Ilya Juan Salkind Domínguez (/ˈsælkaɪnd/; born July 27, 1947), usually known as Ilya Salkind, is a Mexican film and television producer, known for his contributions to three of the four live-action Superman films of the 1970s and 1980s alongside his father, Alexander Salkind.

Early life and career

Ilya Juan Salkind Dominguez was born July 27, 1947, in Mexico City, Mexico, the son of Berta Domínguez, a Mexican novelist, and Russian-Jewish producer Alexander Salkind. At the age of one, Salkind was photographed sitting on the lap of Zsa Zsa Gabor. His grandfather, Mikhail Salkind, was a pioneer of silent films and produced Joyless Street (1925), featuring then-relatively-unknown Greta Garbo in her first major role. Afterwards, Mikhail, along with Ilya's own father, Alexander Salkind, joined their forces to supervise many successful films, from Abel Gance's Austerlitz (1960) to Orson Welles' The Trial (1962). Beginning in 1969, Ilya Salkind became the third generation of his film-making family. He and Alexander made numerous films, starting with the international box office hits The Three Musketeers (1973) and its 1974 follow-up, The Four Musketeers films, the first instance of which a major motion picture and its immediate sequel were shot simultaneously. Salkind was of Russian-Jewish descent.^[1]

Superman film series

Ilya and Alexander, along with producing partner Pierre Spengler, purchased the film rights to the Superman property in August 1974.^[2] It was agreed that the Salkinds would produce and supervise filming on Superman and Superman II simultaneously, as had been the case with The Three Musketeers and The Four Musketeers. Securing the film rights from DC Comics (a subsidiary of Warner Bros.) was an unbearable experience for the producers, as Spengler was forced to spend two weeks in meetings with DC executives for the specific purpose of establishing an "Integrity of the character" clause. However, the producers did make sure DC approved of every aspect of the film (including dialogue).^[3] At this point in time Muhammad Ali, Dustin Hoffman, Al Pacino, James Caan, Clint Eastwood and Steve McQueen were being considered for the leading role of Superman.^[2]

William Goldman was approached to write the script, but chose not to do so, as Ilya Salkind had personally cited certain creative differences with Goldman. Eventually, Ilya would hire Godfather author Mario Puzo.^[2] The desperate search for a director then took place. Steven Spielberg expressed interest and Salkind felt comfortable in hiring him upon being impressed with his work on Duel and The Sugarland Express, though his father was skeptical, feeling that Spielberg was not famous enough and claimed they needed to wait until "that fish movie of his" was released. Jaws was released with unanimous success, though by this time it was too late as Spielberg opted to do Close Encounters of the Third Kind instead.^[3]

Peter Yates was interested in directing, and was briefly involved in negotiations, though the deal collapsed. Both William Friedkin and Sam Peckinpah were also offered the chance to direct. Friedkin turned down the offer outright, while Peckinpah dropped out of the running when he produced a gun during a meeting with Salkind. Richard Lester,^[2] Guy Hamilton, George Lucas, John Guillermin and Ronald Neame were then considered, though Lucas was dropped as Salkind found out he was too committed on Star Wars (1977). It was decided to go with Hamilton, in light of the fact that Salkind was impressed with Hamilton's work as director of, among other projects, Goldfinger and Battle of Britain.^[3]

Salkind originally recommended Mario Puzo to write the script as a serious science fiction epic. Although Puzo did impress him with certain aspects, Salkind felt the script remained intact with being overall campy, as did Guy Hamilton. In addition they cited too much "Greek tragedy and Shakespearean" elements. A fourth villain sentenced to the Phantom Zone named Zak-Ur appeared as a comedic henchman.^[3] By this time, Puzo felt he "could do all he could," turning in two drafts,^[2] and David Newman and Robert Benton were hired for rewrite work, as a means to delete objectionable material concerning an excessive amount of comedic scenes. Leslie Newman was brought in once Benton left to direct The Late Show.^[3]

