Hollywood Actresses Quotes

Any actress who appears in public without being well-groomed is digging her own grave.

She was born under the sign of Gemini. And that stands for the good and evil twin. Dr. Jekyll and Mr. Hyde both hiding and residing inside her heart. Her good twin was not bad at all. But her evil twin was even better, and showed up to be way too fatal!

Do not wait and hope to be discovered...make yourself so you cannot be denied!

Always be a first-rate version of yourself, instead of a second-rate version of somebody else.” – Judy Garland

Even the world’s greatest actor cannot fake an erection.

That glass sliver in the heart. Amid a fluttery-delicious Benzedrine rush, virtually every remark made to you is freighted with destiny, a sweet-painful stab in the heart. And Benzedrine and champagne, what a combination! The Blond Actress was only just discovering what everybody else in Hollywood knew.

I end up watching this movie about some girl who's supposed to be so smart and edgy and unpopular. She wears glasses, that's how you know she's so smart. And she's the only one that has dark hair in the school- a place that looks like Planet Blond. Anyway, she somehow ends up going to the prom- hello, gag- and she doesn't wear her glasses, so suddenly she's all beautiful. And she's bashful and shy because she doesn't feel comfortable wearing a dress. But then the guy says something like, "Wow, I never knew you were so pretty," and she feels on top of the world. So, basically, the whole point is she's pretty. Oh, and smart, too. But what's really important here is that she's pretty. For a second I think about Katie. About her thin little Clarissa Le Fey. It must be a pain being fat. There are NO fat people on Planet Blond. I don't get it. I mean, even movies where the actress is smart- like they seem like they'd be smart in real life, they're all gorgeous. And they usually get a boyfriend somewhere in the story. Even if they say they don't want one. They always, always end up falling in love, and you're supposed to be like, "Oh, good." I once said this to my mom, and she laughed. "Honey, Hollywood... reality- two different universes. Don't make yourself crazy." Which made me feel pretty pathetic. Like I didn't know the difference between a movie and the real world. But then when everyone gets on you about your hair and your clothes and your this and your that, and "Are you fat?" and "Are you sexy?" you start thinking, Hey, maybe I'm not the only one who can't tell the difference between movies and reality. Maybe everyone really does think you can look like that. And that you should look like that. Because, you know, otherwise you might not get to go to the prom and fall in love.

I HAVE NO DOUBT THAT when this book comes out, Scientologists will scream about religious intolerance, say that I am a liar, that I was kicked out of the church, and call Troublemaker the work of a hateful bigot or a self-absorbed person with an “insatiable craving for attention.” (That last part might not be totally untrue; I am an actress, after all.) What they will likely not do, however, is actually read this book, because that would be going against one of the basic tenets of Scientology. A member should not read or watch anything generated by someone whom the church

Mary [Tyler Moore] was absolutely brilliant... She is a fabulous actress. She can do anything.

Yes, there was something special about me, and I knew what it was. I was the kind of girl they found dead in a hall bedroom with an empty bottle of sleeping pills in her hand. But things weren’t entirely black—not yet. When you’re young and healthy you can plan on Monday to commit suicide, and by Tuesday you’re laughing again.

If he worried that he was bringing along a high-maintenance Hollywood actress on safari, Harry was delightfully surprised by Meghan’s down-to-earth attitude. While camping, she cleaned her face with baby wipes and happily wandered into the woodlands if she needed a bathroom break.

She had defeated loneliness by bringing to life the books that peopled her imagination and making friends of them. With devastating clarity she saw that her ability was not only a panacea for unhappiness. It was her lifeblood. Part of the very fiber of her being. And here, in Hollywood, it could be fulfilled. She didn't want to be an actress. She was one. All she had to do to be a star was to be true to herself.

There was no point in fighting with Celia once she got mean," Evelyn says, "If things got too tense, I tended to back off before they came to a head. I would tell her I loved her and I couldn't live without her, and then I'd take my top off, and that usually ended the conversation. For all her posturing, Celia had one thing in common with almost every straight man in America: she wanted nothing more than to get her hands on my chest." "Did it stick with you, though?" I ask, "Those words?" "Of course it did. Look, I'd be the first person to say back when I was young that all I was was a nice pair of tits. The only currency I had was my sexuality, and I used it like money. I wasn't well educated when I got to Hollywood, I wasn't book-smart, I wasn't powerful, I wasn't a trained actress. What did I have to be good at other than being beautiful? And taking pride in your beauty is a damning act. Because you allow yourself to believe that the only thing notable about yourself is something with a very short shelf life.

It must have been marvelous when the century was young and things impressed themselves in such blatant vivid brilliance that an approaching fire under a starry sky could illuminate, even to a Crimean actress, this sense of “place” – that there was nothing to be wanted from material things, nothing to be saved.

To see the films coming out of France is to break into a vast treasure and become liberated...

That underneath all her cattiness, the bragging she would do about stupid Hollywood events she wormed her way into, her obsession with being an actress, she had a decent heart.

Something good happens to you, and you let off a different energy that attracts other good things.

My name is Linda Symcox—and I’m a lie-oholic. I came to Hollywood to work as an actress, but soon found out that I couldn’t get a decent audition, let alone a job. It seems I didn’t stand out enough.

I think you should act. I think you would be a great little actress. Blonde. Blue-eyed. You’re what they love in that town.” “In what town?” “Hollywood.” “Isn’t Hollywood far away?” “An hour and a half.

Blonde movie stars in the 1950s seem to have been pretty much divided between breathy bombshells (Marilyn Monroe, Jayne Mansfield) and slim, elegant swans (Grace Kelly, Eva Marie Saint). Producers didn’t really know what to do with Judy Holliday, a brilliant, versatile actress who simply didn’t fit into any easy category. Though she left behind a handful of delightful films, one can’t help feeling a sense of waste that her gifts were not better handled by Hollywood (or, for that matter, by Broadway). Perhaps, like Lucille Ball, Judy Holliday would have blossomed with a really good sitcom; but, unlike Lucy, she never got one.

Today...major actors and actresses develop their own projects or, at the very least, cherry-pick their roles carefully to suit not only their tastes but also whatever image they have cultivated to present to their public. Most major stars have their own production companies through which such projects are developed and even financed. While the biggest male stars of that time did in fact have their own production companies--Jimmy Stewart, Kirk Douglas, John Wayne, and Burt Lancaster, to name a few--and thus exerted creative and financial control over their careers, that was not the case with female stars. But Marilyn Monroe was about to change that.

And for the first time in years, Rick realizes how fortunate he is and was. All the wonderful actors he's worked with through the years—Meeker, Bronson, Coburn, Morrow, McGavin, Robert Blake, Glenn Ford, Edward G. Robinson. All the different actresses he got to kiss. All the affairs he had. All the interesting people he got to work with. All the places he got to visit. All the fun stories he got to live. All the times he saw his name and picture in the papers and magazines. All the nice hotel rooms. All the fuss people made over him. All the fan mail he never read. All the times driving through Hollywood as a citizen in good standing. He looks around at the fabulous house he owns. Paid for by doing what he used to do for free when he was a little boy: pretending to be a cowboy.

