The Mother Superior was played by a wonderful actress and my friend, Molly Dodd, whom I met in 1954 when I did the lighting for a production in which she appeared of THE ROSE TATTOO at the Players Ring Theatre in Hollywood. Molly later acted in productions I directed, first in 1958 in THE ICEMAN COMETH at Gilmor Brown’s Playbox at the Pasadena Playhouse and in 1960 on the main stage of the Pasadena Playhouse in a production of THE GOLDEN FLEECING. Molly was married to a writer, Bud, and I spent quite a bit of time at their home in Laurel Canyon. When we were doing the latter play, Bud gave me a copy of a pulp fiction novel he had written; he wrote under different names in different genres. This was a Grand Guignol thriller -- WHATEVER HAPPENED TO BABY JANE?. Yes, Bud was Henry Farrell. He had sold the rights to the novel a couple of years before, and he knew that it had been resold a couple of times since. When Robert Aldrich acquired the property for his great Bette Davis-Joan Crawford production, Bud did not get to do the screenplay, but he was closely associated with Mr. Aldrich. In 1962 he took me on the set once.
Shooting schedules were planned logistically. There was the option of building a cave set at the Selznick studio for the Grandfather-Wild Man scenes or finding a live cave to film. Since there was not a full day’s work in the cave, a live cave would necessitate a company move during the day. Moves took time. The finding of our School for Girls in the Los Feliz area lessened the problem. That location was very close to Bronson Canyon, where I had filmed a cave sequence in BREAD AND CIRCUSES on STAR TREK. So that’s what we did. We filmed all of the scenes at the girls’ school (exterior and interior) on the first Monday back in Los Angeles after our Colorado sojourn; and then we moved to the nearby Bronson Canyon cave for the remainder of that day’s work. The following day we reported to the Selznick Studio in Culver City where we completed filming the production.