Es wird u.a. oft erwähnt, dass ihn die Filmerei nach einer bestimmten Zeit total frustriert hat, da das Schema der Filme immer dasselbe war.
Schauspielerin Shelley Winters sagte dazu folgendes:
Elvis would often go over to my house after filming and call up his mother and complain:"I don't like what I'm doing. I don't like this film, I don't like Hollywood, I don't like the Colonel. What 'll I do"
Symptomatisch dafür ist auch die bekannte Szene am Filmset, als Elvis nach einer Mittagspause sich ans Klavier zum "Aufwärmen" setzte und zusammen mit den Jordanaires Gospellieder, wie immer, singen wollte, die Studio-Bosse es aber verboten hatten, dass die Jordanaires mit Elvis sangen.
Gordon Stroker beschreibt die Szene wie folgt.
"It was really unfortunate. What the studio didn't realize was that Elvis hadn't sung in a studio in some while and this was his way of warming up', getting in the mood...he might have done all seven songs that afternoon, or perhaps by the end of the following day. In that way he still would have finished the tracking in far less time than most singers would. They should given Elvis his head, let him do what he wanted... Elvis knew what he was doing and knew how he worked best. His schedule and his style may have been unorthodox, but apparently Elvis thought everyone understood.
Certainly there were enough of the regulars there - Freddy Bienenstock, Steve sholes, the Colonel, all his musicains and backup singers. Someone should have said something. But no one did and Elvis blew up and walked out.
Elain Dundy (Autorin von "Elvis and Gladys") zieht daraus folgenden Schluss:
Here we have the star of the production - who is in fact the only "name" in the film and upon whose performance the success or failure of the film depends - upset to the point of walking out.
Here, certainly, ist the moment that cried out for Parker to step in and do his personal management stuff. Here was the perfect opportunity to show what a personal manager was for: to look after his client, stand by him, protect him, explain him; above all, to see that the conditions he works under are the most comfortable and the best for him. But of course, the Colonel didn't. Instead, he let Elvis blow up and walk out.
Schauspielerin Shelley Winters sagte dazu folgendes:
Elvis would often go over to my house after filming and call up his mother and complain:"I don't like what I'm doing. I don't like this film, I don't like Hollywood, I don't like the Colonel. What 'll I do"
Symptomatisch dafür ist auch die bekannte Szene am Filmset, als Elvis nach einer Mittagspause sich ans Klavier zum "Aufwärmen" setzte und zusammen mit den Jordanaires Gospellieder, wie immer, singen wollte, die Studio-Bosse es aber verboten hatten, dass die Jordanaires mit Elvis sangen.
Gordon Stroker beschreibt die Szene wie folgt.
"It was really unfortunate. What the studio didn't realize was that Elvis hadn't sung in a studio in some while and this was his way of warming up', getting in the mood...he might have done all seven songs that afternoon, or perhaps by the end of the following day. In that way he still would have finished the tracking in far less time than most singers would. They should given Elvis his head, let him do what he wanted... Elvis knew what he was doing and knew how he worked best. His schedule and his style may have been unorthodox, but apparently Elvis thought everyone understood.
Certainly there were enough of the regulars there - Freddy Bienenstock, Steve sholes, the Colonel, all his musicains and backup singers. Someone should have said something. But no one did and Elvis blew up and walked out.
Elain Dundy (Autorin von "Elvis and Gladys") zieht daraus folgenden Schluss:
Here we have the star of the production - who is in fact the only "name" in the film and upon whose performance the success or failure of the film depends - upset to the point of walking out.
Here, certainly, ist the moment that cried out for Parker to step in and do his personal management stuff. Here was the perfect opportunity to show what a personal manager was for: to look after his client, stand by him, protect him, explain him; above all, to see that the conditions he works under are the most comfortable and the best for him. But of course, the Colonel didn't. Instead, he let Elvis blow up and walk out.
...er hatte Respekt dem Colonel gegenüber
) hätte das mit Sicherheit anders bewertet 
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