Children parent their parents. When a parent is chronically depressive, anxious, or chaotic, the roles are reversed and the child ends up parenting the inadequate parent. Parentification also takes place when a child becomes the parent’s confidante or best friend: a Hollywood actress, who is a single mother, referring to her ten-year-old daughter in an interview said, “I share everything with my daughter … she is my best friend.” This kind of parentification of children is so common that its destructiveness is not recognized.

I really like you, Evelyn.” I looked at her sideways. She laughed at me. “I know that’s probably not something most actresses mean in this town, but I don’t want to be like most actresses. I really like you. I like watching you on-screen. I like how the moment you show up in a scene, I can’t look at anything else. I like the way your skin is too dark for your blond hair, the way the two shouldn’t go together and yet seem so natural on you. And to be honest, I like how calculating and awful you kind of are.” “I am not awful!” Celia laughed. “Oh, you definitely are. Getting me fired because you think I’ll show you up? Awful. That’s just awful, Evelyn. And walking around bragging about how you use people? Just terrible. But I really like it when you talk about it. I like how honest you are, how unashamed. So many women around here are full of crap with everything they say and do. I like that you’re full of crap only when it gets you something.” “This laundry list of compliments seems to have a lot of insults in it,” I said. Celia nodded, hearing me. “You know what you want, and you go after it. I don’t think there is anyone in this town doubting that Evelyn Hugo is going to be the biggest star in Hollywood one of these days. And that’s not just because you’re something to look at. It’s because you decided you wanted to be huge, and now you’re going to be. I want to be friends with a woman like that. That’s what I’m saying. Real friends. None of this Ruby Reilly, backstabbing, talking-about-each-other-behind-our-backs crap. Friendship. Where each of us gets better, lives better, because we know the other.” I

While Photoplay mused that “Strangely enough, women outrank men as continuity writers,” it wasn’t strange to them. Women had always found sanctuary in writing; it was accomplished in private and provided a creative vent when little was expected or accepted of a woman other than to be a good wife and mother. For Frances and her friends, a virtue was derived from oppression; with so little expected of them, they were free to accomplish much. They were drawn to a business that, for a time, not only allowed, but welcomed women. And Cleo Madison, Gene Gauntier, Lois Weber, Ruth Ann Baldwin, Dorothy Arzner, Margaret Booth, Blanche Sewall, Anne Bauchens, and hundreds of other women flocked to Hollywood, where they could flourish, not just as actresses or writers, but also as directors, producers, and editors. With few taking moviemaking seriously as a business, the doors were wide open to women.

THE OPPORTUNITIES FOR WOMEN provided by French cinema don’t need to be exaggerated. The number of films either starring or dealing primarily with women characters may be impressive, but it represents no unmanageable deluge. If you lived in France, you could keep abreast of everything by going to the movies once or twice a week.

In a YouTube video made by actor Ashton Kutcher just after Obama’s inauguration, dozens of Hollywood celebrities pledged “to be a servant to our president and all mankind.”28 It was like something out of an Aztec festival of the gods—if what the Aztec gods wanted was for Hollywood actresses like Eva Longoria to use “less bottled water.” I don’t remember Frank Sinatra and Bob Hope producing a video pledging themselves to be servants of Ronald Reagan. In fact, if anyone had ever made a video with people reading the exact same lines as Demi and Ashton’s friends about a Republican president, MSNBC would be running specials on the rise of fascism in America.

Dressed in a navy skirt suit she looked like she was two years out of law school, working in a large firm with every expectation of making junior partner in three years. That may seem like a lot to surmise from fifty feet, but when you work in D.C., spotting ambitious young lawyers is like spotting aspiring actresses in Hollywood.

A play that would have had a fair chance of success a few years back failed now to draw at all, and screen stars from Hollywood bathed in the glamour that had once invested English actors and actresses. The new talkies had seized the public fancy, developing into as great a craze, and with the same popular appeal, as the dancing boom of the immediate postwar years.

FRENCH CINEMA IS SO RICH in opportunities for actresses of talent that a career needn’t build quickly, with a few star-making turns. It can build slowly, over the course of years. An actress can make the most of ensemble and supporting parts, grow in popularity, grow in ability and ultimately find herself, some ten years down the line, in possession of a major career.

Stanwyck was slim, and remained so over her career. Regardless of the obligations and pressures regarding size and shape for women in Hollywood, or her own needs and desires as an actress and a person, or the occasions within the films that show off her body, Stanwyck rarely advertises a superficial fantasy of feminine appearance. She is too busy exploring the subtlety of interactions.

1:09 A.M.: EACH SEIZURE LASTED about twenty seconds. River’s arms would flail around, while his knuckles and the back of his head kept smacking against the pavement. Davis started hoping for more seizures—they were evidence that River was still alive.   1:10 A.M.: JOAQUIN CALLED 911, frantic but trying to keep it together as his beloved brother passed away before his eyes. “It’s my brother. He’s having seizures at Sunset and Larrabee. Please come here,” Joaquin begged. “Okay, calm down a little bit,” the dispatcher replied. Moments later, Joaquin said, “Now I’m thinking he had Valium or something. I don’t know.” His voice cracked with anguish. “Please come, he’s dying, please.”   1:12 A.M.: AN ACTRESS ON the scene remembered, “Outside there was a crowd of people, and I saw him—lying flat, totally ghostly white.

I feel Italian, but I also feel French,” she said. “Italy is deeper. France is strong, but it’s after.” Actually, one of the surprises about meeting [Valeria Bruni Tedeschi] is how Italian she seems. Though she has no trace of an Italian accent when speaking French—and says that, in Italian, she shows signs of having lived in France—she sounds Italian when speaking English. There is no suggestion of French at all.

For all of [Fanny] Ardant’s ability to depict a range of emotion, I most associate her with joy. Not necessarily the depiction of joy, but rather a joy of acting, a joy of being, a joie de vivre. Ardant, in her mature performances, conveys the sense of someone bringing to scenes her full being, her whole self and experience. There is an understanding of the value of life in such moments, in the value of the moments themselves.

THE NATURE OF FRENCH STARDOM (beginning early, staying late) makes it possible for a woman to grow up on screen. Marceau has been in films now for over thirty years. Catherine Deneuve’s career is past the midcentury mark. Danielle Darrieux has the ultimate record to reach for—she started at age fourteen and made films into her nineties. Theirs become lives recorded in all their stages, and it’s fascinating to notice the changes.

France has the largest, most lucrative cinema in Europe, making it the second most successful cinema in the Western world (a distant second, monetarily), and in terms of roles for women, it’s unquestionably in the lead. When a French actress comes to America, she leaves a cinema interested in exploring her essence in favor of one that’s not interested in anything about her, that’s even hostile to the notion of making movies about women at all.

FRENCH CINEMA’S PORTRAITS of the young woman on her own constitute a strong and enriching strain in recent decades. Some of these films are romances, but just as many aren’t. Even when they are, romance and men are just conveyances for the movies’ real points of focus. These are movies all about exploring a young woman’s essence, character and soul, and many actresses begin their great careers by putting their own stamp on specifically these kinds of films.

The slow blossoming of a notable career is sometimes a matter of a talent finding its way. Sometimes it’s a matter of audiences coming into a gradual understanding of who that talent is, and sometimes it’s a combination of both. The important thing is that the opportunities are there for this interchange to take place. Not only does it make for more and better actresses, but it provides an environment for completely original and distinct talents to emerge...

