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Making The Star Cars: Scenes From Prospective Movie Cars

Courtesy of B. Mitchell Carlson

In the Oct. 1, 2025, issue, we presented a number of automotive images that dated from the mid 1920s to late 1930s. These interesting images were submitted to Los Angles talent agencies that might be seeking vehicles for use in Hollywood movies. While most of the vehicles in the Oct. 1 issue were rather high-end cars (then and now), most of the cars featured here are a bit more common. Or, in some cases, a bit odd (both the cars and the owners).

One thing that wasn’t previously discussed in detail was the destination for most of these images: Selznick International Pictures (SIP). With established producer David O. Selznick leaving Metro Golden Mayer (MGM) in 1935, he established SIP with the backing of several financial movers and shakers in the Los Angeles area. His intent was to create films based on existing literature with a greater artistic level than the other industry films that were getting churned out at the time. He thought studios were more intent on turning out volumes of films for the vast number of theatres around the world (“movie mills” wasn’t an uncommon term at the time) rather than producing quality films.

Mr. James C. Foster of Los Angles sent these photos of his 1927 Ford Model T coupe on Oct. 30, 1939. While final-year Model Ts were still occasionally used in the late 1930s, they probably weren’t as well cared for as Mr. Foster’s car. Note the accessory Moto-Meter, front bumper and vent wing windows. Also note the relatively good sheen to the then dozen-year-old paint. Courtesy of B. Mitchell Carlson

Frank English of Universal City, Calif., sent in a photo of his 1915 Ford Model T roadster-turned-home-made pickup. He further stated that the few lights were powered by the magneto, as it wasn’t fitted with a later battery. It also looks like the brass has never been polished – or hasn’t been in a decade or two. Courtesy of B. Mitchell Carlson

SIP leased the former RKO-Pathé studios in Culver City, Calif. -— renamed Selznick International Studios -— and that’s where all correspondence regarding the potential use of these cars was directed. Today, we’d call Selznick a micro-manager for largely using in-house set designs, costumes and props (including automobiles) as much as possible to control a film’s production and costs. If not by outright ownership of props such as cars, then controlling the brokerage of them in lieu of independent companies that catered to the motion picture industry. All of this meshes with the automotive images here being sent to SIP in the 1936 to 1938 time frame.

Handily, the most famous movie produced by SIP was the epic 1939 film “Gone With The Wind.” It also produced the first Alfred Hitchcock film, “Rebecca,” a year later. With changes within the motion picture industry during World War II, Selznick reorganized, closing SIP to liquidate the company to mitigate the tax liability of the profits from “Gone With The Wind.” He then formed Vanguard Films in 1943, moving away from direct overall production of films and turning the studios back over to RKO. The studios still exist today (albeit on a smaller physical footprint since the 1970s) as Culver Studios.

This single image of an early tiller-steered horseless carriage doesn’t leave us much in the way of clues as to what it actually is, but the owner (self-described “Cootie trainer” Bill Beaudine) calls it the “Cootie.” A description on the back of the photo explains the “Cootie” name: “It was so hard to find.” Courtesy of B. Mitchell Carlson

While R.C. Talbott of Glendale, Calif., was insistent of getting $50-an-hour-a-day for the indeterminate-make highwheeler, he certainly wasn’t proud enough to state what it actually was. Courtesy of B. Mitchell Carlson

Bernard Mooren, presumably the gent standing on the running board, sent SIP these images (introductory image and above) of a late-1920s to early 1930s Lincoln Model L phaeton. The only other identifying thing in the photo of just the car is the Ivory Soap sign on the large building in the background. Courtesy of B. Mitchell Carlson

John Dye only penciled in his name and phone number (Main 966) on the back of this photo of what appears to be a Renault touring car. Retaining its acetylene lamps and tank on the forward left running board, it also looks like it was painted silver – to include the top. Courtesy of B. Mitchell Carlson

Unfortunately, there is no information noted on the back of the photo of this Rolls-Royce with town car body. The poor quality of the snapshot doesn’t help to identify the car, as one can’t be certain if that’s a body tag or glare below the driver’s door. Courtesy of B. Mitchell Carlson

We have our doubts if any of the following cars appeared in films or even still exist, but certainly hope some still do.

Future Hollywood Star?

Entrance to the passenger compartment of the ZzzzZip car is from the left side. Entry would be impossible on the right side due to the exhaust pipes. Courtesy of B. Mitchell Carlson

The literal tail end of the ZzzzZip car has rudimentary taillamps and essentially no rearward visibility. Other details on the ZzzzZip car include fish-tail exhaust outlets and arrows painted on the hubcaps. Courtesy of B. Mitchell Carlson

One of the vehicles submitted to the property manager of Selznick International Pictures (SIP) for possible use in films was the ZzzzZip car, the creation of J.B. Seiler. Fortunately, Mr. Seiler submitted a letter dated Oct. 5, 1938, to accompany the photos that explains the details of his unique car:

Dear Sir;

In acquiescence with your request of the first of October, I am sending you pictures of the speedster of which you I informed you of at that time.

Unfortunately, the size of my camera does not give the creation its best effects. But I think they will give you some idea of its appearance nevertheless.

The creation is my own idea and was built entirely by my own labors, taking up to two years of my spare time. The chassis and motor are Dodge; the power plant a six-cylinder dual-carburation (sic) unit.

The body is built up of a heavy gauge sheet-metal, riveted with duraluminum (sic) inserts.

The dashboard contains numerous instruments, and a four-paint airplane hand control for the throttle, spark, etc. is employed.

The windshield is of thick pyralyn(*) on the two sides, while the centerpiece is of a safety glass.

The car seats two in tandem and has a sliding cover also of pyralyn, as you can, no doubt, see.

Two gas tanks are contained; the rear tank being the main one, while the front is employed as an emergency tank. Incidentally, I have attained a gas mileage as high as twenty-five to the gallon with this “cartraption” (sic). I could go on and on about the different innovations on the car but think the above is sufficient for your information.

The license plates are a lawful necessity, as you know, if the car is to be driven on the highway. They difer (sic) the appearance of the car, of course, but are easily removable for private grounds or locations.

I think the car takes a very good picture, and of course these are nothing compared to those that you could take.

I would like to have the opportunity of showing this car to you in person so that you might better appreciate its unique qualities. At least, I would like to hear from you, under any circumstances, after you view the snapshots and read the above information. So hoping to hear from you in the very near future, I remain –

Yours Truly,

J.B. Seiler

(*) – Pyralyn, during this era, was a nitrocellulose plastic similar to celluloid, that was created and manufactured by duPont, who heavily promoted its use after World War I.

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Making The Star Cars: Scenes From Prospective Movie Cars

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