Warner Brother Quotes

It’s crazy how much I wish I didn’t care. I wish, so much, all the time, that I didn’t give a shit about this sort of thing—that I could be like Warner, a frozen, unforgiving island; or even like Adam, who’s found his happiness in family, in his relationship with his brother—but I’m like neither. Instead, I’m a big, raw, bleeding heart, and I spend my days pretending not to notice that I want more. That I need more. Maybe it sounds weird to say, but I know I could love the shit out of someone. I feel it, in my heart. This capacity to love. To be romantic and passionate. Like it’s a superpower I have. A gift, even. And I’ve got no one to share it with.

No standards anymore. Now Ricky he watches all them old Disney and Warner Brothers toons on DVD. You never have to worry if maybe Bugs Bunny is goin’ to get it on with Daffy Duck.

I can't help but find it both painful and beautiful that Warner lost a mother and gained two brothers in the same week.

it has left a neat bomb-shaped hole in the deck, just like a panicky Warner Brothers cartoon character passing at high speed through a planar structure such as a wall or ceiling.

These were eye-opening years for me. When I’d come back to Warner Brothers after the war, I’d shared the orthodox liberal view that Communists—if there really were any—were liberals who were temporarily off track, and whatever they were, they didn’t pose much of a threat to me or anyone. I heard whispers that Moscow wanted to infiltrate the world’s most powerful medium of entertainment, but I’d passed them off as irrational and emotional red baiting. Now I knew from firsthand experience how Communists used lies, deceit, violence, or any other tactic that suited them to advance the cause of Soviet expansionism. I knew from the experience of hand-to-hand combat that America faced no more insidious or evil threat than that of Communism.

One of the petitioners, an infamous do-gooder of uncertain sanity named Warner Mifflin, had actually acknowledged that his antislavery vision came to him after he was struck by lightning in a thunderstorm.

FRANK: That boy’s going to be a real doctor; he’s smart. JIM: Over my dead body he’ll be a doctor. A good beginning, too. FRANK: Why? It’s an honorable profession. JIM, looks at him tiredly: Frank, will you stop talking like a civics book? Keller laughs. FRANK: Why, I saw a movie a couple of weeks ago, reminded me of you. There was a doctor in that picture . . . KELLER: Don Ameche! FRANK: I think it was, yeah. And he worked in his basement discovering things. That’s what you ought to do; you could help humanity, instead of . . . JIM: I would love to help humanity on a Warner Brothers salary.

All my stories are cinematic. The Illustrated Man over at Warner Brothers a couple of years ago (1969) didn’t work because they didn’t read the short stories. I may be the most cinematic novelist in the country today. All of my short stories can be shot right off the page. Each paragraph is a shot.

The ever-reliable Bill Thompson filled the gap with a new character, Wallace Wimple. Wallace gave new meaning to the word “wimp,” for this was the nickname pinned on him by Fibber McGee. Wimple was terrified of his “big old wife,” the ferocious, often-discussed but never-present “Sweetie Face.” Also in 1941 came Gale Gordon as Mayor LaTrivia, who would arrive at the McGee house, start an argument, and become so tongue-tied that he’d blow his top. A year later, all these characters disappeared: Gordon went into the Coast Guard, and when Thompson joined the Navy, four characters went with him. With LaTrivia, Boomer, Depopoulous, Wimple, the Old Timer, and Gildersleeve all on the “recently departed” list, Fibber found a new devil’s advocate in the town doctor. Arthur Q. Bryan, who had played the voice of Elmer Fudd in the Warner Brothers cartoons, became Doc Gamble, continuing the verbal brickbats begun by Gildersleeve. Their squabbles could begin over a disputed doctor bill—McGee always disputed doctor bills—or erupt out of nowhere about anything at all.

Grazer and Cohn - two outsiders with learning disabilities-played a trick. They bluffed their way into professions that would have been closed to them. The man in the cab assumed that no one would be so audacious as to say he knew how to trade options if he didn't. And it never occurred to the people Brian Grazer called that when he said he was Brian Grazer from Warner Brothers, what he meant was that he was Brian Grazer who pushed the mail cart around at Warner Brothers. What they did is not "right," just as it is not "right" to send children against police dogs. But we need to remember that our definition of what right is, often as not, simply the way that people in positions of privilege close the door on those on the outside. David has nothing to lose, and because he has nothing to lose, he has the freedom to thumb his nose at the rules set by others. That's how people with brains a little bit different from the rest of ours get jobs as options traders and Hollywood producers-and a small band of protesters armed with nothing but their wits have a chance against the likes of Bull Connor

We worked so hard,” [Joan Blondell] said, “and hardly ever had a day off . . . Saturday was a working day and we usually worked right into Sunday morning.” Joan’s good nature may have worked against her in the long run. While fellow Warner Brothers workers Bette Davis, James Cagney, Olivia de Havilland and Humphrey Bogart fought like lions for better roles and more creative input, Joan took things in stride, at least through the early 1930s. “I just sailed through things, took the scripts I was given, did what I was told. I couldn’t afford to go on suspension—my family needed what I could make.