Pretty average headlines for a worldwide catastrophe," Jane remarked as she read from Hollywood's Highest. "Some man in Africa claimed to have found the cure for AIDS, yet another politician said something about the president and now formally regrets it, and a pop star OD'd while an actress lost fifteen pounds overnight, and here's how you can, too!" She continued reading. "Oh, wow. The 'Celebrititties' section says she was in a car accident and her arms had to be amputated. Damn.

It was a hideous ancient thing that stood on tiger feet in the middle of the floor. Like a showpiece. And he did enjoy showing it. He would bring his friends upstairs to the master bathroom so that they could admire the monstrosity while he told them the whole long boring story of how he’d gotten it at an estate sale in Hollywood. Some bimbo actress from the silent-screen days had supposedly slit her wrists while she was in the thing. ‘Cashed in her chips,’ Harold liked to say. ‘In this very tub.

I’d be the first person to say back when I was young that all I was was a nice pair of tits. The only currency I had was my sexuality, and I used it like money. I wasn’t well educated when I got to Hollywood, I wasn’t book-smart, I wasn’t powerful, I wasn’t a trained actress. What did I have to be good at other than being beautiful? And taking pride in your beauty is a damning act. Because you allow yourself to believe that the only thing notable about yourself is something with a very short shelf life.

It’s not uncommon for distinguished French actresses to make their first films while still in their teens. Isabelle Adjani, Isabelle Carré, Charlotte Gainsbourg, Marie Gillain, Sophie Marceau, and Ludivine Sagnier—you’ll hear more about them later—all made an impression before their twentieth birthday. That teenage actresses can regularly, naturally and seamlessly move into adult roles is illustrative of French cinema’s way of seeing a woman’s life as all of a piece, as one smooth flow from childhood to youth to maturity to old age.

...the best thing an individual movie lover can do is have fun. No great movement can happen in popular art without pure pleasure being the motive. (...) There should be nothing dutiful about exploring these actresses, and no one needs to consider himself or herself virtuous for knowing their films. All they offer is the exhilaration of experiencing a grand movement and the satisfaction that great art grants to those who pay attention. If we enjoy their work and love their work and spend our money accordingly, all will turn out right in the end.

The last week of shooting, we did a scene in which I drag Amanda Wyss, the sexy, blond actress who played Tina, across the ceiling of her bedroom, a sequence that ultimately became one of the most visceral from the entire Nightmare franchise. Tina’s bedroom was constructed as a revolving set, and before Tina and Freddy did their dance of death, Wes did a few POV shots of Nick Corri (aka Rod) staring at the ceiling in disbelief, then we flipped the room, and the floor became the ceiling and the ceiling became the floor and Amanda and I went to work. As was almost always the case when Freddy was chasing after a nubile young girl possessed by her nightmare, Amanda was clad only in her baby-doll nightie. Wes had a creative camera angle planned that he wanted to try, a POV shot from between Amanda’s legs. Amanda, however, wasn’t in the cameramen’s union and wouldn’t legally be allowed to operate the cemera for the shot. Fortunately, Amy Haitkin, our director of photography’s wife, was our film’s focus puller and a gifted camera operator in her own right. Being a good sport, she peeled off her jeans and volunteered to stand in for Amanda. The makeup crew dapped some fake blood onto her thighs, she lay down on the ground, Jacques handed her the camera, I grabbed her ankles, and Wes called, “Action.” After I dragged Amy across the floor/ceiling, I spontaneously blew her a kiss with my blood-covered claw; the fake blood on my blades was viscous, so that when I blew her my kiss of death, the blood webbed between my blades formed a bubble, a happy cinematic accident. The image of her pale, slender, blood-covered legs, Freddy looming over her, straddling the supine adolescent girl, knife fingers dripping, was surreal, erotic, and made for one of the most sexually charged shots of the movie. Unfortunately it got left on the cutting-room floor. If Wes had left it in, the MPAA - who always seemed to have it out for Mr. Craven - would definitely have tagged us with an X rating. You win some, you lose some.

There is no one way of seeing. Nor is there a right way of seeing. Yet simply to accept the notion that both the male and the female gaze are equally valid and equally to be valued in cinema (and in life) is to welcome with relief the rise of women directors. Needless to say, there are whole aspects of human experience that women are much better positioned to explore, including friendship between women, anxieties about women’s careers, women’s parenting and aging, women’s social concerns and, as in the work of Kathryn Bigelow, men as seen through women’s eyes. Likewise, though romance may be of equal concern to both sexes, a woman’s perspective will inevitably be different.

I have spoken of reinventing marriage, of marriages achieving their rebirth in the middle age of the partners. This phenomenon has been called the 'comedy of remarriage' by Stanley Cavell, whose Pursuits of Happiness, a film book, is perhaps the best marriage manual ever published. One must, however, translate his formulation from the language of Hollywood, in which he developed it, into the language of middle age: less glamour, less supple youth, less fantasyland. Cavell writes specifically of Hollywood movies of the 1930s and 1940s in which couples -- one partner is often the dazzling Cary Grant -- learn to value each other, to educate themselves in equality, to remarry. Cavell recognizes that the actresses in these movie -- often the dazzling Katherine Hepburn -- are what made them possible. If read not as an account of beautiful people in hilarious situations, but as a deeply philosophical discussion of marriage, his book contains what are almost aphorisms of marital achievement. For example: ....'[The romance of remarriage] poses a structure in which we are permanently in doubt who the hero is, that is, whether it is the male or female who is the active partner, which of them is in quest, who is following whom.' Cary grant & Katherine Hepburn "Above all, despite the sexual attractiveness of the actors in the movies he discusses, Cavell knows that sexuality is not the ultimate secret in these marriage: 'in God's intention a meet and happy conversation is the chiefest and noblest end of marriage. Here is the reason that these relationships strike us as having the quality of friendship, a further factor in their exhilaration for us.' "He is wise enough, moreover, to emphasize 'the mystery of marriage by finding that neither law nor sexuality (nor, by implication, progeny) is sufficient to ensure true marriage and suggesting that what provides legitimacy is the mutual willingness for remarriage, for a sort of continuous affirmation. Remarriage, hence marriage, is, whatever else it is, an intellectual undertaking.

In 2003, Meryl Streep won a career achievement César Award, the French equivalent of an Oscar. Streep’s words (my translation) acknowledged the enduring interest of French audiences in women’s lives and women’s stories: "I have always wanted to present stories of women who are rather difficult. Difficult to love, difficult to understand, difficult to look at sometimes. I am very cognizant that the French public is receptive to these complex and contradictory women. As an actress I have understood for a long time that lies are simple, seductive and often easy to pass off. But the truth—the truth is always very very very complicated, often unpleasant, nuanced or difficult to accept." In France, an actress can work steadily from her teens through old age—she can start out in stories of youthful rebellion and end up, fifty years later, a screen matriarch. And in the process, her career will end up telling the story of a life—her own life, in a sense, with the films serving, as Valeria Bruni Tedeschi puts it, as a “journal intime,” or diary, of one woman’s emotions and growth. No wonder so many French actresses are beautiful. They’re radiant with living in a cinematic culture that values them, and values them as women. And they are radiant with living in a culture—albeit one with flaws of its own—in which women are half of who decides what gets valued in the first place. Their films transcend national and language barriers and are the best vehicles for conveying the depth and range of women’s experience in our era. The gift they give us, so absent in our own movies, is a vision of life that values emotional truth, personal freedom and dignity above all and that favors complexity over simplicity, the human over the machine, maturity over callowness, true mysteries over false explanations and an awareness of mortality over a life lived in denial. In the luminous humanity of their faces and in the illuminated humanity of their characters, we discover in these actresses something much more inspiring than the blank perfection and perfect blankness of the Hollywood starlet. We discover the beauty of the real.

