Hollywood may have too many award shows but everyone still wants to be a winner. 1,929 words. Illustration by Mark Fearing.
Hollywood – 1978
"And the winner is," heralded Artie Edgar, hesitating a beat in an effort to heighten the suspense.
Known mainly for his role in the made-for-cable comedy series, Geezers, Edgar had been tapped to emcee history’s first cable TV awards program, the Inter-Connected-Networks awards, or simply, the ICONs.
The program was being televised nationally on every cable channel, a joint effort to elevate awareness of the non-conventional fare now being offered by a myriad of new programming services.
The year was 1978, fifteen years before the cable industry’s first Emmy nomination. For its time, however, the ICON awards were the symbol of excellence in cable programming.
"The ICON goes to Burlesque Heaven," Artie Edgar gleefully announced.
She invited him into her palatial Hollywood home so he could comfort her at this next catastrophe. 2,378 words. Part One. Illustration by Mark Fearing.
Jill Racine, television’s biggest star, observed the vehicle full of old people pointing, chattering, struggling to take photos of her. Still smiling, she urged me to go fuck myself, then skipped over to the tour group, leaned into the nearest elderly man and asked perkily, “You guys thirsty?”
I helped the tourists out of the minivan and watched Jill usher them toward her mansion. Hot, exhausted and angry as they were, my people were frantic with excitement. Ruthie had removed the handkerchief from her forehead, revealing a small abrasion. The German, expressionless, was the last to disembark. I didn’t know whether he had the faintest idea who our hostess was.
Stepping inside, the folks luxuriated in the air conditioning and begged for selfies with Jill, which she promised them “after you’ve cooled off and had something to drink. You guys like chocolate chip cookies? I made some with Daisy.”
Damn she’s a good actor, I thought.
There were three types of homes I’d point out during my first tour of duty driving Starlight Tours to the “Homes Of The Stars” when I’d just moved here: homes where I knew the star lived because I’d seen the star, homes where I knew the star didn’t live because I’d made it up, and homes where I didn’t know if the star lived because the drivers I’d observed during training had told their customers the star lived there but maybe they’d made it up.
A dozen years later, I was encouraged to reach the point where this ridiculous job was providing an emotional release. I could forget about my dying sitcom-writing career and resultant financial woes and make actual human contact. And I could tell jokes for two hours at a time, or an hour and a half with shortcuts if my group was a bunch of stiffs. I was even blessed with brief moments when I could break through the fog of anxiety over my son’s cerebral palsy and the debilitating loneliness stemming from my wife’s long-term hospitalization and her doctors’ refusal to let me see her.
My customers’ biggest thrill, now as then, came from seeing a star in the flesh. It didn’t happen often but it happened. Mel Brooks, wearing a robe and slippers, politely told us it was okay to drive by his place but please don’t stop the car. Cameron Diaz ambled over in a striped blue bikini to say hi. Michael Jackson Himself once hopped out of his limo near his Carolwood Lane home and happily shook hands with my awestruck customers.
Rule #2 for showbiz assistants: don’t bed a stranger instead of the man you love. 1,927 words. Part One. Illustration by Thomas Warming.
I walked into my apartment like a zombie.
I knelt on the floor of my bedroom. Stared at the wall. The SoCal summer sun sank outside my window. I watched shadows shift. Jake would not leave my mind or my body. He had taken over.
I had not managed the effort to switch on the light. Now shadows faded into darkness. My thoughts crashed. My power of denial faded. I absolutely loved him and I hated myself for it. I hated him for it, too.
“Why, why, why?” I asked the empty room.
I dropped my head into my hands. The moment solidified. I was head-over-heels in love with Jake Easton — a songwriter older than my father would be had he lived — and my resistance was circling the shower drain as I let the water run. I pulled myself up, out of paralysis, and dressed. I fetched my purse, walked to my car in a daze and drove the two blocks to The Brentwood, my local Regal Beagle.
Rule #1 for showbiz assistants: don’t fall in love with the boss. 1,416 words. Part Two. Illustration by Thomas Warming.
Jake Easton caught me in the middle of a mani-pedi at the nail shop. I pulled one hand away from the manicurist to answer the phone.
“Listen, on your way to my house, I need you to stop by Aida Thibiant for me.”