Joan Blondell had it all: looks, talent, energy, humor. If she never became a top-flight superstar, the fault lies mostly with Warner Brothers. At MGM, Joan could have easily had Jean Harlow’s career; at Paramount, Claudette Colbert’s or Carole Lombard’s; at Fox, Loretta Young’s; at RKO, Ginger Rogers’. Some of the fault lies, too, with Blondell herself, who later admitted, “The instant they said ‘cut!’ I was whammo out of that studio and into the car . . . In order to be a top star and remain a top star and to get all the fantastic roles that you yearned for, you’ve got to fight for it and you’ve got to devote your twenty-four hours to just that; you’ve got to think of yourself as a star, operate as a star; do all the press that is necessary . . . What meant most to me was getting home, and that’s the truth.” But if Joan Blondell got slightly lost in the shuffle at Warners, she still managed to turn in some delightfully snappy performances and typify the warm-hearted, wisecracking Depression dame. And when she aged, she did so with grace and humor.

I want their joy. But it still hurts a little when it feels like, everywhere I look, everyone seems to have someone. Everyone but me. It's crazy how much I wish I didn't care. I wish, so much, all the time, that I didn't give a shit about this sort of thing—that I could be like Warner, a frozen, unforgiving island; or even like Adam, who's found his happiness in his family, in his relationship with his brother—but I'm like neither. Instead, I'm a big, raw, bleeding heart, and I spend my days pretending not to notice that I want more. That I need more. Maybe it sounds weird to say, but I know I could love the shit out of someone. I feel it, in my heart. This capacity to love. To be romantic and passionate. Like it's a superpower I have. A gift, even. And I've got no one to share it with.

Commercial firms turned out Claghorn shirts and compasses (the needles always pointed south, son); Delmar cut two Claghorn records, I Love You, That Is and That’s a Joke, Son, and Warner Brothers pirated the concept for use in a series of cartoons. The strutting cartoon rooster, Foghorn J. Leghorn, was an obvious steal from Delmar: the cutting irony, he said years later, was that the cartoons were copyrighted, so that, from then on, “in order to do Claghorn, I had to ask permission from Warner Brothers.

We had wanted to use a final sample to finish the twelve-inch track off, “That’s All Folks!” from the Warner Brothers cartoons. But we were quoted $30,000 for one use. And we were on their label. Just shows you . . . no favouritism.

At Warner Brothers, the importance of interoffice memorandum was underscored with a note to all personnel at the bottom of the studio’s official printed correspondence sheets: VERBAL MESSAGES CAUSE MISUNDERSTANDING AND DELAYS (PLEASE PUT THEM IN WRITING).

The largest apartment in the Dakota belongs to restaurateur Warner LeRoy, the son of movie director Mervyn LeRoy and the nephew of all the Warner brothers. Originally, the LeRoys’ apartment consisted of only ten large rooms on the sixth floor, but when another apartment of the same size became available on the floor immediately above, the LeRoys bought that one too. They persuaded the building to let them construct a staircase between the two apartments, giving them the Dakota’s only duplex, unless one counts Ward Bennett’s split-level pyramid on the roof, the Novaks’ basement studio, and the various sleeping-lofts and balconies that have been inserted between floors here and there. The LeRoy apartment, as might be expected, has been decorated in

...at Warner Brothers, the casting debate for the bad guy’s off-sider continued unabated. Jon Peters suggested Gary Busey. Now Gary was the villain’s off-sider in Under Siege, and was killed at the end of that movie when he was hit by a 16-inch shell from the USS Missouri while in a submarine. The scene seemed to leave little chance that he could have survived. Jon was undeterred by this and suggested we give him a scar. He then went ahead and unilaterally made Gary an offer. It turned out that Seagal had a clause in his contract that gave him right of approval over decisions concerning the key cast members, and he regarded this as such a decision. He was enraged: his contract had been violated by Jon’s unilateral action. He had been fighting with Jon over a number of issues for some time and had had enough — it was time for a showdown.

