Word: paramount
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Dates: during 1960-1969
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...More Habit. As in the days of Goldwyn and Mayer, the studio goal is to make money-but the customers are now willing to pay for a different product. "The main change has been in audience," argues Robert Evans, head of production at Paramount. "Today, people go to see a movie; they no longer go to the movies. We can't depend on habit any more. We have to make 'I've got to see that pictures...
...different studios from the one-man autocracies that used to welcome creative geniuses like France's Jean Renoir with lavish contracts and then crush their talent with assembly-line production techniques. The old dinosaurs in the corner offices have finally given way to younger dinosaurs. Robert Evans of Paramount is 37. Richard Zanuck, Fox production chief, is 34. David Picker, United Artists' vice president for production, is 36. Today the studios are frequently packagers, providing money and facilities for small, independent production teams-which naturally insist upon artistic control. These film makers are not necessarily American. Hollywood...
...Arthur Rank with a film idea, they consider me a nuisance," he claims. "If I go to MGM, I am welcomed." France's Claude Lelouch (A Man and a Woman) has been signed to a multipicture contract at United Artists, as has Polanski at Paramount. The Iron Curtain countries are a continuing source of new talent, and Hollywood studios have dangled fat contracts before Czechoslovakia's Jan Radar, who made Shop on Main Street. Even the customarily aloof Antonioni has become part of the new Hollywood; his next film, Zabriskie Point, will be financed by MGM and shot...
...bands are not coming back. They probably never will. At least not in the way they flourished 30 years ago, doing up to six shows a day at theaters like Manhattan's Paramount, playing for dancing at spots like the Glen Island Casino in New Rochelle, N.Y., echoing over the radio networks every night from hotel ballrooms across the U.S. All that has been relegated to memory-and to the big-band buffs. These are the forlorn breed of fanatics who can not only instantly identify Artie Shaw's 1940 recording of Stardust but can even name...
...humble screenwriter, I must take exception to your charge of plagiarism. The "run of dialogue" stolen from Jack Benny's mouth did not appear in the original screenplay of Waterhole #3 [Oct. 20]; it oppressed my shell-like ears for the first time at the press preview at Paramount Studios. Now I'm sure you must realize that an original screenplay goes through any number of "improvements" at the hands of its producers (three in this case), directors (I counted at least five the time I sneaked on the set), and stars. Therefore, I pass the mantle...