Word: reels
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Dates: during 1980-1989
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...coscreenwriter Gerald Petievich (a former Treasury agent) was an absorbing tortoise-and-he-hare yarn about two separate teams of T-men on the trail of the same master counterfeiter. But Freidkin kills off the tortoise (a sympathetic older cop on the eve of his retirement) in the first reel to provide Chance, his amoral anti-hero, with a stock revenge motive; yet he then fails to develop this element of the story. He cut out the emotional heart and balance of the book, and you can only assume that this is exactly what he wanted to do. Freidkin...
Matz said that because the business is still new, he does not know how lucrative it will become. But he predicted that he will be able to meet costs this term and reel in a profit in the spring, when coupon bartering has been known to increase by as much as 60 percent...
...through human blood or saliva. It commutes by bugbite or kiss or who knows what. It travels in mysterious ways, and everything, everyone, becomes suspect: a toilet seat, a child's cut, an act of love. Life slips into science fiction. People begin acting like characters in the first reel of The Invasion of the Body Snatchers. They peer intently at one another as if to detect the telltale change, the secret lesion, the sign that someone has crossed over, is not himself anymore, but one of them, alien and lethal. In the plague mentality, one belongs either...
...Three years later he signed his first movie contract, at $150 a week; four years after that, he was to make $1 million a year and become, for a time, the planet's most recognizable and cherished figure. Chaplin deserved no less; his poignant one-reel comedies taught the world how to love movies. Pickford, with her ringlets and coquettish ways, was hardly less popular, and no less resourceful. In 1909 the little girl from Toronto cadged an audition with Film Pioneer D.W. Griffith; by 1916 she could tell the bosses at Paramount Pictures, "No, I really cannot afford...
...learn that George and Sister-in-Law Laura enjoyed a pre-Christmas tryst at New York City's Pierre Hotel. Julian Kay (Richard Gere in American Gigolo) was born in an asylum, son of the mad Norma Desmond and Screenwriter Joe Gillis, whom she shot in the last reel of Sunset Boulevard. Julian is raised by Max von Mayerling (Erich von Stroheim), Norma's former husband and butler. After two dismal marriages, Judy Rogers (Natalie Wood in Rebel Without a Cause) joins a Haight-Ashbury commune...