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- November 18, 1996
- Vol. 46
- No. 21
Young Hollywood Through the Decades
These Days the Paychecks Are Bigger, the Pictures Steamier, and Studio Moguls Don't Hold All the Cards. Still, Some Things Never Change About Coming-of-Age in Hollywood: the Exuberant Hopes, the Sudden Friendships, the Rewards—and Reversals—of Fortune. Here, as Everywhere, Each New Generation Leaves Its Mark
Robert Stack, ACTOR
I never really got into the Hollywood groove. When I was 20 or 21, I got together with my peers out of necessity. What the studios would do is, they would structure parties where you'd put on funny hats and pose for pictures over barbecues. You'd make funny faces and make like you were close friends, but you were all thrown together because that was the way the studio had it happen. They would have you take out starlets you didn't even know and create phony romances. It was all structured by the big daddies of the studio.
Oleg Cassini, FASHION DESIGNER
A typical party had 300 people, a tent, two orchestras—one Latin, one jazz—hundreds of waiters and the best food catered from Chasen's. Once, my wife [actress Gene Tierney] and I were at a party given by Joan Fontaine at Romanoff's. My wife was seated next to Jimmy Stewart and Clark Gable, and I never asked her to dance. At the end of the party she was furious with me. She said, "How could you leave me in the middle of those two bores?"
Sheila MacRae, ACTRESS
Hollywood created a whole persona for me. Jack Warner told people that I was from Australia because he didn't want anyone to know how young I was  when I first got pregnant. That way people couldn't look it up. It would be so embarrassing to have, say, Laurence Olivier say to me, "So, you're from Australia." The first time I heard that I said, "Where did you read that?"
Cyd Charisse, DANCER
I met Fred Astaire when I did Ziegfeld Follies . I was in little toe shoes on this huge mountain. He was singing "Bring on the Beautiful Girls," and Lucille Ball was in a chariot with a whip. That day the bubble machine went out of control. There were bubbles all over. My shoes were soaking wet. The girls were hysterical. The cameraman was sent to the hospital for breathing it all in. All you could see were these beautiful girls' heads above the bubbles. That was my first experience at MGM.
In Fiesta , Esther Williams was playing Ricardo Montalban's twin sister, and I was playing his girlfriend. We were shooting in Mexico, and one night we were in Esther's suite in the hotel and she made martinis. She had just married [actor] Ben Gage. We went down to dinner a little late, and the staff said we were too late to eat. Ben was very mad, and it graduated into a free-for-all and they called the police. Ben was taken off to jail with the makeup man.
Rosemary Clooney, SINGER
When Marlene Dietrich and I traveled by airplane, she'd take out a baby shoe, a mezuzah, a St. Christopher medal, a rosary and a Star of David. She had so many things covering every religion that you couldn't possibly crash.
Yvonne De Carlo, ACTRESS
The sex thing in movies has changed a lot. In those days we couldn't really show cleavage. These men in dark suits would come onto the set and put a little gauze over the crease.
Tony Curtis, ACTOR
Hollywood in those days was really like a close family. Just by chance, nothing more than that, I fell into a group that included Marlon Brando, Monty Clift, Rock Hudson, Marilyn. We were the players. That was the way the film industry was. In those days, everybody knew everybody. We used to hang out together, go to Lucy's, Club Gala or Mocambo. When I did Some Like It Hot with Marilyn, she and I both got about $300,000 and a percentage of the gross. That was top dollar at that time.
Kim Novak, ACTRESS
[Columbia studio chief] Harry Cohn fought over whether to change my name. He said, "From now on, you will be Kit Marlowe." I said, "I'm sorry, I won't change my family name." It was almost a whisper, but there was determination in that voice. He said, "Nobody's going to come see an actress with a Polack name." From then on he always called me "the bohunk," "the Polack."
It was so hard to try to hold on to your own identity and not be lost in a mask. Everything was the glamor thing. It was like living in a prison. You'd go on the set before first light and leave after dark. I lived at the Studio Club, which was a place for girls growing up. I didn't know how to drive or anything when I got to Los Angeles, and it was only three blocks from the studio. Even when I made Picnic and Vertigo, I was walking to work. They didn't send a car or anything. At the Studio Club you had to be in by 11 o'clock or you were reprimanded. You had to be there for meals, or you didn't have them. Making all those movies, I'd get home after dinner was over—but the cook was so sweet. She'd save something, and she'd put it under my door. It was girls only. Boys could come only into the lobby. They couldn't go upstairs. Marilyn Monroe lived there before I was there.
