From The View from the Sixties, by George Oppenheimer:

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For a long time [Harpo Marx] called me Benson. It was no special distinction; he called everybody whose name he could not remember by this label. Nights in his dressing room... you could hear him introduce his hordes of visitors to one another as Mr. or Miss or Mrs. Benson.

[Tangent: When I read Groucho and Me as a kid, one of my favorite details was how Groucho repeatedly used "Delaney" as the name of minor personages whose real names didn't matter or which he couldn't recall or didn't want to reveal or whatever.]

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Also assigned to the screenplay... were Arthur Sheekman and Nat Perrin.... Goldwyn never referred to them by name, but only as "de boys." This created considerable confusion since William Du Bois was also working for Goldwyn.... Time and again Goldwyn would buzz me on the dictagraph, order me to bring in de boys, and hastily buzz off, leaving me to figure out whether he wanted William or Sheekman and Perrin. Inevitably I guessed wrong, whereupon Goldwyn would scream at me, "I said de boys, not Du Bois" or vice versa.

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"Damn it," I said irascibly after losing another rubber, "let's have some light. I can't see my nose in front of my face."

"That isn't where it is," said Charlie [Lederer].

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[Doing the Math]

There was a scene in which [Garbo] and Douglas had to do a tango. Robert Alton, the choreographer, was showing her the steps and I was required to tango along with them, injecting and shortening the dialogue lines to the rhythm of the dance.... In this case it took three to tango.

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One of the theaters... was a loft on the second floor of an ancient building on Martha's Vineyard. Directly underneath it was a merry-go-round with a calliope. The love scenes became even more unconvincing when accompanied by "East Side, West Side" or "Anchors Aweigh."

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"I like my job. I'm happy in New York."

He shook his head sadly. "Boy," he said incredulously and, lest I might have misunderstood him, he repeated, "Boy."

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