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11 Influential Facts About A Woman Under the Influence

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You can't talk about the history of independent film without talking about John Cassavetes. The New York-born writer/director/actor was successfully making and distributing his own films decades before the indie boom of the 1990s, nearly always to critical acclaim, and sometimes even for financial gain. The most prominent was 1974's A Woman Under the Influence, one of eight movies he directed that starred his wife, Gena Rowlands, and the only one for which they were both Oscar-nominated.

Though they didn't win, Rowlands's performance as a housewife having a nervous breakdown is still regarded as a master class in acting, and Cassavetes's sensitive, naturalistic style influenced everyone from Jim Jarmusch to Martin Scorsese. Here's a peek behind the scenes of one of the 1970s' most celebrated dramas.

1. IT WAS GOING TO BE A PLAY, BUT IT PROVED TOO INTENSE.

John Cassavetes first wrote A Woman Under the Influence as a stage play intended for Rowlands, who'd said she wanted to do a play about the difficulties faced by modern women. Rowlands loved what her husband wrote but realized it was too intensely emotional for her to perform it night after night without having a nervous breakdown herself. Cassavetes retooled it into a screenplay, sparing Rowlands's sanity.

2. JOHN CASSAVETES DIDN'T APPROACH IT AS A STORY ABOUT A CRAZY PERSON.

Asked if he did any research into mental illness or nervous breakdowns when he wrote the film in an interview included on the Criterion Blu-ray, Cassavetes said, "No, because I don't think it's about that. I'm half crazy myself, and I think almost everyone is verging on some kind of insanity. I believe very strongly that all women who are married for any length of time—and if they love their husbands—they don't have any place to put their emotions, and that can drive them crazy ... This particular woman, I don't think she's crazy ... I think she's just frustrated beyond belief. More than being crazy, I think she's just socially inept."

3. NOBODY WANTED TO FINANCE THE MOVIE.

You'll probably file this in the "I didn't know that but it doesn't surprise me" category: Though Hollywood studios were taking risks in the 1970s, giving directors more free rein than they'd had previously, nobody wanted to spend money on a film about (in Cassavetes's words) "a crazy, middle-aged dame." Instead, Cassavetes mortgaged his house and took up a collection among actor friends to finance the film.

4. PETER FALK PUT UP $500,000 OF HIS OWN MONEY.

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Half of the film's final budget came from Cassavetes's longtime friend Peter Falk, who was then starring in TV's Columbo. (Cassavetes had guest-starred a couple years earlier.) Falk was so taken with the screenplay for A Woman Under the Influence that he not only co-starred in it, he turned down another movie (The Day of the Dolphin) and ponied up half a million of his own Columbo dollars to get it made. (Perhaps that’s why he gets top billing over Rowlands.)

5. IT REQUIRED SOME STOLEN ELECTRICITY.

Making an independent, low-budget film means being resourceful. For one outdoor scene, Cassavetes powered his equipment by hijacking a municipal power line.

6. IT ALSO REQUIRED SOME UNPAID LABOR.

Cassavetes was then serving as the first filmmaker-in-residence at the American Film Institute's Center for Advanced Film Studies, in Los Angeles. That gave him access to eager young people who wanted all the practical moviemaking experience they could get. Most of his crew consisted of these students, working for free or for deferred salaries, some of whom quit before it was over (hey, you get what you pay for).

7. IT WAS ONE OF THE FIRST MOVIES TO BE SUCCESSFULLY INDEPENDENTLY DISTRIBUTED.

Not only did none of the studios want to finance the film, they weren't interested in distributing it when it was finished, either. Ever the do-it-yourselfer, Cassavetes personally called theater owners to get them to book it, relying on his good reputation in the art-house community (A Woman Under the Influence was his seventh film, his fourth as an independent producer). He also booked screenings on college campuses, where he and Falk would appear to do Q&As. It wound up making $6.1 million (as of 1976, according to Variety), all of which went back to Cassavetes, his investors, and the cast and crew, none to any studio.

8. MARTIN SCORSESE ENGAGED IN A BIT OF BLACKMAIL TO GET IT SEEN.

A Woman Under the Influence's big break came when it was screened to great acclaim at the 1974 New York Film Festival, some 18 months after Cassavetes finished it. But even that almost didn't happen: the festival rejected it. In desperation, Cassavetes called his friend Martin Scorsese (there was a lot of mutual admiration between the two), whose documentary Italian-American was already on the festival's roster. Scorsese threatened to withdraw his film unless the festival organizers gave Cassavetes's film a chance. (Note: In some tellings of this anecdote, it was Scorsese's Alice Doesn't Live Here Anymore, also playing at the 1974 NYFF, that he threatened to withdraw. The most reliable firsthand or almost firsthand account we could find, however, says it was Italian-American.)

