtown Milwaukee? Wisconsin Avenue used to be so exciting with the department stores and the theaters. Is it still that way?

Unfortunately, no. Two of the theaters have been renovated into performing arts venues but the glamour of the avenue disappeared long ago. But … I’m supposed to be interviewing you, not the other way around.

(laughs) I know! Go ahead.

Since we’ve talked about Milwaukee, I’d like you to talk about being a young, unknown actress cast in a big budget film like Sunset Boulevard. It’s not unusual for actors to work for 10 or 15 years to get to that level.

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Photo courtesy Paramount Pictures

Nancy Olson

Nancy Olson

I admit it was fast, but there were some steps in between. After graduating from Wauwatosa High, I moved to Los Angeles with my aunt and uncle. I took a summer semester at UCLA’s Theater Arts program. I had such a great time that I didn’t want to go back to Wisconsin. Instead, I took a part in any play or musical I could. A talent scout from Paramount was in the audience for one of those shows and he invited me to make a screen test at the studio. The must have liked the test because I got signed to a long-term contract for $300 a month.

Did you work right away?

It wasn’t long before they put me in a movie with Randolph Scott. Paramount loaned me out to 20th Century-Fox to Canadian Pacific. I thought the whole thing was a bit ridiculous. First, Randolph Scott was a year younger than my father! And I was going to play an Indian woman. I told them I was Scandinavian. I had blue eyes and blond hair and hardly looked the part. I was told not worry because I would have my hair dyed black every morning! Like I said, ridiculous. But I got my first screen credit out of the experience.

I think you talk about learning to act for the camera instead of the stage in your book.

Right. I realized that the camera picks up every single nuance of every facial expression. The camera tells have the story. You can express sorrow with one close-up shot of a tear in someone’s eye. That says as much as a half-page of script.

And then you were selected to play Betty in Sunset Boulevard?

Yes, my next project after the Fox loan-out was the Billy Wilder picture. The script was brilliant, and I realized that what I picked up while working on Canadian Pacific was going to be extremely helpful. Wilder’s script was terrific for an actor because it contained detailed descriptions of what the camera would be seeing while you spoke.

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Photo courtesy Paramount Pictures

William Holden and Nancy Olson

William Holden and Nancy Olson

You wrote that William Holden was not the first choice for the role of Joe Gillis.

The studio wanted Montgomery Clift for that part, and they wanted Mae West to play Norma Desmond. That probably would have been a poor choice. Instead, William Holden and Gloria Swanson signed on. Casting Bill Holden was a stroke of genius. He had made Our Town and Golden Boy before going into the Army. When he returned to Hollywood, he’d been forgotten and played some second leads to get his career back on track. In the film, Joe Gillis is at the end of his rope, and he sells his soul to survive. Bill understood that character perfectly because he was going through the same thing in his life. He was drinking too much, and his marriage was deteriorating. Bill was a desperate man playing the part of a desperate man.

And what about your role?

Betty Schaefer is an ambitious young woman determined to succeed as a screenwriter. Through her eyes, the viewer sees the ugly truth about the picture business. Actors and other talents are reduced to commodities that are bought and sold.

The onscreen chemistry between you and Holden was unmistakable.

Bill and I made several more pictures together: Union Station, Submarine Command and Force of Arms. I loved the way he kissed me, but I was not going to interfere with his marriage.  My midwestern upbringing, I guess. Hollywood is no life for someone seeking balance. It’s too isolating. We’d work six days a week from 7 in the morning until 6 at night. The only relationships we had were with wardrobe, hairdressers, makeup artists, and other people in the business.

I’d like to talk about your second husband, Alan Livingston. He was such a powerful influence on the pop culture of the 1960s.

He was. Alan worked with Nat King Cole, Frank Sinatra, The Beach Boys, The Beatles, so many more. He started working at Capitol Records in 1946 when it was a small label in Hollywood. By 1962 Alan had made it the most competitive record company in the world. He even helped create the iconic circular tower building on Vine Street.

What do you remember about Frank Sinatra?

In 1952 Frank was let go by Columbia. He wasn’t selling any records, and he couldn’t even book club dates, let alone movies or television appearances. Frank was broke and in debt. He was drinking too much, and Ava Gardner had left him. Alan immediately signed Sinatra to a one-year contract with Capitol. Right away Frank’s confrontations with Alan began. He didn’t want to accept any of Alan’s ideas that might help his career. He just wanted to work with people he’d known for many years. Against Frank’s wishes, Alan put him together with the conductor Nelson Riddle. Alan persuaded Frank to record “Young at Heart,” which became the number one song that year and resurrected his career. Alan instinctively knew how to deal with a difficult personality like Frank.

How about Alan’s work with the Beatles?

(laughs) Alan came home one day and was so excited about a song by a band from England. I listened to “I Wanna Hold Your Hand” and told him it was the worst thing I ever heard! Thank God he didn’t accept my opinion! Alan signed The Beatles to Capitol and that song instantly became a smash hit. He brought the band to New York and booked them into the Plaza hotel. Fifty-Ninth Street and Fifth Avenue became a huge traffic jam once fans found out the Beatles were in the hotel. It was absolute bedlam. Alan later said Paul was gracious and outgoing, John was in a world of his own, George appeared to be withdrawn, and Ringo was a happy-go-lucky guy who was easy to be with.

To help raise money for the Hemophilia Society, The Beatles graciously agreed to attend a garden party held at my mother’ home in Brentwood. They didn’t perform, but instead interacted with all the guests who’ve never forgotten what was like to be there that day. Even Paul McCartney talked about it on Jimmy Kimmel Live in 2013. Thirty-five years later, the Los Angeles Times called it the most celebrated event of 1964.

Final Words

At the conclusion of A Front Row Seat, Olson offers these words:

“I think of everyone’s life as a grand painting. Each of us starts with an empty canvas and a specific palette of colors. The colors represent our DNA, our temperament, IQ, the color of our eyes, even the shape of our nose. Slowly we begin to form a picture. As we interact with others, the colors of their palettes mix with ours.

My painting at this point is almost finished, it’s colors and forms quite indelible and vivid; they reflect who I am, where I have been, and where I’m ending my life today. If I had two words of advice to give each of you, it would simply be these: “Keep painting.”