Casey Robinson

He disliked working in collaboration, preferring to receive solo credit for his efforts. He preferred working for Warner Brothers, because he believed that Jack L. Warner was too tight-fisted to fork out extra money for re-writes, thus more of the original script would be featured on screen.
Initially taught English at a high school in Brigham City, Utah, as well as entertaining a brief journalistic career as a reporter for the New York World. He started in Hollywood as a title writer in 1927 for $100 a week. Robinson was signed as full screenwriter by Paramount (1933-34) and then secured a ten-year contract with Warner Brothers in 1935. There, he worked on some of Betty Davis's and Errol Flynn's best films, including Captain Blood (1935), Dark Victory (1939) and Now, Voyager (1942). After leaving Warners, he had a spell at MGM, then joined 20th Century Fox (1949-54) as writer/producer.
He was a graduate of Cornell University of 1924.

[on working for Warner Bros. in the 1930s]: A writer was expected to arrive at the studio at nine o'clock in the morning and leave at five o'clock. He was expected to restrict his outside calls to a minimum. They were monitored. Let's face it, you didn't say anything you didn't want heard. A writer was not permitted on the set without the written permission of Jack Warner. This was a regulation. A writer was never invited to see his rushes. He was never invited to a preview. If he wanted to see his own pictures on the screen, he paid his money and went and saw them.
[on working for MGM]: I fell into the trap of going to Metro, because they offered me $5000 a week. Metro was a place where, if they wanted somebody, money was not an object. They paid more than any other studio for their stars, their directors, even for their writers. I shouldn't have done it. I knew better, because I have always said that Metro is the graveyard of writers. And so it proved to be.

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