Quote:
One of the interesting bits in Louis Kaufman's memoir is the news that the famous violinist refused to play at Fox for most of his career.

Kauffman refused to play at Fox?????????

For the record, Kauffman played in Alfred Newman's Fox orchestra for

Ramona (1936),
Lloyd's Of London (1936),
Seventh Heaven (1937),
Suez (1939),
The Rains Came (1939),
The Adventures of Sherlock Holmes (1939),
Stanley and Livingstone (1939),
Young Mr. Lincoln (1939),
Chad Hanna (1940),
The Grapes of Wrath (1940),
Hudson's Bay (1940),
The Mark of Zorro (1940),
Blood and Sand (1941),
How Green Was My Valley (1941),
The Song of Bernadette (1943),
Jane Eyre (1944),
Laura (1944),
The House On 92nd Street (1945),
The Razor's Edge (1946),
Captain From Castille (1947),
Forever Amber (1947),
Gentleman's Agreement (1947),
*
Boy On a Dolphin (1957),
The Sun Also Rises (1957),
The Three Faces Of Eve (1957),
A Flea In Her Ear (1958 ),
Ten North Frederick (1958 ) ,
The Diary of Anne Frank (1959),

and that's only a partial list.

He had a "long friendship with Alfred Newman" that "endured through his three marriages" (a statement that he repeats virtually verbatim concerning Bernard Herrmann).

He seems to have taken a hiatus (*) between 1948 and 1956, where he played for only a handful of scores:

Hugo Friedhofer's A Song Is Born (1948 ) at RKO,
Max Steiner's Key Largo (1948 ), Treasure of the Sierra Madre (1948 ) and Adventures of Don Juan (1949) at Warner Bros.,
Richard Hageman's She Wore a Yellow Ribbon (1949) at RKO,
Aaron Copland's The Heiress (1949) at Paramount and The Red Pony (1949) at Republic,
Franz Waxman's Sunset Boulevard (1950) at Paramount,
and Victor Young's The Quiet Man (1952) at Republic,

with nothing between 1952 and 1956. He returned to Fox in late 1956, as, he claims, "Al asked me to play again for his film scores. Therefore I again worked for a few seasons at Twentieth Century Fox," and this is the only place in the book that I can see that he cites the Fox studio.

In the post-Alfred Newman era, Kauffman played again at Fox for Alex North's Cleopatra (1963) and Agony and the Ecstasy (1965), for John Williams' John Goldfarb, Please Come Home (1965) and with Lionel Newman for Hello Dolly (1969).

Lionel and Emil Newman are not personally cited in Kaufman's book.

Most notably, of course, he played for Rozsa's

Double Indemnity (1944),
The Lost Weekend (1945),
Spellbound (1945),
Ben-Hur (1959),
and El Cid (1961).