Eartha Kitt, SINGER
I was at a table at a hotel on the Vegas strip, ready to bet a single dollar. Suddenly a few of the casino's people came over and told me not to place the bet. I was very naive. I thought, "Isn't that wonderful? They don't want us to throw our money away." The truth of the matter was, they didn't want any black people sitting at the table.
Cliff Robertson, ACTOR
A guy who was everywhere in those days was Steve McQueen. He wasn't a member of the studio [Columbia], but he used to have a motorcycle out in front. He'd strut around, and we used to say, "Well, there goes another guy doing Waterfront." Jesus, did he want to be a movie star!
I knew Jimmy Dean quite well. As a matter of fact, I had drinks with him two nights before he was killed. He was enjoying his success, the money, the fancy clothes. I didn't happen to see his car that night, but I'm pretty sure his Porsche Spyder was parked in the restaurant's lot.
George Stevens Jr., PRODUCER
Jimmy Dean could be tremendously winning. He was a little guy—mercurial. I had fun with him, but he was very much what he elected to be in the moment. He could turn on the charm or he could withdraw. As it happens, I wasn't with my father [Giant director George Stevens] when the news came through that Jimmy had died. But Carroll Baker was with him in the projection room along with Elizabeth and Rock. They all used to go there after work to watch dailies. It was a Friday evening. The phone rang, which was very unusual in my father's screening room. Carroll saw his face as he took the call, and she thought something must've happened to me. He was totally pale. It was a tremendous shock. Jimmy was only 24 years old.
[On the set of Giant] Dennis Hopper was a kid fresh out of Kansas—he was only 19—and here he was in his first scene playing with Liz Taylor and Rock Hudson. Dad saw that he was nervous and told him, "Just treat them like your parents."
Shirley Jones, ACTRESS
It was a different business then. In the '50s I made April Love with Pat Boone. He was very religious, and his wife had decided that he wasn't allowed to kiss another actress. We had this scene on a ferris wheel—we were supposed to have a big kiss—and he wouldn't do it. I said, "But you're an actor." He still wouldn't. The terrible thing was that in his very next film, he kissed the girl.
Shirley Knight, ACTRESS
When I worked with Paul Newman I was a very shy 22-year-old, and we had this love scene that we were supposed to be doing in this lighthouse. Joanne Woodward was sitting there, pregnant and knitting, and Paul said to me, "We have this love scene coming up. I think we should go and smooch behind the scenery and get to know each other better." Joanne said, "Paul! She doesn't even know you!"
Connie Stevens, ACTRESS
I was the very last of the contract players. I thought, "This is my big dream. I'll be the next Debbie Reynolds or Doris Day." [TV and film actor] Michael Callan and I laugh about that because Michael, Jimmy Darren, Frankie [Avalon] and I—we all got shafted because, after Gidget and Hawaiian Eye, all the musicals stopped. I remember the "blanket calls" at 6 a.m., whether I worked or not. I'd be out dancing all night. I would brush my teeth with my eyes closed. My dad would shove me out the door. I'd get in my car, and next thing I knew I was made up. My hairdresser would say, "She's having her breakfast," and she'd let me sleep. She'd fix my hair on one side while I slept, and then the other. They'd have to scrape the makeup off my face from the night before. But I wasn't going to miss out on life.
Dwayne Hickman, ACTOR
It was work, work, work—and when I wasn't working, I was having a good time—dating, playing tennis, going to the beach, just like a California kid would do. A lot of the Hollywood people, Connie Stevens, Dorothy Provine, we all saw one another. Bill Bixby made up credits to get his first job on Dobie Gillis. Michele Lee was nervous because she was working for the first time. Mario Thomas—then it was Margaret Thomas. And Warren Beatty played Milton Armitage, the rich boy. I learned one thing from Warren, and that is to comb my hair in the lens of the camera, like a mirror. I saw him do that one day and I thought, "It works."
Bob Denver, ACTOR
I have Maynard Krebs fans from Dobie Gillis who swear there's two or three years between Dobie and Gilligan's Island. There isn't. Some sociologist told me it was because of the Kennedy assassination. For all of those people in high school and college, that was the end of an era.
Stella Stevens, ACTRESS
When I came out here, I was a teenager, and I was invited to all these so-called A-list parties. The first thing someone would do is put a drink in your hand. Everybody drank and drank. I thought the whole world behaved like that. Once, Peter Sellers took me to the Coconut Grove and asked me if I could get him some pot. I made some phone calls, but I couldn't. He got very angry. He got out of the car, and the driver drove me home.