“Aida Thibiant,” he pronounced with an arrogance that sent daggers through me. “It’s a spa in Beverly Hills. I’ve ordered a bunch of skin and hair products that need to be picked up. There’s a sale so I decided to go to town for the best that money can buy. It’s the stuff I used back when I took good care of my skin. Also, I need you to book me a facial and a massage with the receptionist. Her name is Jenny. Make the appointments for Saturday morning. Nine for the massage with Bridget and ten for the facial with Lauren. Do you have a pen? I’ll give you the address.”
This guy annoys the fuck out of me. He’s a 58-year-old legendary songwriter/recording artist who’s written tons of hit songs for notable artists on the seventies Laurel Canyon music scene. As well, Jake has enjoyed a pretty successful acting career over the years. Also, he’s a notorious ladies man/lothario who has been romantically linked to a plethora of beautiful iconic female singers. By contrast, I’m thirty years younger than Jake and hired to transcribe his lyric journals for an upcoming album, but also to perform unclear personal assistant tasks. I’m a struggling actress/writer and still hopeful that working for Jake will be my ticket into the Hollywood elite.
“No,” I snapped. “I don’t run around with pen in hand waiting for you to bark orders at me. Sorry.”
He must make a choice: become the out-of-control young starlet’s BFF – or her babysitter. 2,778 words. Part One. Illustration by Thomas Warming.
Jimmy Sakamuru talked a lot about art, but he cared more about money. It’s the only way a director can get anything done. Jimmy would try to stick to dollars and cents around Barney but he was sure to look for a chance to tell us how his movie was like Italian neo-realism or some damn thing. He had directed a few studio pictures but none of them had been hits. It meant that now he could make a studio distribution deal but he’d have to find his own financing. Jimmy had lost his pipeline to studio financing. To claw your way back from that took a fierceness that wouldn’t be denied. The ins and outs of this were tricky.
And now Jimmy was bringing Caitlin Harper to our office. We mostly got business people coming through our doors. This would be our first pop diva.
Barney was wearing his best suit — a blue pinstriped double-breasted model that he wore to bank meetings. He seemed a little anxious. It hadn’t occurred to me to dress for the occasion. I was in my usual khakis and an old grey herringbone jacket. Jimmy was dressed in leather, jacket and trousers, though not the James Dean-Marlon Brando biker sort. Jimmy’s leather was buttery and so tight that it must have caused pain. He was wearing Japanese running shoes that had air pumps in them. The shoes looked like the 1980s to me but, as I came to see, those shoes and much else with Jimmy were worn in an ironic manner that mostly went over my head and certainly over Barney’s.
Jimmy showed up solo with a song and dance about Caitlin being ill. Her absence was an unmistakable sign of how things would go if we got in the Caitlin Harper business. Jimmy was full of assurances about how well he could handle her. Before Barney could throw him out, we were treated to a disquisition on the finer points of the shooting scheme for Overdrive. "I don’t want to just tell the story. Not a biopic, you know?" Barney knew what a biopic was but not much more. “The influence here is the nouvelle vague," Jimmy added with an aggressive French accent that irritated Barney.
Who’ll be tapped to tame a young starlet with wild ways? 2,762 words. Part Two. Illustration by Thomas Warming.
It was two o’ clock in the morning and Caitlin Harper was weaving her way east on Sunset Boulevard in her Cadillac Escalade. She’d had a lease on that enormous black beast for all of two days. Three of her pals were on board. Caitlin had sworn up and down to her agents, her manager (who was also her mother), her lawyer, possibly her accountant and to her one friend who had some common sense, that at night she would always have a driver. She would never, day or night, drive after drinking. She probably meant it when she said it, but Caitlin was twenty years old and famous. She did whatever she wanted to do whenever she wanted to do it. Caitlin had recently seen Bonnie And Clyde and was in a Faye Dunaway mood. She’d taken to wearing a black beret, imagining herself an outlaw on the run.
Caitlin Harper might have been the only pop diva I had heard of. That’s because everybody had heard of her. You couldn’t look at a screen or a magazine without encountering her round and lubricious face. She pouted her way across the American media with her high and swollen breasts pushed nearly out of her famous swooning necklines. I couldn’t name any of the songs she was associated with though I had seen a few of her movies.
