Word: paramount
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Dates: during 1970-1979
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...Larry Peerce decided that the inexperienced kid was right for it after all. The role earned Ali a fast $10,000 and even faster fame. "When I saw those reviews, I knew I was in over my head," she says. But she had signed a five-picture contract with Paramount and started at last to study acting. She was 30 years old. No recent ingenue had made it so big so late. There was a lot of catching up to do. Like consulting a psychiatrist. "I thought I wasn't worthy of all that attention. I was so unhappy...
...Paramount Production Chief Robert Evans remembers that blank look. "I shook hands with her for a year and a half. Otherwise she had nothing to do with me. I wasn't her kind of guy. Everything I represented seemed to turn her off." Recalls Ali: "I took one look at that enormous house of Bob's and in my highhanded way said, 'Well, I know what this is about and it's not for me.'" What it was about was 18 rooms and 26 phones, most of them chorusing with jangles from New York...
...Hollywood was like a week in the country. He sold his shares in the pants company (Evan-Picone), grossed a few million bucks and began a new life as an independent producer. Conglomerateur Charles Bluhdorn figured that Evans was just the man to run Gulf & Western's new bauble, Paramount, and put him in charge. Evans started well, with successful films, including The Odd Couple, Barefoot in the Park, Rosemary's Baby and Goodbye, Columbus. But he also shepherded some monumental losers, notably Paint Your Wagon and Darling Lili...
...already altered the "new" Hollywood beyond ready recognition. The place where executives put away their cigars and grew sideburns overnight, the industry that was welcoming kids from U.C.L.A. with a Bolex and a two-page outline?suddenly, it is in show business again. Says Evans: "At Paramount we learned a long, four-year, expensive lesson. From now on we make our kind of pictures. No directors who have final cut. We have final cut. Paul Newman may be one of our best actors, but he will not be allowed to make more WUSAs to salve his liberal conscience. From...
...nothing to do with good moviemaking. Nineteen-seventy, you may recall, was the year Hollywood attempted to cash in on the so-called youth market ( Getting Straight and The Strawberry Statement, both vile), the year three major studios placed their fiscal futures on the line with expensive extravaganzas (Paramount, Catch-22; 20th-Century Fox, Tora! Tora! Tora!; and MGM, Ryan's Daughter ), and the year Europe's three best-known directors came up with relatively disappointing work (Fellini, Satyricon; Antonioni, Zabriskie Point; Bergman, The Passion of Anna...