Casting started to take place, and Alexander Salkind wanted a famous actor in the role of Superman. Dustin Hoffman was once again highly considered though the idea was dropped. Robert Redford was offered the part, but he felt he was too famous and was not right for the role, as did Burt Reynolds. After the success of Rocky, Sylvester Stallone lobbied hard for the role but was ignored. Paul Newman was offered all three roles of Superman, Jor-El and Lex Luthor to his choosing though he did not accept any of them, for a salary of $4 million.^[3] Nick Nolte^[4] and Rex Harrison would both turn it down.^[3] It was decided to focus on casting Jor-El and Lex Luthor and save Superman for later. Hoffman was then offered the role of Luthor, and although he was interested, he turned it down. Marlon Brando would eventually be cast as Jor-El, causing Gene Hackman to be cast as Luthor as he wanted desperately to work with Brando. Impressed by the producers' ability to cast famous actors in respective roles, Warner Bros. decided to distribute the film internationally, rather than simply domestically.^[2]

Sets were then being initiated in Rome, Italy, as well as having flying tests experimented. Brando however, could not go to Rome as there was still a warrant out for his arrest due to the sexual obscenity of his role in Last Tango in Paris. It was decided to move the production to England but Hamilton himself was a tax exile from his native country, which only allowed him to spend 60 days or less a year.^[2] The director was forced to drop out because of Brando's actions and by this time six million dollars had already been spent on the production. Mark Robson was then in negotiations to direct after Salkind was impressed with his work on Earthquake. However, after viewing Richard Donner's The Omen, Donner was chosen.^[3]

Post-Superman career

The Salkinds' last journey into film fantasy was 1985's Santa Claus: The Movie. That same year, DC Comics named Salkind as one of the honorees in the company's 50th anniversary publication Fifty Who Made DC Great for his work on the Superman film franchise.^[5]

The Salkinds returned to the Superman mythology again in 1988, this time as a TV series, with Superboy, starring John Haymes Newton in the title role during its first year, Gerard Christopher as the Boy of Steel for the remainder of the show's existence, and Stacy Haiduk as Lana Lang, lasted four seasons, running for 100 episodes. Following the team's last film, Christopher Columbus: The Discovery (1992), Ilya and his then-wife, Jane Chaplin (daughter of Charlie Chaplin) settled in Orlando, Florida, where much of the Superboy series had been filmed. There, Ilya and Jane took a sabbatical and devoted their time to raising their two sons. In 1999, the couple amicably separated.

Personal life

Salkind was married in 1976 to Skye Aubrey, with whom he has two children Anastasia and Sebastian. The couple divorced in 1979. He married Patricia Bonnet in 1980. The couple has one child. He later married Jane Chaplin. They have two sons together, and divorced in 1999. For the past twenty years he has lived with Deborah Moore. They have no children and are not married.

Filmography

References

Further reading

• "Ilya Salkind: The Super Producer Who Got Superman off the Ground" (Part one of three) article and interview by Anthony Petkovich, Filmfax magazine, summer 2013, number 134 (cover). Filmfax, Inc., Evanston, Illinois USA. Twelve pages (84-92, 102-104) with 38 personal and movie-related black-and-white photographs, mostly behind-the-scenes production stills from the various Superman films.
• "An Interview with Producer Ilya Salkind: From Superman to Supergirl to Superboy and Beyond" (Part two of three) article and interview by Anthony Petkovich, Filmfax magazine, fall 2013, number 135 (cover). Filmfax, Inc., Evanston, Illinois USA. Eight pages (92-99) with 36 personal and movie-related black-and-white photographs.
• "An Interview with Producer Ilya Salkind: From The Three Musketeers to Santa Claus and Beyond" (Part three of three) article and interview by Anthony Petkovich, Filmfax magazine, winter 2014, number 136 (cover). Filmfax, Inc., Evanston, Illinois USA. Eight pages (92-99) with 27 personal and movie-related black-and-white photographs. Total of parts 1-3: 28 pages Q & A, 101 photos from Salkind's personal collection, production stills, and studio advertising.

External links

• The Ilya Salkind Company
• Ilya Salkind at IMDb