Word: hollywoodized
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Dates: during 1970-1979
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...began, befittingly, with lobster tails and champagne served to picketing Hollywood writers by the secretaries of Warner Brothers studios. In the first weeks of the strike called by the 3,000 members of the Writers Guild of America against movie and television producers and the three major networks, both sides assumed the bemused air of adversaries in a genteel farce. Executives at Disney studios provided storage for picket signs in their conference room. Some writers reported to the picket line outfitted by Gucci and Cardin. One rain-shy striker arrived outside 20th Century-Fox and defiantly lofted his picket sign...
...since the last Guild strike in 1960. Present rates are $4,500 for a one-hour TV script, $3,500 for a half-hour. Hefty enough sums, it would seem, but the writers are asking for an increase to $6,000 and $4, 150 a show. "Most people think Hollywood writers are wealthy," scowls Freelancer David Rintels. "But most have to take part-time jobs to survive...
...only Western distribution their Kung Fu movies used to have was in the Chinatowns of Europe and America. Last January, however. Run Run decided to peddle his Kung Fu movies to a wider audience. "American people always love action," he says to explain his Great Leap Forward. "Hollywood made lots of money with cowboys until Italians made cowboy pictures with more action. Next came James Bond." He adds proudly: "Now from Hong Kong comes Kung...
Among the latter, the best-known group was the Hollywood Ten, an oddly assorted collection of men who went to jail for refusing to testify about their political beliefs. They included Dalton Trumbo (Kitty Foyle), one of the highest-paid screenwriters in town, and Ring Lardner Jr. (Forever Amber), one of the most talented. The rest were largely fringe figures, creators of Charlie Chan and Boston Blackie epics, who as writers and directors probably could never have earned anything like the fame they won collectively in political martyrdom...
Whatever their aims, their ideological effect on the Hollywood "product" was slight. John Howard Lawson (Action in the North Atlantic), chief ideologue among the writers, was finally reduced to such fatuities as advising Hollywood actors that even if they were only extras in a country-club scene, they could "do your best to appear decadent ... create class antagonism...