Paula Prentiss, ACTRESS
I was on a publicity tour in 1964, and I had a chance to have my picture taken with the Beatles. But then I wasn't allowed to. It was an MGM thing, I think, because Hard Day's Night belonged to another studio.
Carol Lynley, ACTRESS
Roman Polanski asked me out on a date. He wanted to go to Disneyland. I don't know how Federico Fellini got into the act. Roman spoke little English, Fellini spoke Italian, and I was speaking French and Spanish. Then we went on this ride where you get into a boat and go through a tunnel with these dolls and hear, "It's a small world after all." Roman loved it. Fellini and I had to go on it with him four times.
George Schlatter, PRODUCER, ROWAN & MARTIN'S LAUGH-IN
Nobody wore a bra. Everybody was into miniskirts. The music was the Beatles and funk and the twist and the frug. All of that was a lubricant for the political satire. At Laugh-In, we did a salute to smoking with Dan Rowan in an iron lung. He said, "Sure, I saved the coupons. How do you think I got this swell iron lung?" The cigarette companies stayed on the show because they didn't want to lose that huge audience.
Tommy Smothers, COMEDIAN
At the end of our first TV season, we started taking a position on the Vietnam War. We had Steve Martin, Rob Reiner, Mason Williams as the writers. Everybody was darn near under 30. We had all the top rock groups on. We were hanging out with Harry Nilsson, John Lennon, the Mamas and the Papas. We had a great time, The most dramatic of the years was 1968—the assassinations. We were running Pat Paulsen for President from the Stag Party. That was the sad dest time for us because of Bobby Kennedy. We knew him pretty well I was on the funeral train with the family. My memories were of Eugene McCarthy and Bobby Kennedy and all the riots.
Jack Haley Jr., PRODUCER
We all looked so goofy back then. I had long sideburns and big, fluffy hair, the beads and the Mao jackets. The Daisy opened, and it was a phenomenon. For a long time we'd meet on the weekend and go to La Scala for dinner or the Luau, and then you'd go to the Daisy. You knew everybody. The Sinatra daughters asked me to stage their dad's 50th birthday at the Beverly Wilshire Hotel. Frank Sinatra took me around to meet Cecil B. DeMille and Sam Goldwyn. I walked back to the Daisy because I'd left my car there. I was in a tux, I took off my bow tie. I was sitting with friends at a table. All of a sudden, into my lap jumps what I thought was a newsboy in a striped shirt and jeans. Then I realized it was Mia Farrow. She had cut off all her hair that night because she hadn't been invited to Frank's 50th-birthday party.
Grass was the drug du jour. Later [society would] get into heavier things. Once I was in New Orleans filming a special with Herb Alpert and the Tijuana Brass. I'm in the hotel one morning, exhausted, and Peter Fonda came to me and said, "We're all out of film and we've got to shoot a whole LSD sequence here." I said, "What are you talking about?" He said, "In the cemetery. It's a movie called Easy Rider."
Diane Ladd, ACTRESS
I ended up marrying Bruce Dern quite young. All of us, Jack Nicholson and Warren Beatty, knew each other from New York. I remember getting an interview at MGM and I couldn't get in touch with Bruce and I had 20 cents in my pocket to take a bus out there and did not know how I would get back. That happened a lot.
Roger Carman, DIRECTOR
Dennis Hopper [in 1967's The Trip] had a very long monologue in a kind of LSD house. I set up an intricate camera shot and I was paying more attention to the camera than to Dennis. Afterward the soundman came to me and said he just replayed the scene and he thought Dennis broke the all-time record for saying "man" in one sequence—over 30 times. During filming, we'd be getting into things like, "Whose trip is this about?" because Jack Nicholson would be saying, "Now, this happened to me..." and Peter Fonda would say, "Well, when I took it...."
Wayne Newton, SINGER
At 15, I was appearing in Las Vegas. I was an anachronism. Jackie Gleason, Lucille Ball, Danny Thomas, Bobby Darin, Jack Benny, George Burns, Frank Sinatra, Dean Martin and Sammy Davis Jr. all took an interest in me, because I was doing what they were and I was 25 years their junior. My contemporaries were the Beatles and the Rolling Stones.