An exultant Jack Warner wired his brother Harry back east: WE ARE SPELLBOUND—ALL OTHER OPENINGS LIKE KINDERGARTEN IN COMPARISON WITH TONIGHT. NO USE TRYING TO TELL YOU HOW IT WENT OVER; MULTIPLY YOUR WILDEST IMAGINATION BY ONE THOUSAND—THAT’S IT.

they went up the steps of the small caboose, Benny said in a low voice to his brother, “Did Mr. Carr say history or mystery?” “He said history,” said Henry, laughing. “But I’m sure you’ll think there is a mystery, too.

That’s what we thought,” said Mr. Alden. “You see, the week after Bill disappeared, his brother Sam was killed by a car. So he couldn’t help us find Bill.

Brotherhood-inspired surfer scammers were captured for posterity in a pseudo documentary film produced by Warner Brothers called Rainbow Bridge. Shot in Maui and featuring one of Jimi Hendrix’s final concerts, the film is a remarkable snapshot of the counterculture’s elite grappling with the death of the 1960s. In the most relevant scene, surfers Les Potts and Mike Hynson are sitting inside their surfboard-strewn house in Maui when a bearded friend carrying a Pan Am flight bag and an elaborately airbrushed

Perhaps you should head home until you hear from her again.” The children looked at one another. Why was this woman always trying to make them go away? Jessie surprised her brothers and sister by agreeing. “Sure. I guess we will go. See you tomorrow.” When the children got outside, Benny was confused. “Why are we going home? Can’t we ask her about my photos?” Jessie put her arm on Benny’s shoulder. “We’re only going to pretend to leave. We’ll sneak to the other side of the house and see what the two of them are up to.” When the children came outside, they waved at William. “See you tomorrow,” Henry called out loudly. Then in a whisper he said, “And probably a whole lot sooner.” The Mystery at Skeleton Point

Moreover, offending Germany meant losing a lucrative export market for American films. 149 An exception was Warner Brothers. President Harry Warner was an early and passionate opponent of Nazism and openly endorsed exposing and denouncing the anti-Semitism of the Hitler regime, a view regarded as incautious in the Hollywood of the early 1930s. Harry was convinced that Warner Brothers could portray the evils of Nazism and alert the American public to the double menace of an aggressive Germany in Europe and pro-Nazi sympathies in the United States

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

One winter day Jessie Alden met her brother Henry in the hall. She said, “Henry, I think Grandfather is up to something. Violet thinks so, too.” “What do you mean, Jessie?” said Henry. “Do you mean business trouble?” “Oh, no! Not at all!” said Jessie. “I think he is planning something. He jokes with Benny all the time. And he smiles to himself when he thinks no one is looking.” Henry said, “I hope he is happy. What else have you noticed?” “Last night Grandfather was at the telephone in the hall. When I came down the stairs, he stopped talking suddenly. “Then the other day a strange man came to see him. He was a very big, strong man. I could hear his deep voice. He laughed all the time. Jolly, you know. Grandfather laughed a lot, too,” said Jessie. “Maybe you are right,” said Henry. “I’ll keep my eyes open, too. He will tell us if there is anything he wants us to know.” Henry did watch his grandfather after that. It was true. Mr. Alden seemed very happy. Once he started to say something. Then he stopped. Then at last, one day in January, the same man came to call. Mr. Alden took him into the front room and shut the door. He took the stranger’s hat and coat and hung them up. He gave him an easy chair. The four Aldens would have been surprised to hear what their grandfather then had to say to the stranger. He said, “My grandchildren love to see new places.

Gable suited MGM because Gable was larger than life. Cagney suited Warner Brothers because Cagney was life.

Irene Rich had been a notable star of the silent screen in the 1920s, playing opposite Will Rogers, Dustin Farnum, and Wallace Beery. But a disagreement with Warner Brothers sent her into a new career—radio! By her own account, it was an inspiration: at “three o’clock in the morning I took a plane for New York, and the next day I presented myself at the National Broadcasting studios.” Irene Rich Dramas, which ran for more than a decade in various forms, was the result.

THE PHOENIX PACK: Trey Coleman Alpha Taryn Warner Alpha Dante Beta Tao Head Enforcer Dominic Enforcer Marcus Enforcer Patrick “Trick” Enforcer Ryan Enforcer Greta Trey’s grandmother Grace Mated to Rhett Rhett Mated to Grace Lydia Mated to Cam Cam Mated to Lydia Kirk Brock’s son Selma Subordinate Brock Kirk’s father Hope Subordinate Louisa Trey’s mother, deceased NOTABLE CHARACTERS FROM THE ONYX PACK: Lance Warner Alpha, father of Taryn Cecilia Warner Mother of Taryn, deceased Shaya Critchley Friend of Taryn Caleb Friend of Taryn Perry Enforcer Oscar Enforcer Joseph “Joey” Winters Died when only nine, believed to be Taryn’s mate Brodie Nicole Ashley Richie NOTABLE CHARACTERS FROM THE BJORN PACK: Rick Coleman Previous Alpha, father of Trey, deceased Darryl Coleman New Alpha, uncle of Trey Josh Brother of Dante Summer Died as a baby, believed to be Trey’s mate Viv Mother of Summer Martin NOTABLE CHARACTERS FROM THE RYLAND PACK: Nick Axton Alpha Don Uncle of Taryn Derren Nick’s bodyguard Glory OTHER CHARACTERS: Roscoe Weston Alpha wolf shifter who attempts to claim Taryn Dean Milton Mediator