WHEN I INTERVIEWED ISABELLE HUPPERT, I mentioned in passing that she has the strongest body of work of any actress in the world. She insisted otherwise, and I insisted back, and she denied it again, and I conceded that maybe, just maybe, Meryl Streep might be tied with her in the magnificent résumé department. To which Huppert said something quite interesting: "You know, it’s more again a symptom—I mean it really tells something about our relationship to cinema in Europe, which is slightly different [than here in the U.S.]. Here it seems like, you reach a certain point, actresses work less. And maybe also we have this idea to make movies more cultural than entertaining, a more existential thing than here. And so together it makes [for] a different relation to our craft."

Joan [Blondell] had always kept it real, always kept her priorities straight. “I wasn’t that ambitious. I enjoyed a home life more than a theatrical career. I just took what they gave me, because I wanted to get home quickly.” Joan, said one writer, personified everyone’s “good friend,” on- and off-camera. “Of all the stars I have interviewed,” wrote Charles Higham, “I have liked Joan Blondell the best. She is unique in my experience in being an actress who is devoid of ego, self-congratulation and self-pity, and would not dream of quoting a favorable review of herself. She is down-to-earth and human and real. This is almost unheard of in Saran-wrapped Hollywood.” Her accessibility, straightforwardness and her quick-with-a-comeback attitude was her appeal, and it never diminished as she got older.

Drama and comedy are the polite genres, founded on collectively agreed-upon ideas, perceptions and truths. But life, as subjectively experienced, is not like comedy or drama; it is much more disorganized and grand, intimidating and embarrassing. It is much more like opera and farce. Opera shows how we really feel at our most pained or selfish or exultant, and farce reveals how we receive the world in its raw, unsifted form. Or to put it another way, opera is how we really feel about ourselves. Farce is how we really feel about strangers. And both genres tell the true story of life as it is lived. The Piano Teacher, neither comedy nor drama, was both opera and farce, with Huppert as both diva and farceuse. Throughout, Huppert believes and gives passionately, and yet stands back, in full awareness. Life is more than we think, bigger but also ridiculous.

Her first really great role, the one that cemented the “Jean Arthur character,” was as the wisecracking big-city reporter who eventually melts for country rube Gary Cooper in Frank Capra’s Mr. Deeds Goes to Town (1936). It was the first of three terrific films for Capra: Jean played the down-to-earth daughter of an annoyingly wacky family in Capra’s rendition of Kaufman and Hart’s You Can’t Take It With You (1938), and she was another hard-boiled city gal won over by a starry-eyed yokel in Mr. Smith Goes to Washington (1939). “Jean Arthur is my favorite actress,” said Capra, who had successfully worked with Stanwyck, Colbert and Hepburn. “. . . push that neurotic girl . . . in front of the camera . . . and that whining mop would magically blossom into a warm, lovely, poised and confident actress.” Capra obviously recognized that Jean was often frustrated in her career choice.

Question number four: I read somewhere that you were an actor before you became an author. CC: That sounded more like a judgement than a question. MG: It was. Usually people pick a career in medicine or business to fall back on. With your chosen professions, it's like you decided to sail upstream without a paddle or a canoe. CC: Well, performing and writing have always been the same thing to me. You get to be a storyteller in both fields, and at the end of the day, I suppose a storyteller is what I consider myself the most. MG: Well, la-di-da. I know what you mean, though. I was an actress myself back in the golden days of Hollywood - you know, before all this streaming trash. CC: Would I recognize your work? MG: Did you ever see the film Gone with the Wind? CC: Of course! MG: I supplied the wind. CC: [A beat of silence.} How much longer is this interview going to take?

What’s sacred to me? thought Fate. The vague pain I feel at the passing of my mother? An understanding of what can’t be fixed? Or the kind of pang in the stomach I feel when I look at this woman? And why do I feel a pang, if that’s what it is, when she looks at me and not when her friend looks at me? Because her friend is nowhere near as beautiful, thought Fate. Which seems to suggest that what’s sacred to me is beauty, a pretty girl with perfect features. And what if all of a sudden the most beautiful actress in Hollywood appeared in the middle of this big, repulsive restaurant, would I still feel a pang each time my eyes surreptitiously met this girl’s or would the sudden appearance of a superior beauty, a beauty enhanced by recognition, relieve the pang, diminish her beauty to ordinary levels, the beauty of a slightly odd girl out to have a good time on a weekend night with three slightly peculiar men and a woman who basically seems like a hooker? And who am I to think that Rosita Méndez seems like a hooker? thought Fate. Do I really know enough about Mexican hookers to be able to recognize them at a glance? Do I know anything about innocence or pain? Do I know anything about women? I like to watch videos, thought Fate. I also like to go to the movies. I like to sleep with women. Right now I don’t have a steady girlfriend, but I know what it’s like to have one. Do I see the sacred anywhere? All I register is practical experiences, thought Fate. An emptiness to be filled, a hunger to be satisfied, people to talk to so I can finish my article and get paid. And why do I think the men Rosa Amalfitano is out with are peculiar? What’s peculiar about them? And why am I so sure that if a Hollywood actress appeared all of a sudden Rosa Amalfitano’s beauty would fade? What if it didn’t? What if it sped up? And what if everything began to accelerate from the instant a Hollywood actress crossed the threshold of El Rey del Taco?

Aging and reclusive Hollywood movie icon Evelyn Hugo is finally ready to tell the truth about her glamorous and scandalous life. But when she chooses unknown magazine reporter Monique Grant for the job, no one in the journalism community is more astounded than Monique herself. Why her? Why now? Monique is not exactly on top of the world. Her husband, David, has left her, and her career has stagnated. Regardless of why Evelyn has chosen her to write her biography, Monique is determined to use this opportunity to jump-start her career. Summoned to Evelyn’s Upper East Side apartment, Monique listens as Evelyn unfurls her story: from making her way to Los Angeles in the 1950s to her decision to leave show business in the late ’80s, and, of course, the seven husbands along the way. As Evelyn’s life unfolds—revealing a ruthless ambition, an unexpected friendship, and a great forbidden love—Monique begins to feel a very a real connection to the actress. But as Evelyn’s story catches up with the present, it becomes clear that her life intersects with Monique’s own in tragic and irreversible ways.

