happily, and he flies further into heaven. Production Conception Robert Florey and Slavko Vorkapić, who met after Florey attended one of Vorkapić's American Society of Cinematographers lectures, are credited as co-writers and co-directors of The Life and Death of 9413: a Hollywood Extra. Although accounts differ about the two men's level of involvement in the film's creation, most identify Florey as primarily responsible. According to film historian Brian Taves, Vorkapić was not involved in the writing or direction of the film; his contributions were limited to set design and miniature lighting, but Florey insisted on equal credit for Vorkapić's role in bringing the film to fruition. Early reports about the film support this view, including a 1928 article about Florey in Hollywood Magazine. Taves also says that Vorkapić did nothing to promote the film when it was first released, later exaggerating his role in its production when it became respected. Paul Ivano, who did camerawork on the film, agreed: "Vorkapić tries to get credit, but he didn't do much." Vorkapić has said that the initial idea was Florey's, and they discussed it and drafted a rough one-page synopsis together. However, "all the effects were devised, designed, photographed, and added by me", and "at least 90 percent of the editing and montage" was Vorkapić's work. He said that he directed most of the opening and ending sequences, crediting Florey with filming the casting scene and the shots of laughing extras, and the rise of Voya George's character to stardom was filmed jointly. Within a few years of his arrival in Hollywood, Florey conceived a film about an ordinary actor's dreams of becoming a star and his failure to realize his hopes. Florey's work as a publicist and journalist covering the film industry gave him a familiarity with the struggles of aspiring actors, and their disappointment at failing to achieve their dreams, which influenced the writing of A Hollywood Extra. The final inspiration for the film, however, came after Florey attended a performance of George Gershwin's Rhapsody in Blue. Florey had been working in Hollywood for only a few months when he heard Gershwin's music, and it inspired him to incorporate its rhythms into a film. He later described the film as a "continuity in musical rhythm of the adventures of my extra in Hollywood, the movements and attitudes of which appeared to synchronize themselves with Gershwin's notes". Although most avant-garde films