Eames: The Architect & The Painter Page #14

because it's a little

frightening."

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ASHBY:
Ray had a little room,

smaller than Charles's,

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directly across the hall

from his,

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that was just

absolutely jammed

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with all of her little

pieces of paper

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and all of her little slides

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and all of the little notes

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that people had mailed to her

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and that she was mailing

to them.

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BEEBE:
And she would go in

and find things.

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She would say, "Oh, I have one,"

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and she would disappear

into the room

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and come out

with the perfect kite.

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Or she'd go in and find

the perfect scarf or something.

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She would go,

and she would fuss with it,

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and change it one day,

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and the next day,

she would look at it again

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and change

a little something else.

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And I think over the years,

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the perfectionism

did get in the way.

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In a way, it crippled her.

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WOMAN:
Here is oh, a picnic

basket, a drawing of a basket.

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Up in Seaview Village,

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so probably Deborah Sussman.

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It's a letter

from Lily Saarinen.

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That's cool.

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Look at that,

I've never seen that.

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There we go...

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"Dearest Queen

of all Pack Rats."

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I think it was almost

a nervous tic with her.

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She was constantly

making notes,

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and usually on the back of

Benson & Hedges wrappers.

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This is one of the wrappers,

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and on this side

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she designed something

that looks very reminiscent

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of some

of her fabric designs.

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And you turn it over, and you

see it's a Benson & Hedges.

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And on this side

are notes she made

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for lighting of the puppet shows

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at the IBM pavilion.

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CAPLAN:
You'd find them

everywhere.

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They'd drive you crazy.

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And they could say, "Buy soap,"

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or "Liver and onions

for dinner,"

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or they'd have

very elaborate ideas.

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MARILYN NEUHART:

She had her suits made,

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and they had pockets that went

all the way to the hem.

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So whatever she wanted to keep,

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she would just shove

in the pockets.

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MAN:
So what would happen

with these notes?

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McALEER:
Well, for a time,

she asked the staff

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to try to type them up,

and I think it became

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too overwhelming

for the staff.

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It was such an avalanche

of notes.

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TONDREAU:
Ray didn't communicate

like everybody else does.

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She expected that you

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pre-understood

what she was talking about.

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The people who didn't

make the effort

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would sometimes use

the epithet "Crazy Rayzy,"

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simply because they

didn't understand her.

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But Ray is not crazy.

She's brilliant.

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BEEBE:
And Ray had

a lot of competition

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forCharles's attention,

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which I don't think anybody ever

really gave her credit for.

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That everybody wanted Charles

and not Ray.

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OPPEWALL:
He was the guy that

the IBM executives would call.

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He was the guy that you went to

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to discuss the projects

intellectually.

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He was very charismatic.

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Charles was extremely

charismatic.

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He was very charismatic.

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He was very handsome.

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He was very handsome

and very charismatic.

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I know that word is really

overused, but he was.

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And especially very charismatic

to women.

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BLAICH:
He reminded me

of Henry Fonda,

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and I met Henry Fonda one time,

and I told Henry Fonda this,

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that I thought

they looked alike,

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and he said,

"That's a compliment."

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SUSSMAN:
I mean, he had

these dimples,

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and he..."Aw, shucks,"

kind of guy.

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SCHRADER:
He was handsome

and smart, and cool.

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So, you know, that's a kind of

lethal combination.

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WECHSLER:
It was the vision.

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It was the personality.

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It was the charm.

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It was the unexpected.

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It was the person.

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This is just a small selection

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of letters that I went through

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to find things that pertain

particularly to the work.

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"In the next few weeks, I must

pull together a preliminary film

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for the 'Franklin and Jefferson'

show."

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And then the rest is personal.

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