Otto Friedrich > Quotes

“Again. This was the year in which a million people crowded into Atlanta—still alive despite the ashes to which David Selznick had reduced it—for the ceremonial opening of Gone With the Wind. Confederate flags flew everywhere, and hawkers peddled Rhett caramels and Melanie molasses and Tara pecans, and when Vivien Leigh heard a military school band bleating “Dixie,” she said, “Oh, they’re playing the song from our picture.” There was a grand unreality about all the festivity, this celebration of defeat in a war long finished, as though nobody could understand that a much larger struggle had already begun. That September, a group of Selznick’s technicians had been carrying out one of their last tasks, filming the title itself—Gone With the Wind—pulling the camera along on a dolly so that each word could be framed separately, when Fred Williams, the head grip, turned on his radio and heard that Britain had declared war on Nazi”
― Otto Friedrich, City of Nets: A Portrait of Hollywood in the 1940s

“Grauman died of heart failure in the spring of 1950, died a bachelor, aged seventy-one, and the only people at his deathbed were his doctor, his secretary for the past twenty-one years, and the publicity chief of 20th Century—Fox. Long”
― Otto Friedrich, City of Nets: A Portrait of Hollywood in the 1940s

“After acknowledging that there had not been a single case of Japanese sabotage on the West Coast—indeed, there never was a single such case throughout the war—Lippmann wrote on February 20, that this meant nothing. “From what we know about the fifth column in Europe, this is not, as some have liked to think, a sign that there is nothing to be feared,” he declared. “It is a sign that the blow is well organized and that it is held back until it can be struck with maximum effect.” Japanese invaders might soon turn the whole Pacific coast into a battlefield, said Lippmann, and “nobody’s constitutional rights include the right to reside and do business on a battlefield.”
― Otto Friedrich, City of Nets: A Portrait of Hollywood in the 1940s