Warren Seabury, PUBLICIST
The '70s were the '60s with a tie on, but it was still a decade of excess, drugs and desperation. Drugs like marijuana and cocaine were eclipsed by heroin in the '70s. Everyone had "pinned" eyes. We were all so skinny we could walk through a harp. Everybody was sleeping with everybody. People were unabashedly excessive.
I lived in a flea-bitten hotel with Chevy Chase when he was writing comedy for the Smothers Brothers. Chevy lived in a room upstairs. We'd walk to a place two blocks away on Rodeo called the Luau, started by Lana Turner's ex [Stephen Crane], and get smashed on exotic drinks.
The '70s were a time of absolutely memorable parties in this town. I remember it as a social frenzy. We'd all go to Cher's roller-skating parties on Thursday nights in Reseda, deep in the San Fernando Valley. The residents nearby didn't know that this parking lot was filled with some of the biggest stars in the world. The public was not allowed in, and the security guys looked like a bunch of linebackers. Tony Danza, Cher, Sylvester Stallone would skate to disco music blaring everywhere.
Peter Bart, PARAMOUNT EXECUTIVE, NOW VARIETY EDITOR IN CHIEF
In those days your job as a studio executive was to worry about a summer picture and a major Christmas release. The rest of the year was playtime. You were free to roam. George Lucas made American Graffiti  at Universal, which didn't like the picture. Francis Ford Coppola and I went to them with a $2 million check to buy it. They said, "Maybe. But we'll have to preview it first." They did, and of course the kids loved it. We came so close...
Coppola was delightful and a brilliant conversationalist. Lucas was an extremely quiet, introspective young man. He spoke in clauses. Coppola would talk in paragraphs.
I'd meet Clint Eastwood at a Mexican restaurant and bar behind Paramount studios. Meetings wouldn't be at Morton's but at a déclassé place. The code then was no pretension. I remember having a script conference with Paul Newman while driving around in his Volkswagen.
Julia Phillips, PRODUCER, NOW AN AUTHOR
[The decade] was about raw ambition. It was about wanting to be great and doing something no one's done before. You know what Robert De Niro got paid for Taxi Driver? $50,000.
For six weeks after The Exorcist came out at Christmas in 1973, all anybody was talking about was The Exorcist We went to see it at the old Academy on Melrose. I'm sitting next to Robert De Niro, and there's Martin Scorsese, Harry and Mary Ufland [De Niro's agent and his wife] and Steven Spielberg. De Niro kept going lower and lower in his seat, practically down under his seat. I remember him looking up at me and saying, "What the f—k was that!" Afterward we went to Cafe Figaro for dinner and drinks. Steven was so hung up on the projectile vomiting, he kept saying, "What's with the pea soup?" He was very upset.
Robert: Evans, STUDIO EXECUTIVE, NOW A PRODUCER
Warren Beatty is doing Heaven Can Wait , and it's coming out in a month. His secretary calls and says, "Please come over to Mr. Beatty's bungalow. They're preparing the ads for Heaven Can Wait." I walk over, and there's a huge picture of Warren in a sweat suit, with the wings behind his back. Warren says, "What do you think of it?" I say, "It's okay." He says, "What do you mean okay? What's wrong with it?" I tell him I'm looking at a sweat suit, and there's no crease on either side of the crotch. Warren calls the head of distribution, the head of marketing. All the ads are printed, and he refuses to let them go out. It was the most expensive crotch retouch in the history of the motion picture business. They put in a half-million-dollar wrinkle.
I'm making On a Clear Day You Can See Forever , and Barbra Streisand and Yves Montand are signed for the leads. But there's the part of her stepbrother, and no one was right to play it. I set up a meeting with [then unknown] Jack Nicholson, who was in Cannes trying to sell two pictures that cost $4,000 between them. He starts talking to me, and I don't understand a word he's talking about. But every time he smiles, I can't take my eyes off his smile. So I say, "Listen, kid, how would you like to play opposite Barbra Streisand in On a Clear Day You Can See Forever? I'll pay you $10,000 for four weeks' work." He had never earned more than $600 on a picture in his whole life. He looks at me and says, "I just got a divorce, and I've got to pay alimony. I have a kid. I have to pay child support. Can you make it $15,000?" So I say, "How about $12,500?" He throws his arms around me and says, "I love you. I'll never forget you as long as I live." And he never has.
Karen Black, ACTRESS
I knew Jack Nicholson when I did Five Easy Pieces, and I had a crush on him, but it was never consummated. Jack liked very thin girls who were 20. He used to cry after breaking up with his girlfriend. She was blonde and wore overalls a lot.