But interviews with [Margaret Dumont] reveal her to have been a perceptive and talented comic actress. “Many a comedian’s lines have been lost on the screen because the laughter overlapped,” she said in the 1940s. “Script writers build up to a laugh, but they don’t allow any pause for it. That’s where I come in. I ad lib—it doesn’t matter what I say—just to kill a few seconds so you can enjoy the gag. I have to sense when the big laughs will come and fill in, or the audience will drown out the next gag with its own laughter.” A much harder job, it must be stressed, onscreen than onstage. Margaret Dumont objected to the term “stooge,” with her usual dignity. “I’m a straight lady,” she insisted, “the best straight woman in Hollywood. There’s an art to playing straight. You must build up your man, but never top him, never steal the laughs from him.” She showed great insight into the Marx Brothers’ brand of humor: “The comedy method which [they] employ is carefully worked out and concrete. They never laugh during a story conference. Like most other expert comedians, they involve themselves so seriously in the study of how jokes can be converted to their own style that they don’t ever titter while approaching their material.

SOME GREAT ACTORS are like musicians who just happen to be brilliant at their instrument. They are, in every other way, perfectly normal, but they have this extraordinary ability, and the instrument they’ve learned to play is their own emotions. Sandrine Bonnaire is like that. So is Sandrine Kiberlain. Others are people whose emotional lives are so interesting in themselves that there is no question that they belong on screen. Valeria Bruni Tedeschi falls into this category. Their craft consists of transforming their hypersensitive natures into a kind of instrument, flexible enough to assume the shapes and contours that their various characters require. Karin Viard, who emerged as a major star in 1999, is not in either of those categories. She is not playing an instrument. She is not creating an instrument. It is more as if she is the instrument. Her talent is so huge, and her access to it so immediate that she requires no process to turn Jekyll into Hyde. Obviously, this is too facile a description to be completely accurate or to do justice to the effort that her performances require. But one really does get the impression that Viard could get thrown into any artistic ocean and end up doing an Olympics-worthy butterfly stroke in record time.

It is a painful irony that silent movies were driven out of existence just as they were reaching a kind of glorious summit of creativity and imagination, so that some of the best silent movies were also some of the last ones. Of no film was that more true than Wings, which opened on August 12 at the Criterion Theatre in New York, with a dedication to Charles Lindbergh. The film was the conception of John Monk Saunders, a bright young man from Minnesota who was also a Rhodes scholar, a gifted writer, a handsome philanderer, and a drinker, not necessarily in that order. In the early 1920s, Saunders met and became friends with the film producer Jesse Lasky and Lasky’s wife, Bessie. Saunders was an uncommonly charming fellow, and he persuaded Lasky to buy a half-finished novel he had written about aerial combat in the First World War. Fired with excitement, Lasky gave Saunders a record $39,000 for the idea and put him to work on a script. Had Lasky known that Saunders was sleeping with his wife, he might not have been quite so generous. Lasky’s choice for director was unexpected but inspired. William Wellman was thirty years old and had no experience of making big movies—and at $2 million Wings was the biggest movie Paramount had ever undertaken. At a time when top-rank directors like Ernst Lubitsch were paid $175,000 a picture, Wellman was given a salary of $250 a week. But he had one advantage over every other director in Hollywood: he was a World War I flying ace and intimately understood the beauty and enchantment of flight as well as the fearful mayhem of aerial combat. No other filmmaker has ever used technical proficiency to better advantage. Wellman had had a busy life already. Born into a well-to-do family in Brookline, Massachusetts, he had been a high school dropout, a professional ice hockey player, a volunteer in the French Foreign Legion, and a member of the celebrated Lafayette Escadrille flying squad. Both France and the United States had decorated him for gallantry. After the war he became friends with Douglas Fairbanks, who got him a job at the Goldwyn studios as an actor. Wellman hated acting and switched to directing. He became what was known as a contract director, churning out low-budget westerns and other B movies. Always temperamental, he was frequently fired from jobs, once for slapping an actress. He was a startling choice to be put in charge of such a challenging epic. To the astonishment of everyone, he now made one of the most intelligent, moving, and thrilling pictures ever made. Nothing was faked. Whatever the pilot saw in real life the audiences saw on the screen. When clouds or exploding dirigibles were seen outside airplane windows they were real objects filmed in real time. Wellman mounted cameras inside the cockpits looking out, so that the audiences had the sensation of sitting at the pilots’ shoulders, and outside the cockpit looking in, allowing close-up views of the pilots’ reactions. Richard Arlen and Buddy Rogers, the two male stars of the picture, had to be their own cameramen, activating cameras with a remote-control button.

Lillian was determined that her next role would be Hester Prynne in Nathaniel Hawthorne’s The Scarlet Letter and assumed she only needed to find the right actor to play opposite her as Reverend Dimmesdale. Mayer informed her there was a much larger issue at stake; The Scarlet Letter was on the Hays office “blacklist” of books that could not be filmed. The very idea of a blacklist was ridiculous to Lillian and she took up the matter directly with Will Hays. While he would occasionally publicly chastise the studios, Hays never forgot that the full name of his office was the Motion Picture Producers and Distributors of America and worked to smooth the path any and every way he could. He told Lillian that the major source of objection was “the Protestant Church, especially the Methodists,” and directed her to the heads of several church and women’s organizations where she forcefully presented her case. Even with Hays’s assistance, no other actress had the personal and professional reputation pure enough to garner the response she received: the ban would be lifted if she was “personally responsible” for the film. Lillian turned her attention to finding the consummate Dimmesdale and Mayer suggested she watch Lars Hanson in The Saga of Gosta Berling. The studio boss had seen Mauritz Stiller’s film in Berlin the previous December and he immediately put the director and the film’s three stars, Hanson, Mona Martenson, and Greta Gustafsson, all under contract. Lillian agreed Hanson was “perfect” and was enthusiastic when Thalberg suggested the experienced Swede Victor Seastrom (Sjöström) direct, for she believed he had “Mr. Griffith’s sensitivity to atmosphere.” And so the ban was lifted from The Scarlet Letter, Lars Hanson was coming from Sweden, Victor Seastrom was assigned to direct, and now it was Irving Thalberg’s problem. He had no script. Lillian would later say that Irving “told me that Frances Marion and I could adapt it,” but it was hardly that simple.

THIS IS A BOOK ABOUT FRENCH CINEMA, specifically the women of today’s French cinema—a subject as vital as life and as irresistible as movies. Yet many Americans, unfamiliar with French film, will hear “women of today’s French cinema” and immediately imagine something forbidding or austere. Other more refined cineastes may know and appreciate the French movies that play at art houses and arrive on DVD in this country, but they can’t know the full story. They are not in a position to know that what they are seeing is just a hint of something vast and extraordinary. The full story is that for the last two decades France has been in the midst of an explosion of female talent. What is happening in France today is a blossoming of female brilliance and originality of a kind that has never happened anywhere or at any period of film history, with but one glorious exception—in the Hollywood of the 1930s. Indeed, today’s Hepburns, Davises, Crawfords, Garbos, and Stanwycks are not American. They’re French. They are working constantly, appearing up to three or four times each year in films geared to their star personalities and moral meaning. These films, often intelligent, personal, and insightful investigations into what it means to be human in the twenty-first century, are the kinds of films that many Americans want to see. And they wonder why no one is making them. But people are making them, just not in the United States. Moreover, women are not only working in front of the camera in France but behind it, too. Important actresses are writing and directing films, and many of the country’s biggest and most acclaimed directors are women. Truly, this is a halcyon period, happening as we speak, and to miss this moment would be like living in 1920 and never seeing a silent comedy, or like living in 1950 and never seeing a film noir. It would be to miss one of the most enriching cinematic movements of your time. Yet most Americans, virtually all Americans, have been missing it.

