Samuel Goldwyn Quotes

The harder I work, the luckier I get.

Coffee isn't my cup of tea.

A verbal contract is worth about as much as the paper it's written on.

Anyone who goes to a psychiatrist ought to have his head examined.

I'm willing to admit that I may not always be right, but I am never wrong.

I read part of it all the way through.

If I could drop dead right now, I'd be the happiest man alive.

Coffee is not my cup of tea

I don't think anyone should write their autobiography until after they're dead

Give me a smart idiot over a stupid genius any day.

I think luck is the sense to recognize an opportunity and the ability to take advantage of it. Every one has bad breaks, but every one also has opportunities. The man who can smile at his breaks and grab his chances gets on.

I have been laid up with intentional flu.

Let's have some new cliches.

Pictures are entertainment, messages should be delivered by Western Union.

I don't want any yes-men around me. I want everybody to tell me the truth even if it costs them their jobs.

A wide screen just makes a bad film twice as bad.

You've got to take the bitter with the sour.

I had a monumental idea this morning, but I didn't like it.

Television has raised writing to a new low.

If I look confused it’s because I’m thinking.

Ninety per cent of the art of living consists of getting on with people you can't stand.

If you've got a message, send a telegram.

a hospital is no place to be sick

No person who is enthusiastic about her work has anything to fear from life.

Don't pay any attention to the critics - don't even ignore them.

I'm not suggesting that you want to be an author who tells a story in order to teach a moral or deliver a message. If you have a message, as Samuel Goldwyn said, send a telegram.

The scene is dull. Tell him to put more life into his dying." Samuel Goldwyn

The harder I work, the luckier I get.’ – Samuel Goldwyn

Spare no expense to save money on this one.

A hospital is no place to be sick.

When someone does something good, applaud! You will make two people happy.

Pictures are for entertainment, messages should be delivered by Western Union. SAMUEL GOLDWYN

I was always an independent, even when I had partners.

Include me out.

To the disinterested outside visitor, the Lower East Side in the early 1900s would have appeared utterly chaotic, and nothing been foreseen to come out of it except disaster—or, at the very least, some sort of violent social upheaval or revolution. And yet that is not what happened at all. Instead, out of it came artists, writers, lawyers, politicians, entertainers, and businessmen, like Irving Berlin, Jacob Javits, Samuel Goldwyn, David Sarnoff,

Mr. Samuel Goldwyn once remarked, during a dinner table argument about psychiatry: “Anyone who goes to a psychiatrist ought to have his head examined.

Brennan’s contribution to The Wedding Night (March 8, 1935), starring Gary Cooper and Anna Sten—the Russian beauty Samuel Goldwyn was promoting as the next European import to rival Greta Garbo and Marlene Dietrich—was of a different order. The anxious producer, worried about Sten’s accent (even though she was playing a Polish American), began to take notice of Brennan in a seemingly forgettable role he nevertheless freshened with his rapid-fire delivery. Brennan is Bill Jenkins, a cackling Connecticut cab driver, spitting tobacco juice (actually licorice) and showing the tobacco fields to Tony Barrett (Gary Cooper), an alcoholic writer modeled on F. Scott Fitzgerald and trying to dry out in a country hideaway. Goldwyn had been much impressed with the velocity of dialogue in It Happened One Night (February 23, 1934) and wanted his actors to perform at the same screwball speed. Brennan manages this feat more deftly than the picture’s ostensible stars, although Cooper perks up when doing scenes with Brennan. Unfortunately Sten did not the have the same opportunity. “I never even met Anna Sten,” Brennan told biographer Carol Easton. When Jenkins drives up to deliver a telegram to Barrett, walking along the road, neither the writer nor Jenkins has a pencil to use to reply to Barrett’s wife, who wants him to return to the city. So Barrett simply gives a verbal response: “My work won’t let me. Love Tony.” Jenkins repeats the message twice to fix it in his mind, but as soon as he drives off the message gets garbled: “My love won’t work me.” He tries again: “My work won’t love me.” Not satisfied, he begins again: “My work won’t love me.” In frustration, he spits, and says, “Gosh, I’m losin’ my memory.” His role is inconsequential, and yet so necessary to the local color that director King Vidor works Brennan into a scene whenever he can. Brennan would have made his character even more authentic if Goldwyn had not complied with a request from the Breen Office, the enforcers of the Production Code, that Brennan’s use of “damn” and “hell” be cut from the film.

But the Butler-Brennan collaboration splendidly informs The Prince and the Pirate, a Samuel Goldwyn million-dollar Technicolor production that spoofs the swashbuckling pictures of the 1930s that made Errol Flynn a star. Butler seems to have given Brennan free rein in bringing to life one of his most exuberant and ribald roles. As Featherhead, a scuzzy pirate, he convinces the malicious Captain Barrett, “the Hook” (Victor McLaglen) to spare a female gypsy fortune-teller, impersonated by “The Great Sylvester” (Hope) from walking the plank. The pirate crew is perplexed by Featherhead’s lascivious designs on this none too appetizing dish, but he practically slavers over his prize, which he bears away with great glee. Brennan plays Featherhead with devouring relish. But as soon as he has Hope to himself, Featherhead confesses he has known all along that she is a he. The shocked Sylvester recovers enough to say, “If you don’t tell anybody I’m not a gypsy, I won’t tell anybody you’re not an idiot.” Featherhead has appropriated the performer in a scheme to outwit The Hook and to capture a buried treasure. Brennan takes out his teeth for this role, and either through added weight or makeup, presents a rubicund complexion and a robust, rounded face that is startlingly different from the gaunt and rickety Eddie of To Have and Have Not.

Film producer Samuel Goldwyn said, “The harder I work, the luckier I get,” and that is absolutely how we all feel about luck, publishing, and life in general.

Film producer Samuel Goldwyn said, “The harder I work, the luckier I get,

el periodismo partidario prevaleció en Estados Unidos hasta la década de 1870, la narrativa sobre el nuevo “periodismo independiente” se concentró en dos personajes importantes: los editores Joseph Pulitzer y William Randolph Hearst. Algo similar podría decirse de los magnates del cine como Jack L. Warner (Warner Brothers), Louis B. Mayer y Samuel Goldwyn (MGM), Carl Laemmle (Universal Pictures), Darryl Zanuck (20th Century Fox) y William Fox (Fox Movie Corporation) o de creadores de contenido como Orson Welles y John Ford. Como

Let’s have some new clichés.