David Cassidy, SINGER
I didn't go to parties and I couldn't go to clubs that were cool. People would be all over me. They were hysterical. Guys wanted to have their hair like me and dress like me. I couldn't go out. At a concert at Madison Square Garden, fans turned over, like, six limousines.
Eve Babitz, AUTHOR
I met Harrison Ford at Barney's Beanery. And I met Steve Martin at the bar at the Troubador. He said he wanted to be a stand-up comic. I thought that was the worst idea because he was so square, so Orange County. I was into taking as many drugs as I could. Everybody was. By 1976 I was, like, Gonesville. I practically lived at the Troubador for several years. When Bette Midler was there for six weeks, I went every day for both shows. I sat there mesmerized. The only person who went as much as I did was Cher.
Carrie Snodgress, ACTRESS
[After breaking up with rocker Neil Young], I went back to Hollywood, to 20th Century-Fox, to do The Fury. And I immediately noticed a change in behavior. People weren't so friendly in the morning. Now, nobody was eating. After a couple of days, we were doing a quick reading, and off-stage I'm hearing, "Ah-choo, ah-choo." Just before we broke for lunch, I went behind this wall on one of the sets, and there's this sound guy and he's got a fishing-tackle box filled with pills, every color, every stripe. He's got one side open, and this guy's handing him some brown prescription bottle.
On one film I did, we'd been shooting for a few weeks and they decided to throw a huge cast party in this huge hotel. [Makeup artist] Bill Tuttle and I went into the room, and there were two glass coffee tables with hors d'oeuvres. There were silver tubes elegantly placed on these plates with beautiful filigree edges, and cocaine on the plates. Underneath the tables were two mannequins on their hands and knees, with little pushup bras with their breasts falling out. Tuttle and I sat on the couch, and he says, "Carrie, look at the mannequins. Just watch them." They were both real women. These people were so screwed up that they had hired these women to stand on their hands and knees for this party.
Michelle Phillips, ACTRESS
Everyone was snorting cocaine, and it went from snorting to smoking to shooting. It was nothing like the innocent '60s, when people were smoking pot. I was doing a TV film once, and a lot of teenage kids were in it. I walked into a trailer, and there were four teenagers with straws to the table and a mound full of cocaine. Every age group was into it—young, old. I don't know of any actors who weren't snorting cocaine...except maybe Gregory Peck.
I had a two-year relationship with Jack Nicholson, a three-year relationship with Warren Beatty, and I was married to Dennis Hopper for eight days. If that wasn't the darkest omen for the decade, I don't know what was, but it was the happiest eight days of my life.
Warren Seabury [her publicist] and I were standing in the kitchen at Rock Hudson's house at a party. I was the only woman there. Rock's secretary came over and said, "I'm sorry, Miss Phillips, Mr. Hudson has just come back from a long trip and he asked that we just have a house full of guys when he got home. I'm sorry" I said, "That's okay. You have no idea how many times I've left those instructions myself."
Corey Feldman, ACTOR
In a way I liked those times better than now. At least personal hygiene was in. Now it's whoever's the grungiest is the coolest. In the '80s, I Michael Jackson was the epitome of cool because he was so eccentric. I Now he's completely uncool for the same reason.
Alfonso Ribeiro, ACTOR SILVER SPOONS
Westwood a was happening. There used to be this guy, Alfie, who would put together teen parties in warehouses, and all the Hollywood kids would go. It was an early stage of clubbing. There was never any alcohol, but we really felt like adults.
Jason Hervey, ACTOR, THE WONDER YEARS
I wasn't into the Hollywood scene. I went to premieres mostly because I wanted to see the movies before anyone else.
Carl Kurlander, CO-SCREENWRITER, ST. ELMO'S FIRE
Demi Moore was really wild. She came into a costume fitting with a friend and was partying, and [director] Joel Schumacher said, "Go kill yourself on someone else's movie." Judd Nelson was the only one of the cast who'd gone to college. Everything was so intense with him. I'd ask what he was reading, and he'd go, "Billy Budd, man." Rob Lowe, wherever he went, would get mobbed by girls. Later he hooked up with Melissa Gilbert. I hung out at their house, and we'd watch their cat do tricks. I remember thinking, "People must think these movie stars' lives are so exciting!" Andrew McCarthy was from New York City. When I met him he said in the most cynical voice possible, "You know, the character I play is really cynical." I thought, "What a great method actor." But he was saying it that way because he was cynical. Ally Sheedy lived in this guest house in the woods. I went over there once, and. she was dancing in a leotard to The Nutcracker. She offered me herbal tea, and there was a book of Yeats's poetry on the table. One night, Andie MacDowell and I were supposed to go out for sushi, and Sean Penn came by the set and asked if she wanted to go with him to Warren Beatty's to watch movies. She didn't. She was, like, "Warren Beatty's after every model. Who cares?" David Blum, a writer for New York magazine, wanted to profile Emilio Estevez, and Emilio invited the St. Elmo's cast along. Blum wrote about how they were part of this Brat Pack. Emilio was kind of upset. The profile was supposed to be about him.