SOME OF THE WOMEN YOU WILL MEET on these pages, you will already know. Some you’ll know by name, and others, including some of the very best, you may never have heard of. Frankly, some of these women have careers that deserve a book-length treatment all their own. I’m thinking, in particular, of Nathalie Baye, Sandrine Bonnaire, Isabelle Huppert, Agnès Jaoui, Sandrine Kiberlain, Valeria Bruni Tedeschi and Karin Viard. In any case, over the course of this book, you will come to know their best work and that of their colleagues. It is a striking thing, the sheer vastness of the working talent, a roster that includes but is hardly limited to names such as Isabelle Adjani, Fanny Ardant, Josiane Balasko, Emmanuelle Béart, Leïla Bekhti, Monica Bellucci, Juliette Binoche, Élodie Bouchez, Isabelle Carré, Amira Casar, Marion Cotillard, Marie-Josée Croze, Emmanuelle Devos, Marina Foïs, Sara Forestier, Cécile de France, Catherine Frot, Charlotte Gainsbourg, Julie Gayet, Marie Gillain, Marina Hands, Mélanie Laurent, Virginie Ledoyen, Valérie Lemercier, Sophie Marceau, Chiara Mastroianni, Anna Mouglalis, Géraldine Pailhas, Charlotte Rampling, Natacha Régnier, Brigitte Roüan, Ludivine Sagnier, Emmanuelle Seigner, Mathilde Seigner, Audrey Tautou, Sylvie Testud, Kristin Scott Thomas and Elsa Zylberstein. Some of these women are renowned for their beauty (Béart, Bellucci, Binoche, Marceau). But many others are beautiful in ways that elude analysis. They are warm or electric or magnetic or so idiosyncratic that your eyes immediately go to them. They are beautiful like the actresses of an earlier Hollywood generation, like Barbara Stanwyck, Claudette Colbert or Olivia de Havilland. In the 1930s, Busby Berkeley’s chorus lines were filled with women who were prettier, and yet these ladies became objects of cinematic fantasy. Obviously, they had some requisite base level of good looks, but what pushed them into the realm of beauty was something else, something inside them, something to do with their essential being. And yet . . . what happens if a culture or an industry isn’t interested in a woman’s essential being? Stanwyck and her exalted colleagues would have been nothing in such an environment, just as many American actresses today are going through entire careers without ever showing what’s inside of them.

Yes, she was probably the most blatantly carnal vixen ever filmed. And yes, she led a private life of considerable vitality and color. But let it not be forgotten that she was a stage-trained actress of greater power and range than moviegoers saw. Under all the Hollywood frou-frou, and her own misguided insecurities, Gloria Grahame was one killer tomato.

So what’s your name?” the stranger asked. Tarrah pulled his shirt away from her head and held out her hand. “Tarrah. Tarrah Reid.” He slipped his hand into hers, his cheeks stiffening as he held back a smile. Tarrah sighed, knowing exactly what he was thinking. She was completely aware of the fact that she held the name of a famous Hollywood actress. The association actually helped with her “Christmas floozy” persona during the holidays, so she’d never really minded.

Women, when they kill themselves, choose far more romantic methods - like slashing their wrists or taking an overdose of sleeping pills.Abandoned princesses and Hollywood actresses have provided numerous examples of this.

The left is expert at imagistics. The right is not, because the right falsely believes that shallow imagistics can be beaten with substance. Which has worked out fabulously for every great actress who is 300 lbs. in Hollywood – all two of them who are working.

Before the family could escape the war, Manson said, he had to release a record in response to the Beatles’ White Album, telling the pop stars how to find them. To do that, Manson had to enlist the support of Terry Melcher, a prominent Hollywood record executive and the son of Doris Day. At that time, Melcher was in a relationship with Candice Bergen, an actress who lived with Melcher at the now notorious address of 10050 Cielo Drive.

The world is captivated by Hollywood superstars, music artists, and sports personalities. Hollywood is portrayed as the epitome of beauty and fashion capital of the world. Whatever the actors and actresses are wearing dictate the fashion trends and lifestyle being followed by fans in a global scale. The said movie and music characters never fail to amuse and amaze us with their clothes, shoes, bags, and hairstyles. The most popular shoes are the high heel booties studded with gems, gold, and anything sparkling in-between. You certainly wonder how they can perform dance and stage stunts with these booties heels. Women look so attractive donning high heel booties. They get few extra inches in height and look stunning from head to toe. If you are going for mall shopping or walking long distances, stay away from heeled bootiesas your feet will surely get hurt. However, if you are attending special occasions and corporate functions, heel bootiesis the perfect footwear.

Hedda Hopper had had several careers before moving into radio and becoming one of the two major outlets for Hollywood gossip. She was born Elda Furry, June 2, 1890. She was a chorus girl, a silent-screen actress, and a real estate saleswoman. She had married comedian De Wolf Hopper and changed her name to Hedda, though she was occasionally confused with Edna Wallace Hopper, who gave beauty tips on the networks ca. 1930–32. In 1936 she decided to break into radio. Louella Parsons was then the country’s top purveyor of gossip, and Hopper—with her 25-year background in Hollywood—

I should go out on the radio with it. Must be a slow day for the media—getting more what’s-happening calls from reporters than I am getting service calls from citizens. They all want to do something on the first one, the actress on Mulholland. You know, a death-of-a-Hollywood-dream story. And they’d probably jump all over this latest call, too.” “Yeah, what is it?” “A citizen up in Laurel Canyon. On Wonderland. He just called up and said his dog came back from a run in the woods with a bone in its mouth. The guy says it’s human—an arm bone from a kid.” Bosch almost groaned. There were four or five call outs like this a year. Hysteria always followed by simple explanation: animal bones. Through the windshield he saluted the two body movers from the coroner’s office as they headed to the front doors of the van. “I know what you’re thinking, Harry. Not another bone run. You’ve done it a hundred times and it’s always the same thing. Coyote, deer, whatever. But listen, this guy with the dog, he’s an MD. And he says there’s no doubt. It’s a humerus. That’s the upper arm bone.

A public service announcement aired right afterward, with the actress who played Jennifer - who was twenty-three at the time - warning girls what a big step sex was and how they should be well informed and prepared. I wondered why they never gave boys these kinds of warnings. Why, when a guy scored on TV, they didn't break away with a special message, with the scene's star cautioning young men that once you fuck, you'll never be the same.

Many well-known screen actors and actresses changed their names to match the screen images created by the Hollywood dream factories and to distance themselves from their ethnicities.

My evening was a perfect demonstration of how hard it is for one side to really understand the other. I think Hollywood feels more comfortable welcoming directors who are convicted pedophiles, famous actresses who are also thieves, boxers who are convicted rapists, directors who push cocaine, rappers who sell heroin, singers who solicit prostitutes, and actors who beat up their woman than a Republican in their midst. In fact, the people who fit into those categories still enjoy the professional adoration of their peers in Hollywood, even amidst the suspicion and guilt. It's like the only that can really ruin your reputation as a celebrity is to come out as a Republican.