All told, there must have been more than a hundred people there, milling about between the makeshift tricycle track in the parking lot and the fraternity house. The freshmen had come sporting a variety of attire, from the East Coasters in polos to Southern Californians in tank tops, most trying too hard to look cool and casual at the same time. All the brothers were wearing yellow t-shirts for rush; the front depicted Curious George passed out next to a tipped-over bottle of ether. The lower right side of the back showed a small anchor with the fraternity’s letters, KΣ, on each side—it was Evan’s signature. The anchor was his way of saying, “This is an Evan Spiegel production.” Evan was born on June 4, 1990, to a pair of highly successful lawyers. His mother, Melissa Thomas, graduated from Harvard Law School and practiced tax law as a partner at a prominent Los Angeles firm before resigning to become a stay-at-home mother when Evan was young. His father, John Spiegel, graduated from Stanford and Yale Law School and became a partner at Munger, Tolles & Olson, an elite firm started by Berkshire Hathaway’s Charlie Munger. His clients included Warner Bros. and Sergey Brin.

Just a few of the many companies I worked for in the short five-year period before starting Sierra: Bekins Moving and Storage, Burroughs Corporation, Groman’s mortuary, McDonnell Douglas, Fredericks of Hollywood, Sterling Computer Systems, Financial Decision Systems, Informatics, Aratek Services, Children’s Hospital of Los Angeles, Chaffey Junior College, the State of Illinois, Warner Brothers Studios, Atlantic Records.

Shiloh’s Recommended Listening Tears for Fears. “Everybody Wants to Rule the World.” By Olzabal, Roland, Stanley, Ian and Hughes, Chris. Somerset, UK: Fontana/Mercury/Phonogram. Songs from the Big Chair. 1985. Joey Ramone. “What a Wonderful World.” By Thiele, Bob and Weiss, George David. Sanctuary Records Group. Don’t Worry About Me. 2002. The Moody Blues. “Question.” By Hayward, Justin. London, UK: Threshold Records. A Question of Balance. 1970. The Church. “Under the Milky Way.” By Kilbey, Steve and Jansson, Karin. Australia: Arista. Starfish. 1988. The Pixies. “Where is My Mind?” By Francis, Black. Boston, MA: 4AD. Surfer Rosa. 1988. The Beatles. “All You Need Is Love.” By Lennon-McCartney. London, UK: Parlophone Capitol. Magical Mystery Tour. 1967. Styx. “The Grand Illusion.” By Dennis DeYoung. Chicago, IL: A&M Records. The Grand Illusion. 1977. The Flaming Lips. “Do You Realize??” By Coyne, Wayne, Drozd, Steven, Ivins, Michael and Fridmann, Dave. New York, NY: Warner Brothers Records. Yoshimi Battles the Pink Robots. 2002. The Beatles. “Across the Universe.” By Lennon-McCartney, London, UK: Regal Starline. No One’s Gonna Change Our World. 1969.

Warner Brothers received more than 100 death threats for pushing the release date of Half-Blood Prince to 2009 when it was scheduled to be released in fall 2008.

By January 1967 Motown had built up an unrivalled sales force under the formidable direction of their white Sicilian-American sales boss, Barney Ales, whom Gordy had met when Ales was a rising star at Warner Brothers. Ales was more than a salesman. He had been a strategic lynchpin in Motown’s ability to break through racial barriers and sell its sound to a white teenage audience.

Sometimes a definite pattern of life, whatever its apparent advantages, can be a potent danger to man’s advancement . . . The sun will not wait, nor will the world.  Empires, religions, and great industrial establishments alike have toppled into oblivion for lack of elasticity to move with changing times.  And a man who holds to a set pattern, who fails to realize that a blend of initiative and tenacity is indispensable, wakes one morning to find himself out of step with an era which has long since passed him by.  Hardening of the intellectual arteries is a dangerous element, both to its possessor and to humanity at large.  Petrified trees maintain the status quo, but they build no houses.