Julie Salamon > Quotes

“On the morning of Tuesday, September 11, De Palma’s fiftieth birthday,”
― Julie Salamon, The Devil's Candy: The Anatomy of a Hollywood Fiasco

“On February 10 the Los Angeles Times reported that “The Godfather, Part II” had taken in a “disappointing” $61 million;”
― Julie Salamon, The Devil's Candy: The Anatomy of a Hollywood Fiasco

“Costa Gavras, the most totally propagandistic director ever to breathe the air.”
― Julie Salamon, The Devil's Candy: The Anatomy of a Hollywood Fiasco

“But Walter Matthau had asked $i million”
― Julie Salamon, The Devil's Candy: The Anatomy of a Hollywood Fiasco

“and bought a .2z-caliber rifle”
― Julie Salamon, The Devil's Candy: The Anatomy of a Hollywood Fiasco

“with a night premium of $25–$3o.”
― Julie Salamon, The Devil's Candy: The Anatomy of a Hollywood Fiasco

“Having an interpreter doesn’t mean you are getting the right information. Immediately it should raise the red flag.”
― Julie Salamon, Hospital: Man, Woman, Birth, Death, Infinity, Plus Red Tape, Bad Behavior, Money, God, and Diversity on Steroids

“She was still an assistant and like assistants all over corporate America, but especially in Hollywood, orderly women like Nevin and Goldstein were quite accustomed to invisibly supplying the warm, personal touch on behalf of their bosses. Thousands of gifts and notes were passed back and forth by powerful people who didn’t have a clue that they were being so very thoughtful.”
― Julie Salamon, The Devil's Candy: The Anatomy of a Hollywood Fiasco

“Part of his strong attraction to Kathy Lingg had been her little daughter. He’d videotaped the child visiting Disneyland and opening Christmas presents.”
― Julie Salamon, The Devil's Candy: The Anatomy of a Hollywood Fiasco

“He greeted the group by turning to Freeman. “We’re trying to cut down on the racial imbalance in this movie,” he said with a small smile. Freeman responded in kind. “Spread the ethnicity around,” he said. He too was smiling, though his eyes were quite serious.”
― Julie Salamon, The Devil's Candy: The Anatomy of a Hollywood Fiasco

“Anyone who had anything got out,”
― Julie Salamon, The Net of Dreams: A Family's Search for a Rightful Place

“To be sure, it was a loyalty cemented by the io percent the”
― Julie Salamon, The Devil's Candy: The Anatomy of a Hollywood Fiasco

“The executives had also sent the script to Steven Spielberg, whose fantasy films had made him the most commercially successful director in Hollywood. Everyone, including Spielberg, thought he was the wrong choice. However, Warner Bros. sent every script to “Steven” first.”
― Julie Salamon, The Devil's Candy: The Anatomy of a Hollywood Fiasco

“The Playwrights Unit offered writers an alternative to Broadway, where the financial stakes were high and led to creative decisions that weren’t necessarily based on artistic considerations. At the Unit money didn’t matter, because there wasn’t any. Audiences came to see works in progress by new playwrights, some destined for obscurity, others for fame. Among those in the latter category were Sam Shepard, Adrienne Kennedy, Lanford Wilson, and John Guare. Moss introduced every play, explaining that the work shouldn’t be judged as a finished product and that the audience reaction was part of the process. “I wasn’t apologizing,” he said, “just trying to set a lens through which people could look at the plays.”
― Julie Salamon, Wendy and the Lost Boys: The Uncommon Life of Wendy Wasserstein

“The success of “Batman” gave the studio executives a feeling of invincibility. They asked themselves if the movie owed its success to Guber and Peters after all, or if it had really been the star, Jack Nicholson, who’d made it work, or Mark Canton, the chief production executive of Warner Bros.”
― Julie Salamon, The Devil's Candy: The Anatomy of a Hollywood Fiasco

“It was 13 z pages long, sold for ten cents,”
― Julie Salamon, The Devil's Candy: The Anatomy of a Hollywood Fiasco

“As they pulled up to 88–22 Parsons Boulevard—a large red-brick square,”
― Julie Salamon, The Net of Dreams: A Family's Search for a Rightful Place

“De Palma knew he had a selling problem. How should “The Bonfire of the Vanities” be presented? As a satire? A drama? A comedy?”
― Julie Salamon, The Devil's Candy: The Anatomy of a Hollywood Fiasco

“Everybody thinks about film, everybody knows films are made somewhere out there, and it’s interesting,” he said. “But very little is known about what goes on because all of us lie.”
― Julie Salamon, The Devil's Candy: The Anatomy of a Hollywood Fiasco