Who Lives In The Star Wars Galaxy?

Written by Stephen Schochet

It's hard to say where old Hollywood ended and new Hollywood began. People inrepparttar industry don't think of themselves as making history, they are just going to work. Butrepparttar 124159 day in 1967 that Jack Warner cleaned out his desk at Warner Bros. studio, George Lucas and Frances Ford Coppola arrived onrepparttar 124160 lot.

The two young filmmakers were very different in demeanor. Coppola a legend at UCLA film school was 27, a loud boisterous mixture of mogul and marxist, who prided himself in dressing like Fidel Castro. He impressed film executives at first with his bravado, but later would upset them with his reckless overspending. Five years younger, Lucas, who went to USC, was quiet and introspective. The only guys at Warners who were below 30 and wore beards, they hit it off instantly with Coppola takingrepparttar 124161 mentor role. Lucas had made a thirteen minute science fiction film project called THX 1138, a dark look at a computer controlled future. Coppola convinced his protégé to extend it into a full-length film and talked Warner Bros. into financing it.

Overrepparttar 124162 next few monthsrepparttar 124163 wily Coppola played both sides. "I'm telling you this kid Lucas is making a great film." Coppola toldrepparttar 124164 Warner brass. "Don't put pressure on yourself, they don't expect anything," He reassured Lucas. When they sawrepparttar 124165 completed THX 1138repparttar 124166 Suits were furious. "Francis what is this?" "I don't know, I've never seen it." repliedrepparttar 124167 bewildered producer. To Lucas's dismayrepparttar 124168 studio cut out parts from THX 1138 before they released it. "They're cuttingrepparttar 124169 fingers off my baby."

THX failed atrepparttar 124170 box office and Coppola was held financially liable for $300,000, butrepparttar 124171 two filmmakers were given another chance to make a low budget movie at Universal. Impressed byrepparttar 124172 success of Easy Rider (1969)repparttar 124173 old guard atrepparttar 124174 studio was reaching out to new talent, once again Coppola would produce and Lucas would direct. Lucas was encouraged by his wife Marsha to makerepparttar 124175 second project more positive. At USC he had studied anthropology learning thatrepparttar 124176 American male has a unique mating ritual, he drives around in cars trying to pick up girls. Lucas combined this observation, with his own love of classic cars, his small town upbringing in Modesto, CA and his appreciation for top 40 songs played onrepparttar 124177 radio by disc jockeys like Wolfman Jack. The result: American Graffiti.

When Stars Collide

Written by Stephen Schochet

Duringrepparttar silent era it was thought a waste of money to make a movie with more than one star. Personalities like Charlie Chaplin, Harold Lloyd and Buster Keaton were considered potent enough box office on their own. But with dwindling attendance duringrepparttar 124158 great depression MGM decided to feature Hollywood's first all star ensemble cast in Grand Hotel (1932) starringrepparttar 124159 mammoth egos of Joan Crawford, Wallace Beery, John Barrymore and Greta Garbo. The director Edmund Goulding was unable to let Joan Crawford and Garbo have any scenes together for fear they might try to upstage each other. Although she complimented her Swedish co-star's beauty, Crawford hated Garbo's demands for top billing. Knowing that Greta hated tardiness and Marlene Dietrich, Crawford was constantly late and played Dietrich's records loudly onrepparttar 124160 set.

Crawford had another classic encounter with rival Bette Davis onrepparttar 124161 set of Whatever Happened to Baby Jane (1962). Betty, knowing that Joan wasrepparttar 124162 widow of Alfred Steele,repparttar 124163 former head ofrepparttar 124164 Pepsi Corporation, had a Coke dispenser brought in forrepparttar 124165 cast and crew. When Joan was late Bette, an often nasty woman but a total pro, would proclaim loudly," Isrepparttar 124166 Widow Steele ready yet?" Joan retaliated by lining her dress pockets with weights so in a scene when Davis had to drag Crawford's nearly dead character acrossrepparttar 124167 floor, she almost broke her back.

Male stars don't always get along either. On location in Japan, forrepparttar 124168 filming of The Teahouse Of The August Moon (1956), Glenn Ford paid a visit to his co-star Marlon Brando's dressing room. "Marlon did you eat one ofrepparttar 124169 chocolate chip cookies my wife sent me?". "No I didn't Glenn." "OK." Ford hesitated atrepparttar 124170 door. "Marlon, all you to do was ask, you didn't have to take one." Ford left to shoot his next scene givingrepparttar 124171 infuriated Brando time to go into Ford's dressing room and smashrepparttar 124172 remaining cookies with a sledgehammer.

Another Ford, Harrison, had a dustup with Brad Pitt duringrepparttar 124173 making of The Devil's Own (1996). At first Pitt was excited to be working withrepparttar 124174 older actor, but his enthusiasm waned asrepparttar 124175 script focus moved away from his sympathetic young Irish killer to Ford's middle-aged, happily married policeman. Ford perhaps threatened byrepparttar 124176 younger star, accused Pitt of trying to be an apologist forrepparttar 124177 IRA. The film was delayed almost every day for hours as Pitt, Ford and director Alan Pakula would argue aboutrepparttar 124178 script. The budget skyrocketed to over ninety million, became a box office failure and led to Columbia Pictures head Mark Canton, being fired. Duringrepparttar 124179 production whenrepparttar 124180 two had stars had fight scenes together they took out their frustrations by landing real blows.

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