The story was okay, but the acting bothered Andrei. Sometimes he would watch a scene and then it would go to the next; Andrei would blink, bewildered at the time that had passed. The film just went by. Scenes would jump to the next but his mind was the same. Why? He noticed that the lead actress in her later years was extremely gorgeous, except some sharp concentration in him blocked out her beauty. This seated heart screamed for the movie to shatter him. And it drew upon him that this was another film that the world was not bothered by of its acting. In fact, they did not even see it. In its short scenes, audiences were hypnotized for an average of five to eight seconds by an actor’s beauty and if the editor timed it right, and with enough spectacle, movies could get away with doing nothing. Gorgeousness stimulated the mind. “Wow, they are so beautiful,” the audience was forced to think—and then by jumping to the next beautiful part fast enough there was something called a movie. And the movie seemed to use the actors’ appearances to drive most of the scenes. And many actors in different scenes sort of just stood there, handsome, and whispering. That was their strategy—mumbling murmurs of breath and rasp. Their indecisive bodies were unnaturally still, as though they had close-ups when the shot was wide. All of the actors’ voices were dumbly lowered to a safe natural cadence while in an unnatural situation and yet seeming real, no actual thought needed to be shown. 'Beauty is good,' says the industry. 'Sell that. Sell beauty! Make it beautiful. Ugly stories about beautiful people. It naturally turns a crap film into a decent one. The people are left with a good impression, as though having watched something fascinating. Make sure to let the camera sit on those beautiful people and their faces will give the audience something impossible to understand and give us runtime while they gaze. But having ugly people in it, people that look like people, actors that look like their audience—er, that’s not so profound,' says the industry. It was why the scenes moved without Andrei knowing: nothing was done by its actors.

It’s not my fault you’re a bad actress,” Fiona snapped. “It’s not my fault you’ve done nothing interesting, said nothing interesting, thought nothing interesting. Maybe men only see you as a pretty face because there’s nothing else there to see.

I never wanted to be this: Recognized. A pretty face only, a thing men want to possess. I wanted to be serious. I wanted to be a real actress—

JANE FONDA: It never occurred to me to ask a director to be consulted on style or content. I remember halfway through my career, I’d been an actress for twelve years, and I made They Shoot Horses, Don’t They? It was the first time that a director other than my husband had asked me what I thought and discussed the script with me, the story, changes that needed to be made. I couldn’t believe it. It was Sydney Pollack.

LESLIE CARON: Joan Crawford is not a great actress. She is a great star.

With a home out in the Springs he could leave his wife, their daughter Nancy (born 8 June 1940), son Frank Junior (10 January 1944) and Christina (10 June 1948) and take off for his Sunset Towers apartment in town and often the arms of actress Lana Turner or those of many other lovers. Marian Collier, who died in 2021, worked as a showgirl in Las Vegas before moving on to movies in Hollywood working with names like Marilyn Monroe. She was forthright about Sinatra’s need never to spend a night alone and told us: ‘For many years I rarely met another woman who hadn’t fucked Frank Sinatra. For most of us it wasn’t romantic, more of a tick on the to-do list. I certainly got on better with him after I slept with him but he could be a moody son of a bitch. Vindictive.’ And jealous. His antics brought attention and his friends didn’t like the spotlight; his future was cemented with the Mob; he’d laid his foundations.

For all Cooper’s fame and success, he was as insecure as anyone in Hollywood, where you were judged not by your body of work but by what you had done lately. He was a contract player, part of a studio system that, in effect, owned him. Don’t do the part, and I’ll sue you, Sam Goldwyn told Cooper. William Wyler—who had his own conflicts as a contract director working for Goldwyn—was assigned to The Westerner. The director saw the humor and the fun of pitting Cooper against Brennan—especially when Niven Busch rewrote the script not only to build up Cooper’s role, but also to exploit a sentimental vulnerability in Bean, who is besotted with the English actress Lily Langtry. Cooper, as Cole Harden, sentenced to hang, tricks Bean into believing that the cowboy knows the stage star and can arrange for Bean to meet her. Thus Harden delays his hanging and embarks on a trip with the credulous judge to accost his idol. Watching the wizened old judge become giddy over the very idea of sharing a moment with his beloved Lily turns The Westerner into a powerfully amusing take on how a devotion to stardom can overcome even the hardest case. It would all be such fun, Wyler assured Cooper.

To look at Mattel as a relative of the Hollywood studios is to make sense of some of its contradictions. The daughter of a Polish Jewish immigrant, Ruth Handler coded with her fashion dolls the same sort of phantasmic "America" that Louis B. Mayer had coded in his movies. Barbie was, in fact, better suited than a human actress to exemplify an impossible ideal. There was no tribal taint in her plastic flesh, no baggage to betray an immigrant past. She had no navel; no parents; no heritage.

Nora Dunn Nora Dunn is an American actress and comedian best known for her extensive work on NBC’s Saturday Night Live. She is also a former member of the famed Second City comedy troupe in Chicago, where she met many comedians who would later become superstars on television and in Hollywood. Recognized for her exceptional impersonations, Dunn was instrumental in revitalizing Saturday Night Live during the late 1980s. But in the end, she rescued herself from the castle, by herself and with no knight in shining armor. For that achievement alone, she has my loyalty for life. Up against the most powerful in-laws in the world, she outplayed them brilliantly.

Like many people who don't easily commit, I think I had a fear of being known; I was not sure there was anybody inside there.

People are always telling women to lose weight, and then when they do, other women attack them for it.

bridge between

twilight falls on Fifth Avenue, more than 500 Oscar-winning actresses and actors, Wall Street titans, Silicon Valley wunderkinds, fashion designers and Hollywood

Pretty average headlines for a worldwide catastrophe,” Jane remarked as she read from Hollywood's Highest. “Some man in Africa claimed to have found the cure for AIDS, yet another politician said something about the president and now formally regrets it, and a pop star OD'd while an actress lost fifteen pounds overnight, and here's how you can, too!” She continued reading. “Oh, wow. The 'Celebrititties' section says she was in a car accident and her arms had to be amputated. Damn.

Excerpted From Chapter One “Rock of Ages” floated lightly down the first floor corridor of the Hollywood Hotel’s west wing. It was Sunday morning, and Hattie Mae couldn’t go to church because she had to work, so she praised the Lord in her own way, but she praised Him softly out of consideration for the “Do Not Disturb” placards hanging from the doors she passed with her wooden cart full of fresh linens and towels. Actually Sundays were Hattie Mae’s favorite of the six days she worked each week. For one thing, her shift ended at noon on Sundays. For another, this was the day Miss Lillian always left a “little something” in her room to thank Hattie Mae for such good maid service. Most of the hotel’s long-term guests left a little change for their room maids, but in Miss Lillian’s case, the tip was usually three crinkly new one dollar bills. It seemed like an awful lot of money to Hattie Mae, whose weekly pay was only nineteen dollars. Still, Miss Lillian Lawrence could afford to be generous because she was a famous actress in the movies. She was also, Hattie Mae thought, a very fine lady. When Hattie Mae reached the end of the corridor, she knocked quietly on Miss Lillian’s door. It was still too early for most guests to be out of their rooms, but Miss Lillian was always up with the sun, not like some lazy folks who laid around in their beds ‘til noon, often making Hattie Mae late for Sunday dinner because she couldn’t leave until all the rooms along her corridor were made up. After knocking twice, Hattie Mae tried Miss Lillian’s door. It opened, so after selecting the softest towels from the stacks on her cart, she walked in. With the curtains drawn the room was dark, but Hattie Mae didn’t stop to switch on the overheard light because her arms were full of towels. The maid’s eyes were on the chest of drawers to her right where Miss Lillian always left her tip, so she didn’t see the handbag on the floor just inside the door. Hattie Mae tripped over the bag and fell headlong to the floor, landing inches from the dead body of Lillian Lawrence. In the dim light Hattie Mae stared into a pale face with a gaping mouth and a trickle of blood from a small red dot above one vacant green eye. Hattie Mae screamed at the top of her lungs and kept on screaming.