On this night all that weaving from lane to lane, complicated by those Dunaway dreams, sent her diagonally across Sunset, over the lushly planted road-divider and into a telephone pole near the Beverly Hills Hotel. The pink palace as it was known was the property of the Sultan of Brunei, a personage that I’m sure Caitlin had never heard of though it’s entirely possible that the Sultan had heard of her. A woman in one of the big houses on Foothill Road was awakened by the noise and called in the accident. Caitlin had been drinking, which is what she was usually doing at two In the morning, unless she was having sex or possibly both at once. She was wearing her seatbelt, though I doubt it was buckled at the moment she wrapped the Escalade around that pole. It was a triumph of ingenuity that despite the inconvenience of interference from two airbags, Caitlin had enough of her wits about her to buckle up even if It was too late to do much good. Caitlin had banged her head on the side window which caused a mild concussion, but that was all. Concussions are one of the many things that seatbelts prevent. No one seemed interested in such pesky details. Her chums were bounced around a bit though the serious damage was to the pole and the Escalade.
Short or tall. Blond or brunette. Whoever women are, Hollywood wants someone else. 552 words. Illustration by Mark Fearing.
SEEKING ACTRESSES AND ACTORS WITH TOTALLY ATTAINABLE QUALITIES FOR HIGH PROFILE TOP SECRET FEATURE FILM
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FEMALE LEAD: Allison is effortlessly sexy but not intimidating: a true leading lady in every sense. She’s the girl next door to the girl next door; a classic beauty with an edgy quality that we cannot describe in words… but we’ll know it when we see it. Her imperfections make her who she is. Maybe she’s got a quirky birthmark on her thigh, or two different color eyes, or a penchant for wild lipstick. Surprise us!
Slowly and painfully, the one-time movie star comes back from near death. 2,232 words. Part One. Illustration by Thomas Warming.
He tried but he couldn’t move; restraints held his arms and legs down. There was something over his face, something heavy and damp, and there were tubes in his nose feeding cool air into his nostrils to control the rate of his breathing. Pain vibrated throughout his body but it was a dull ache, not a sharp piercing, that ran from his neck to his toes. Something was masking the real feeling. Just when he felt he could open his eyes, he would pass out again.
There were times the famous movie star Tommy Shaw heard voices hovering above but he remained in a constant state between dreams and consciousness so that the voices hardly seemed real. Were they talking to him or amongst themselves? One time he could clearly hear the conversation:
Take it easy on the morphine, Mr. Clovis… We do want him to wake up some day. Can he handle the pain, Doctor? He moans so in his sleep… Gradually, okay?… We need to lower the dosage over the next few days… We must concentrate on getting Mr. Shaw back to full consciousness and then we can regulate the pain… You can see him trying free himself… Mr. Shaw, please try not to struggle… Your wounds will bleed… Please, sir, listen to the doctor.
Then Tommy would obey the voices and stop fighting against the restraints and fall back to unconsciousness.
Tommy Shaw’s recovery from his near coma, to his weeks-long stay in bed, to his standing and trying to walk, took over a month of painful rehabilitation. He couldn’t attend Helen Porter’s funeral; her family came and took her body back to Springfield, Illinois, and they made it clear that no one from Hollywood was welcome to be there. Fans left flowers and postcards with their condolences and hopes for a speedy recovery outside the gates of the mansion. Universal Pictures sent over food from the town’s best restaurants and Carl Laemmle sent over a signed blank check for whatever Tommy needed. No visitors were allowed in the house. It fell solely to Clovis to prepare his master for life as his new self.
A 1920s Hollywood film star undergoes a shocking change in life and lifestyle. 1,843 words. Part Two. Illustration by Thomas Warming.
The children on Sunset Boulevard would play catch or kick-the-can or hide-and-go-seek in front of the dilapidated mansion and shout, “The Beast is in the house!” whenever they looked up to the top window and saw the curtain move. They did this on purpose and would scream with delight and also a touch of fear. Because they knew that they’d attracted the attention of the Beast and that he was watching them.
The children had heard all the stories from their parents. That the house belonged to the once great silent picture star, Tommy Shaw, and had been beautiful in its day. “Such a shame! What a waste of real estate to have this house, now in shambles, in one of the most expensive neighborhoods in the country.”
The front yard was overgrown with wild bushes and fallen limbs. So different from ten years before it happened. Back then, the mansion stood majestically behind the carefully trimmed shrubs and bushes, the trees in constant bloom. And the walkway, all gray slate, led to the white marble staircase with the black iron railing that ended at the large front door made of oak with a brass doorknob and knocker. The mansion back then stood three floors high and had three gabled roofs; it was said to have twenty-five rooms, including twelve bedrooms and a ballroom where Shaw would entertain all of Hollywood on a Saturday night. Also on the estate were even more magnificent gardens with a tennis court, riding stables and a swimming pool. They said it was a house that Jay Gatsby himself would have built if he’d had the money!