Soleil Moon Frye, ACTRESS, PUNKY BREWSTER
Once I was in New York, and another actress was having her 9th-birthday party at this club, the Limelight. I remember because my mom wouldn't let me go.
Matty Simmons, PRODUCER
During the first National Lampoon Vacation movie, Beverly D'Angelo is doing a shower scene, and who's sitting right in front of her but 14-year-old Anthony Michael Hall. I was, like, "What are you doing? Get out of here!"
Tammi Gower, OWNER, THE DERBY
George Clooney comes in all the time. For Nicollette Sheridan's birthday party, he was wearing a beret and Nicollette was wearing a bowler. George started asking people if he could wear their hats. Then we started feeding him these crazy shots—he likes Jägermeister—and he took it like a man.
A guy named Jimmy from a swing band called Jimmy and the Gigolos is the local heartthrob. Jennifer Grey, Laura Dern, Daryl Hannah and Penelope Ann Miller have shown up to see him play.
For Shannen Doherty's birthday party, I was working the door, and people were screaming, "I'm on the list, I'm on the list!" Then this voice says, "I really am on the list." I said, "What's your name?" and she said, "Shannen." I said, "What's your last name?" and she said, "Doherty." I looked up, really surprised. She was really nice. None of those antics you hear about.
Doug Savant, ACTOR, MELROSE PLACE
I own the house that my father grew up in, five blocks away from where I grew up in Burbank. The few Hollywood parties I've gone to are generally terrifying. I was at an Emmy party, and I knew six or seven people. I felt, "Okay, I fit in."
Nancy Juvonen, V.P., FLOWER FILMS INC.
Drew Barrymore and I decided to drive cross-country in a 29-foot RV with her two Labrador puppies. We stayed in dives just to be normal—just two friends doing their thing.
David Chokachi, ACTOR
I was shooting a movie recently in Ireland, and we were staying in this tiny town with a population of about 500. These little Irish kids started knocking on my door. They would be, like, "Are you Cody from Baywatch?"
Randy Spelling, ACTOR
I grew up seeing my dad [producer Aaron] make all these shows and [older sister] Tori doing Beverly Hills, 90210 and making all these movies. But it was different when I got in front of the camera. Someone asked for my autograph, and I was so excited. People go crazy over Tori. We'll walk down the street, and they'll scream, "Tori! Tori! Donna! Donna!" But she's always nice.
Mark Wahlberg, ACTOR
Leonardo DiCaprio imitates the way I talk or sing. I used to greet everybody with, "Yo, my boy, what's up?" But Leonardo made so much fun of me for it that I can't say it anymore.
Chad Lowe, ACTOR
River Phoenix was our generation's Robert De Niro. Unfortunately, now he has kind of become our generation's James Dean.
Shannon Sturges, ACTRESS
When I went in to audition for Savannah, the producers said, "We'll call you," and then they didn't. I came back again, wore a shorter skirt and more makeup, and got the part.
Ian Ziering, ACTOR
I first auditioned for 90210 in New York. I wanted the part so badly that when I went to the Fox offices to pick up a copy of the script, I took all the copies that were sitting there so that other people couldn't use them.
David Kohan, EXECUTIVE PRODUCER, BOSTON COMMON
There was a time when people did cocaine on the conference table at 3 in the morning trying to finish a script. It's really not like that anymore. It's a lot cleaner because there's a lot more at stake.
Jeff Schaffer, PRODUCER, SEINFELD
I don't think people in the year 2000 are going to look back and say, "God, that was a crazy decade." I drive around on Saturday nights listening for house music, but I can't find any parties. It all changed with Nintendo. Everyone stays in the house.
Alec Berg, PRODUCER, SEINFELD
My typical weekend night looks almost exactly like my weekday night, except that there are fewer cars in the parking lot and the line at the commissary is a lot shorter. Everyone else has gone home.
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