Interview by June Moore In 1957 a tall blond haired, blue eyed Will Hutchins walked into our homes and hearts as, Tom "Sugarfoot" Brewster. In the late '60s he would steal our hearts once more, as he teamed up with Elvis Presley for "Spinout" and "Clambake." Filming two different movies with Elvis, you must have gotten to know him pretty well, Hutch. What was he was really like to work with? Elvis is the best movie actor I’ve ever had the pleasure to work with. It was all so easy for him. The camera loved him and so did the world. And so DOES the world! What do you remember the most about him as a person? Two sides to the coin. He was a jokester, a prankster and he had his quiet moments of refection. To me he wasn’t at all like his public persona of King. He was a commoner and I meant that in the best possible sense. He never forgot his roots, and he never acted the Star. He was one of us. He had universal appeal. He reminds me of some of my buddies growing up in Atwater (a section of L.A.) the main difference being they went their way, and Elvis went his way. Did you date any of the co-stars in either of those movies? No--I was married to my 1st wife during “Spinout” and Clambake.” Your first role with him was as Lt. Tracy Richards in 1966. What do you remember most about working with him on "Spinout"? The name Tracy Richards in an inside gag; Dick Tracy backwards, sort of--I’ve worked with a lot of actors who sort of set up armory--you never reach them. Elvis was extremely pliable. All was possible--we made up a lot of stuff on the spot: flick making to the nth degree! What a joy! What an honor! Do you have any special memories of him during the shooting of "Spinout"? The last musical number--sort of like a pagan rite. Elvis was our God or high and we were his subjects down on floor level--we belonged to the Church of Elvis. Give us an example of a classic out-take from the set of "Spinout"? Brandon De Wilde visited the set. I tried to sing him a funny song about Glenn Ford with Brandon De Wilde’s name in it. He wasn’t listening. He was engrossed by the gyrating bikini--clad gals.

In 1967 you filmed “Clambake” You were fantastic in the role as the unforgettable Tom Wilson/Scott Heywood. Was that movie as much fun to make as it was to watch? "Clambake" is my all-time favorite gig in showbiz-close to ecstasy! But the critics dismissed it, including my first wife (my current and forever wife Babs loves it, and loves Elvis, and will never forgive me for not being married to her then so she could have met Elvis and visited the set every day). But now a days I get nothing but hearty congrats on the flick--even got a fan letter from a farmer way out in a corner of Africa. He wrote that the full house the night he was “Clambake” never stopped laffin and clappin and carryin’ on--they loved it. How would you describe "Clambake"? A movie made the way a movie should be made, using the script as a guide and discovering and using all sorts of inspirations as you go along. Do you have a good story you could share with us that took place during the shooting of “Clambake.” On “Clambake” we in the throes of the title song number -- with Sir Swivel Shimmyin’ scantily clad starlet sparkling, and me more foolish than usual. Suddenly, a tiki torch was knocked over by an overzealous writher, a starlet’s sarong caught fire. Without missing a beat, Elvis pulled a long tablecloth out from under all the good eats and wrapped said starlet up, putting out one fire, starting another. Which movie of the two did you enjoy making the most? “Clambake” by far. I always wanted to be a screen comedian. Almost made it under the aegis of Harold Loyd. But that dream came to naught. But for one shinning moment, thanks to Elvis and director Arthur Nadel, ol’ Hutch got to be a screen funny guy. A little song, a little dance, a little seltzer in the pants. Was Elvis easy to talk to and get to know? Elvis was the perfect host. Working on his flicks was more of a party that a gig. You lasted to the end. You hated to leave paradise and return to humdrumsville. Elvis (and I don’t know how he did it) seemed to have time for everyone. He seemed to care about everyone and not just himself. What did he usually do between scenes? He didn’t hide out in his dressing room. He made himself available, he had tremendous energy. He didn’t flake out in a corner directors chair. He was up and about. He kept everyone’s spirits high.