Melissa Joan Hart, the star of Sabrina the Teenage Witch, gave a revealing interview in the August 1, 1999 edition of Movieline magazine. She said that after she read the original script for the movie version of The Mod Squad, her immediate reaction was, “Who do I have to blow to get this?” She knew the score.
by Mike Stone
The first Hollywood movie I ever made was directed by a middle-aged married man who was obsessed with prepubescent girls.
He spoke constantly of Meredith Salinger’s performance as a 14-year-old in The Journey of Natty Gann, Jodi Foster’s performance as a 12-year-old prostitute in Taxi Driver, and Natalie Portman’s performance as a 12-year-old in The Professional, and how hot they all were. To him, they represented the ideal “woman.” He would have killed to work with any of them – before they turned 18.
Knowing him the way I did, if he would have had that opportunity, he would have been overcome with lust. The last I heard, he was binge-watching Cuties. To him, it ranks right up there with Citizen Kane.
The script for my first movie was actually quite good. A studio reader compared it favorably to Pulp Fiction, and another reader compared it to Bonnie and Clyde. Still, the director insisted on rewriting every word. The end product was a movie made for 12-year-olds.
That’s not an uncommon occurrence in the movie business. It’s actually standard operating procedure. When you watch a piece of crap and say, “I can do better than that,” you’re right. You could. But the real test is can you write something so f-ing brilliant that a hack director or a team of hack producers and screenwriters can’t turn it into a piece of crap? That’s the real test.
In the case of our movie there was one particular scene that was so unique and so mind-blowing that everyone who read the script raved about it. In fact, the company that made the movie admitted that the reason they decided to finance the picture was because of that one particular scene. When the director rewrote the script, that scene was the first to go.
Why? Because he didn’t write it himself and his ego demanded it be his movie, not anyone else’s.
Every director is like this. Every single one. I met dozens of both working and wannabe directors and they all insisted it was their right to rewrite any script they came across in order to match their “vision.” You could hand them the shooting script to Chinatown and they’d say it “needs work” and insist on rewriting it. Many of them had never directed anything in their life.
Melissa Joan Hart, was willing to trade sexual favors in exchange for a part in the original script of The Mod Squad, but when she saw the rewritten version, she wanted nothing to do with it. Claire Danes got the role.
If you think Hart was joking about trading sexual favors for a role, I can assure you that such behavior is also standard operating procedure in Hollywood, and it’s been that way since the beginning. Even little Shirley Temple was pressured to put out.
As a producer, I was inundated with young women – and some not-so-young – wanting to further their careers. Some were more discreet than others and some were downright flagrant about it, especially the actresses. There was nothing taboo about it. Everyone understood it was business as usual.
(Weinstein & Gwyneth Paltrow)
I’m sure it’s the same today even with the MeToo movement and the downfall of Harvey Weinstein. I don’t know why Weinstein was targeted. I’ve heard he was working on an anti-vax movie, but I don’t know how far along he was with it, and even so, if someone had told him to knock it off he probably would have. His demise is a mystery.
If you think the power brokers of Hollywood are going to give up their most prized benefit, think again. A couple of well-placed hidden cameras are all that’s necessary to keep from getting hit with a fake rape hoax.
It’s not much different for men. In fact, you’d be shocked at the number of male stars and supporting actors who are either gay or bisexual. It’s almost all of them. When I was a young and naive actor, trying to land a part in a studio movie, an agent suggested I “hook up” with the film’s casting director.
The agent told me he could arrange it. By “hook up,” I thought he meant meet for an audition. It was an “audition” all right, only not the kind I was thinking of. I didn’t get the part.
Another time, an A-list, Oscar-winning male star approached me after an acting class. I was young and clueless; I thought he was just being friendly. I found out later he was notorious for cruising L.A.’s gay bars, looking for young guys. That male star is married now and his wife looks like a tranny.
What about talent, you ask? It counts, but only for a little. The girl who gave the best reading for the female lead in my movie didn’t get the part, because she wasn’t pretty enough for the director. If she had been 12-years-old, he probably would have cast her. Other parts followed suit with various favors being paid off.
On a movie set, everyone has an agenda, and no one’s agenda is making the best movie possible. The director wants to exercise his ego and play the part of the big movie director. Like a petulant child with a giant train set, he doesn’t really care if the movie fails, as long as it’s “his vision.” If he can get laid in the process so much the better.
The line-producer wants to siphon as much money out of the budget as he can for either himself or his friends. The casting director wants to get in good with the city’s top agencies for other projects he’s working on, so he submits their lower level clients, regardless of whether they’re right for the role.
The makeup artist wants to do as little work as possible while simultaneously sucking up to the two stars. So they each get an hour of time with her while everyone else gets three minutes.
The costumer doesn’t care whether her outfits are right for the characters, only that they’re part of her permanent wardrobe so it saves her time and work. The actors don’t care about the movie as a whole, only their individual parts, so they constantly try to upstage each other. And all the way down the line.
On any production, no matter what the size, there are only a handful of people, maybe only one or two, who are truly interested in making a good movie. It might be a single actor in the cast, or the person who wrote the script, or even a crew member. Everyone else is concerned with their own interests and whatever their agenda is. That’s why the best movies are made when a talented person is the controlling force, someone intent on making a good movie: an Oliver Stone, Alfred Hitchcock, etc.
Looking back, what I thought was a decadent and demoralizing cesspool of depravity actually looks like the good old days. It seems like everyone in Hollywood today is onboard with pushing a Communist anti-white, anti-family, anti-God agenda.
They’re swirling down the drain to hell and they want to take as many people as possible down the drain with them, the younger the better. Entertainment has taken a back seat to pushing the Party Line.
As always, however, the deranged left never knows when to stop pushing. Record low ratings for this year’s train wreck of an Oscars telecast indicates that even the sheeple might have had enough. Here’s hoping they tune out Hollywood for good.
A while ago , the guy behind https://www.crazydaysandnights.net/ explained what happened. The real talent, such as the really creative scripwriters left long ago because they refused to be dragged down into the sewers. The guy said the talented guys are still around and waiting for the situation in Pedowood to turn around and they can get back to making good movies.
Yeah well lets tell the truth eh?
Satan in Hollywood Herve Ryssen