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364 pages, Kindle Edition
First published March 6, 2015
primary takeaway: Everyone Needs an Editor.
"The main portion of the will was done in January ’75,” Robert Crane said, “but the addendum, which completely cut my two sisters and me out of any kind of inheritance, was done shortly before the murder.”
• Memorializes Laura Ziskin's commendable career for being a one-off (in college, natch).
• Suggests he's owed 'Hazard pay' for conducting an on-set interview w Ashley Judd, sans pants/undergarments.
• Likewise when in presence of Teri Garr's 'nasty bits'.
srsly? wtf guy??
“M*A*S*H star Alan Alda was everything my dad was not. He was an Emmy Award–winning actor on a popular program who expanded his career into writing and directing films. His career seemed to be heading down a road whose on-ramp wasn’t even on my dad’s map. It might have been easy for me to say, “Hey, Dad, be Alan Alda,” but the absence of structure and creative trust in anyone except himself constantly haunted him and held him back. My dad could think brilliantly, a kind of writing on his feet, but he didn’t possess the discipline to sit down and put the words on paper, to actually write a script. More important, he lacked the crucial ability to stand back and see the bigger picture and how he might fit into it. He was trapped staring into his own movieola, seeing one disconnected frame at a time.”
• “Team Candy personnel dubbed 'the Chongos' (monkeys) consisted of various PAs, lackeys, assistants, publicists, and the like, followed Candy on every film set -- c/o of his production company, Frostbacks Production's, payroll."- - - - -
• Team Candy's Chicago security helmed by... "off-duty Chicago Police Department detective Tim O’Meara of the Bomb and Arson section.”
• “John had an old-time, old-school publicist named Paul Flaherty (no relation to his SCTV colleague Joe Flaherty), who had been around Hollywood for decades. He expended minimal effort on John’s career while maximizing time on the links at the Bel-Air Country Club. John and Paul were a mismatch—the old 9-to-5 Hollywood versus the new 24/7 Hollywood. They were, at the very least, a generation apart”
• “John performed nobly and gladly accepted the multiplying zeroes on his paycheck to support his family in Los Angeles, a nonworking farm north of Toronto, and various relatives who needed a handout. His brother, Jim, two years older and unemployed, was set up in a small house in East York, Ontario, across the street from his and John’s mother and aunt, ostensibly to keep an eye on them. John’s father, Sidney, had died at thirty-five of a heart attack and John, since the age of five, had been variously playing the roles of son, brother, and breadwinner to his side of the family.”
• Only the Lonely (1991): “John was a huge fan of Johnny Carson, but he was so intimidated by Carson that he’d never been on his show.” Until 1991 when attended with co-star Maureen O'Hara to promote their film together.
• Uncle Buck (1989): “Universal chief executives Lew Wasserman and Sid Sheinberg and their raft of lawyers and accountants had given in, finally admitting that Uncle Buck had turned a profit. The pencil-pushing, ledger-thumping suits in the Black Tower of the Universal lot had waited as long as they possibly could to issue the check before John’s pit bull Century City attorney, Skip Brittenham, was unleashed.” Candy's APA agent, John Gaines, had actually negotiated NET POINT (aka Monkey Points) profit participation for his client, (finally) earning Candy an additional $500k for all his efforts.
• JFK (1991): “During the first day of our rehearsals in a secure conference room at the five-star hotel, a cold sore resembling Mount St. Helens broke out near John’s mouth.”
“The set was tense at the moment because of a verbal skirmish between Oliver Stone and Tommy Lee Jones. It was whispered that director Stone had to remind Mr. Jones how many Oscars he had on his mantelpiece.”
“Over the years, John had watched his laser disc copy of the cult classic Sid and Nancy (1986), with Oldman playing punk rocker Sid Vicious, at least a dozen times. He’d marveled at Oldman’s performance, and now he found himself working with him, if only another half-page scene...”
“Gary Oldman mentioned he had a week off and was headed to Los Angeles. John said that he was headed there as well and suggested Oldman travel as his guest on the private jet hired for the trip.
Oldman and Candy become fast friends with each refill of their Waterford crystal glasses. They sat side by side in the empty Gulfstream. Oldman was making short work of the Scotch, while John had his usual rum and Cokes. The hours flew by, so to speak. With the alcohol on continuous flow, as they neared Los Angeles Gary and John had formulated a plan to create a production company for serious films and live Shakespeare in the park, with John as Falstaff and Gary doing Macbeth. Alas, Uncle Buck and Sid Vicious no more forever!
After they landed at Van Nuys Airport, the new best friends were poured into their respective limousines and headed off, each in his own direction, into the Southern California summer night. John never saw or spoke to Gary Oldman again.”
• “In 1991 John left his agent, John Gaines, and APA, and hitched his wagon to another Hollywood icon, former Rat Pack publicist turned agent Guy McElwaine at ICM — the very same who (also) smooth-talked Kim Basinger into dropping their longtime agent, eventually haranguing her into forfeiting any current projects (who’s 10% fee was already contracted to his predecessor), thereby resulting in a year of litigation and attorneys fees for Basinger, ultimately rendering her bankrupt, guilty, and blacklisted (after McElwaine felt his new client did little in the way of defending him when journalists properly portrayed him as instigating Basinger’s career-crippling civil litigation, by prioritizing his 10% fee).
“McElwaine, became a fixture at Frostbacks Productions, on his way home from somewhere, draining the bar’s beverages with John, weaving tales of Old Hollywood, promising work, and delivering none.”
“...reedited Deep Throat (1972), intercutting scenes of Linda Lovelace going down on a nonunion actor while a rocket blasts off with clips of his favorite Tonight Show acts appearing with Johnny Carson and Ed McMahon—“Hi-yo!” He did it just to do it, just to enjoy the editing process and technology and, of course, to get a laugh. My dad was the Pied Piper of Porn, attracting friendly dinner theater employees, stage managers, and makeup artists who would join the cast at my dad’s apartment or hotel room for a screening”
note: ...”friendly” dinner theater employees... Fcking LOL