Tommy Shaw built this mansion in 1925 when he was one of motion pictures’ highest paid stars and his name was mentioned in the same breath as Chaplin, Chaney and Fairbanks. Some said he was making ten thousand a week, some said it was more. He planned on marrying Helen Porter, a young star in her own right, and bringing her here and raising a family. Of course, that was before early 1929 when Shaw’s life and dreams were swept away within minutes.
America’s Sweetheart was truly the Iron Lady of the motion picture world. 2,242 words. Illustration by Thomas Warming.
1919 — Last year, Fairbanks and me did the War Bonds; now that’s over. Victory. I can’t believe I’m almost an old lady at 27. I remember 19 years old, 150 dollars a week. Like heaven, standing in front of the camera. Then $500 a week from Mr. Zukor when I was 21. I remember every year by money: how much I made. Almost more than a full-grown lady, though still an adolescent by his standards. But I let him consider me a child. “If it pays, it plays.” I didn’t mind calling him “Papa Zukor.” Tess Of The Storm Country is what he wanted me to make. After all, in 1914, it was just like playing myself in a boarding house at age 12, alone and battling to pay the rent. Stealing milk for a baby! What tripe for some, but for me almost a true story. I mean for Lottie and Jack, how we struggled. So many years since I shouted down Belasco on Broadway. I learned the word “thespian” from a British actor, a drunk. It sounded like a lisp. But when I found out it is the real word for Actor, I perked up, got all the craft out of the way, tried to read all I could.
I spoke to Chaplin and D.W. Griffith. Well, we will stay united, “United Artists.” So we made up our minds to go into business together, and here we are, stuck together. since Feb. 5, 1919. If I hear one more person say “Lovable Little Tramp,” I’ll throw something. Little Mary Pickford is the only “Little” big star. Charlie has even horned in on my public. Little smallpox, more like it. The man is contagious, not a true actor. Just makes his pants fall down when his hat falls up. Oh the nerve of him.
Hollywood is known for horrible executives. But some are way worse than others. 1,697 words. Illustration by Mark Fearing.
Jeff Sterling, the President of America’s pre-eminent TV network, GBN, bought Lincoln HIgh in the room. Or to be more specific, in his cavernous Hollywood office. He liked the synopsis and had listened raptly to my proposal. He said yes before I even finished. Sterling was legendary for trusting his gut, for making split second decisions based on his instincts.
"This is just what I’ve been looking for," he exclaimed.
In our youth, we had worked together for the legendary Hollywood mogul, Len Richmond, and I had shamelessly exploited that connection so as to pitch the project directly to him.
But by going over the head of Conrad Cadwallader, the Global Broadcasting Network’s V.P. Of Movies, turns out I had unwittingly raised Cadwallader’s ire.
"There’s nothing like it on TV," Jeff Sterling pronounced as he escorted me down the hall to Cadwallader’s office. "I bought it," he bellowed when we entered unannounced. "I love it."
A screenwriter is trapped between the conflicting demands of a film’s producer and director. 5,184 words. Illustration by Mark Fearing.
The wallpaper was tired. And Ross Flanagan couldn’t decide if the hotel’s floral fresco pattern scheme was old or just old-fashioned. The joint was clean enough. Hardly first class and suspiciously shy of the three stars it had somehow earned on Priceline.com. He didn’t have to ask how the unit production manager had settled on housing the Los Angeles-based crew at the downtown Abbey Inn — aka “The Shabby Abbey” — as the costume team had quickly coined it. This was simply the best flophouse the dusty Utah town could offer. That, and the former teleconferencing office next door provided a convenient space for the production office. Temporary. Serviceable. Not the least bit inspiring.
The graying writer had been brought onto the Western’s shoot for two reasons: his valuable past experience with the notoriously difficult and aging movie star, and he was also very available and in need of a quick cash infusion. Four kids and two divorces kept him in constant dire straits.
The air conditioner was blowing full on. Ross hoped it would create some airflow with the door wide open. The pair of second-story windows bolted permanently closed provided a view of scrubby hills scarred with stirring gashes of bright red clay. The late spring heat wave had done away with whatever snow was leftover, leaving the ground grassless and brown.
It looks like the inside of my head, Ross admitted to himself. Dull, wasted, and somewhat bloodied.
A narcissistic actress meets the one man she can’t have. 2,546 words. Illustration by John David Carlucci.