I thought of his financial support of me as my

In the Bible, the word hypocrite shows up 33 times. Interestingly, hypocrite was a common Greek term for an actor who worked behind a mask. Stage players in antiquity wore masks to hide their true identity as they played the part of their characters. We live in a society today where people are paid millions of dollars to be hypocrites. A friend of mine, before he passed away, built movie sets for a living. Many movies are filmed on studio lots, but these designed sets are not the reality you might think they are when watching a movie. Actors and actresses play the part of someone they really are not. The better they are at pretending or lying, the more convincing they will be as an actor, and typically, the more money they make. I rarely darken the door of a movie theatre because I don’t want to give those liars my money, and I don’t want to support the totally ungodly world of Hollywood. This is also why I don’t own a television. I don’t want my cable or satellite fees funding that wicked industry. In the time of the Greeks, it was easy to figure out the real identity of the actors. You could walk up to them, take off their masks, and see their faces. Jesus is doing the same here. He is unmasking the Pharisees. He is showing us their real character. He is revealing their true colors. Don’t live a lie. Don’t be a hypocrite. It is not a healthy way to go through life, and you will have regrets when the time of unmasking comes.

EDITH HEAD: Years ago, we transmitted the mood of the actress to the audience by the way we dressed them. We were so much a part of the storytelling image.

2014 I was contacted out of the blue by an agent in Hollywood, who had found the article on the internet and expressed an interest in buying the rights to my story, with a view to making a film about it. In October that year I was invited out to Los Angeles as a guest of the actress Kate Moennig and her associate, Bradley Bilanin.

Lesbians were, in the public image, loathsome creatures. They were seen as hard, sophisticated females who seduced innocent girls or women into mysterious “perversions,” or as sad caricatures of men, trying to dress and act as males, and generally aping some of men’s worst characteristics. Hollywood made “butchy” women into repellent monsters, vampires, or other subhuman creatures, and the theater portrayed practitioners of the love that dares not speak its name as neurotic, tragic, or absurd. No woman in her right mind would want to be seen so negatively. No actress admitting to loving women would be a success.

Lucy Richmond was only nineteen years old, but her prior success as a child actress had allowed her to purchase a sleek, modern six-bedroom mansion in the Hollywood Hills.

Building on beauty... seems to me the worst thing any girl can do.

had all bought it because it made sense. Jack had tried and failed to be a novelist, and June had tried and failed to be taken seriously, and Terry had tried and failed to be an actress, and I had tried and failed to be a mystery writer.

It’s a beautiful thing to be in Hollywood... the feeling of it... that classical glamour never dies.” She walked to the closet and back to the bed. “The actress lives a beautiful life once at a certain level... when her sink has a view and her phone calls aren’t rejections anymore, but producers, offices, playhouses in London, a director pitching his sacred screenplay. The food gets healthier, people around you are more positive... driving in traffic is even different because your car is nice, and the music you normally hate sounds different when life works... when you get the furniture you want... And mentors pass down movie posters from their mentors—so Hepburn never really dies. You keep it in your home... there’s room for everything... I treasure letters from other artists... studio invitations... Being a woman in Hollywood is entirely different than a man’s experience. All the time, by everyone, for everything, a woman is wanted... dinners... so many dinners... so many scripts lying around the room, in the sun... the people you have yet to meet... it’s not about fame—I do not care for the public praise... but what is truly compelling is when you make it big, you finally understand why there are palm trees in this city... Los Angeles suddenly turns on. Like a bulb you thought disliked you and would never light. But it lights. Of course, one must put the cocktail down, leave the house, and make more movies. But this is to say, the after hours are nice. When the camera is off and I return home, I get to love what is left.

John Cusack made some startling comments about Hollywood. “The culture just eats young actors up and spits them out,” he said, also remarking that many female actresses are looked at as menopausal once they turn thirty-years-old. He also called Hollywood “a whorehouse that makes people go mad.”658

But Chevette hadn’t wanted a career, or not the way Tara-May meant it, and Tara-May just hadn’t been able to get that. Actually there were a lot of people like Tara-May in Hollywood, maybe even most people were; everybody had something they “really” did. Drivers wrote, bartenders acted; she’d had massages from a girl who was really a stunt double for some actress Chevette had never heard of yet, except she hadn’t really ever been called, but they had her number. Somebody had everybody’s number, but it looked to Chevette like the game had all their numbers, every one, and nobody really was winning, but nobody wanted to hear that, or talk to you much if you didn’t buy into what they “really” did.

It’s naive not to believe that powerful individuals within the major power centers of society—Hollywood, media, government, academia, religion, and science—are committed to brainwashing the masses into believing lies about reality, human nature, and behavior. They are already planning to persuade humanity to go along—willingly or unwillingly—with the elite’s socialist-utopian vision of the future. Why would they do that? The secretive ruling elite want to turn our world into a global socialist or communist state, which will enable them to acquire dictatorial power and amass even greater wealth. Their globalist game plan has nothing to do with what is fair or best for everyone. It is strictly about what is better for them, because they literally view themselves as the rulers of the planet and see us as “useless eaters” who exist to serve them. Many will find this difficult to accept, because they have been brainwashed to believe the globalist elite want to share their wealth and a create a better world for all mankind. Unfortunately, that is a total lie and not even on the menu.14 Do you really think when a major politician such as Hillary Clinton described a large segment of American voters as “deplorables” that her remark was just a slip of the tongue? This is what Clinton said at a LGBT fund-raiser before introducing actress Barbra Streisand: “To just be grossly generalistic, you can put half of Trump supporters into what I call the basket of deplorables. Right? Racist, sexist, homophobic, xenophobic, Islamophobic, you name it.”15 That’s how the globalist elite view much of the world. They speak of the need to “cull the herd”—a truly chilling turn

Miss Nondescript had become Marilyn Monroe, the most famous actress in the world, in less than five seconds. She did not need make-up, clothes or wigs to accomplish this. All she needed was to summon her alter ego from within.

It was a brutal schedule. I would be on the airplane going back Monday morning at six after shooting all Sunday night, every time barely making my flight. When I arrived in Los Angeles, I had to rush straight to the Paramount studios and be a whole other person, this wildly different character, Paige. My brain was starting to scramble on top of its already fragile state.