When Jacqui decides to rent a house, the most important item on her wish list is the position of the pool. The wrong exposure, too much shade – deal breaker. No tanning beds or crfeams, Jacqui enjoys the sun. She has zero interest in people who obsess about skin cancer. God created sun, didn’t he? But did he create dihydroxyacetone, the creepy stinky chemical in self-tanners that does who knows what to your immune system? She visits her dermatologist once a year to get checked out and she’s doing just fine, thanks. SPF? Not for Jacqui.
Jacqui never wanted to be an actress. She moved to L.A. with a high school girlfriend who had the acting bug. Jacqui figured she’d get a job, then marry a nice man. Enough of a reason to leave Fresno. The girlfriend took acting classes and one night, after a showcase, Jacqui was approached in the lobby by an agent who said he admired her performance.
“I wasn’t in the show,” Jacqui told him.
“You should’ve been,” the agent told her, not missing a beat.
Jacqui married the agent, did some guest spots on TV shows. Dr. Quinn, Medicine Woman. Quantum Leap. She learned her lines, got along with everybody, became known for her pretty face and nice body. But L.A. was filled with actresses like Jacqui. Fortunately, there also were plenty of men who admired them. Divorce, alimony. Another marriage, another divorce. Alimony again. Star Trek: Voyager, NCIS, a couple Lifetime movies. She was aware of getting older, of losing roles to younger women. But Jacqui didn’t care. She had money – not a huge amount, but enough. She still worked. Other actresses talked about their plastic surgeons and line fillers and boob lifts, but Jacqui was oblivious. Because, no matter what, Jacqui always had the best tan.
An ex-studio boss tries to cast a crazy music superstar in the first film he’s producing. 3,704 words. Illustration by Thomas Warming.
Ben had been working on Art Manning, hard, for almost a week now.
They had done business together in past, since Manning was a powerful lawyer whose roster of A-list clients could set a deal in motion and often helped close it. He was regarded as a combative litigator, but also as a top-notch negotiator – something not always said about powerful entertainment attorneys.
When Manning came in to negotiate a deal, he never inadvertently killed it. He was not one of those lawyers whose art collections were more celebrated than their legal skills.
Ben knew that many industry lawyers were only too happy to have Manning in on a negotiation. It was one way of assuring that they would get the best possible pay-out for their client – as long as they were on the same side of the table as Manning.
Now Ben needed help for the new independent production company he was starting. He didn’t want to admit it, but he’d been unnerved by his most recent industry party. He had never thought that roughly a third of his guests would leave once he was no longer head of a studio. Was this something he needed to worry about now? Should he prepare for a life of slights? His name falling off an important agent’s call list? Never making it to the top of the queue to buy a Gursky? Ben cut off this line of thought. It was a waste of time. He had built his many relationships over years of doing business. Relationships were what mattered in Hollywood. People would always take his calls.
This picture was a good starting point. It would grab that attention of everyone in town. Over the years, many different directors and producers had tried to set up this script. But it had eluded, even stumped, them all.
Ben was certain that he had the key. Howard would make it work. Ben decided that it was going to take longer than he had planned to assemble a deal. A slog, not a quick march. But he had the skills – and patience – required to win. And winning was all that mattered.
A heartbroken woman uses the actor’s movies to get through a painful breakup. 3,015 words. Illustration by Thomas Warming.
I wasn’t expecting any of this, but they say when the student is ready the teacher will appear.
If you had told me back in January that Ewan McGregor would pull me up out of the pit of despair, I would not have believed you. I didn’t know that one day he would come to me all sexy and whisper in my ear, “Choose life.”
I should start by saying that last year was a difficult year for me.
The break-up took me so by surprise that it was like a movie with a twist ending. You have to go back and watch it again. My boyfriend turned out to be Keyser Soze and now I had to re-read every text and replay every date looking for the clues I missed. I pieced the timeline back together, now with the new plotline: his face and hers together in a picture she had posted back when he and I were together. I knew everything in that instant. His confession came much later.
There is this thing your brain does in grief, replaying the story, as if reliving it could change it. I searched for the moment when things went wrong, desperate to fix it, or at least understand it. Was it a word I said? Or maybe it was my childhood? Or maybe his?
My brain sputtered. My mind was caught in an infinite loop. All I wanted was my boyfriend back. The heart wants what it wants. There was no explaining to mine to let go, and there was no explaining to his to hang on. Thinking about it became exhausting. I had to find something else to occupy my restless mind. I knew that much.