9. GOOD THING SCORSESE'S GAMBLE WORKED, OR CASSAVETES MIGHT NEVER HAVE MADE ANOTHER FILM.

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Cassavetes gave a long interview to journalist Judith McNally at the New York Film Festival, after he'd spent 18 months trying to find a distributor. He was also burned out on making four movies in a row without studio help. "I can't like making films anymore if they're this tough," he said. "The pressures are too unnatural. I'm not crying, because I enjoy it. But I am saddened by the fact that I have physical limitations."

Yet working with profit-minded studios was hard, too, since Cassavetes refused to bend on his artistic principles. "If that means I'll never make [a] film again, then I'll never make another film again," he said. McNally followed up. "You don't have any plans at all for another film?" He replied: "Right now all I can hope is that [A Woman Under the Influence] is extremely successful. And if it isn't, I won't make another one—that's all. Which in itself is no great tragedy." He did, in fact, go on to make five more films before his death in 1989.

10. IT FEELS IMPROVISED, BUT IT WASN'T.

Rowlands and Falk give very naturalistic performances, often seeming like they're having unscripted conversations. When an interviewer asked Cassavetes about that, he gave a succinct, unambiguous answer: "No, the entire script was written and there were no improvisations whatsoever."

11. RICHARD DREYFUSS HELPED PROMOTE IT.

During an appearance on The Mike Douglas Show that Falk was co-hosting, Richard Dreyfuss was asked if he had seen the movie Falk was there to promote. Dreyfuss replied enthusiastically: "It was the most incredible, disturbing, scary, brilliant, dark, sad, depressing movie. I went crazy. I went home and vomited." (Falk piped up, "It's also funny! It's a funny movie!") During the commercial, Falk telephoned Cassavetes in a panic—"He's telling everyone how terribly dark and scary the movie is!"—but the director laughed and said, "He can say what he wants."

Additional sources:
Interviews and commentary on the Criterion Blu-ray.
Accidental Genius: How John Cassavetes Invented American Independent Film, by Marshall Fine

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30 Memorable Quotes from Carrie Fisher
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Just days after suffering a heart attack aboard a flight en route to Los Angeles, beloved actress, author, and screenwriter Carrie Fisher passed away at the age of 60 on December 27, 2016. Though she’ll always be most closely associated with her role as Princess Leia in Star Wars, Fisher’s life was like something out of its own Hollywood movie. Born in Beverly Hills on this day in 1956, Fisher was born into show business royalty as the daughter of singer Eddie Fisher and actress Debbie Reynolds.

In addition to her work in front of the camera, Fisher built up an impressive resume behind the scenes, too, most notably as a writer; in addition to several memoirs and semi-autobiographical novels, including Wishful Drinking, Surrender the Pink, Delusions of Grandma, The Best Awful, Postcards from the Edge, and The Princess Diarist (which was released last month), she was also an in-demand script doctor who counted Sister Act, Hook, Lethal Weapon 3, and The Wedding Singer among her credits.

Though she struggled with alcoholism, drug addiction, and mental illness, Fisher always maintained a sense of humor—as evidenced by the 30 memorable quotes below.

ON GROWING UP IN HOLLYWOOD

“I am truly a product of Hollywood in-breeding. When two celebrities mate, someone like me is the result.”

“I was born into big celebrity. It could only diminish.”

“At a certain point in my early twenties, my mother started to become worried about my obviously ever-increasing drug ingestion. So she ended up doing what any concerned parent would do. She called Cary Grant.”

“I was street smart, but unfortunately the street was Rodeo Drive.”

“If anything, my mother taught me how to sur-thrive. That's my word for it.”

ON AGING

“As you get older, the pickings get slimmer, but the people don't.”

ON INSTANT GRATIFICATION

“Instant gratification takes too long.”

ON THE LEGACY OF STAR WARS

“People are still asking me if I knew Star Wars was going to be that big of a hit. Yes, we all knew. The only one who didn't know was George.”

“Leia follows me like a vague smell.”

“I signed my likeness away. Every time I look in the mirror, I have to send Lucas a couple of bucks.”

“People see me and they squeal like tropical birds or seals stranded on the beach.”

“You're not really famous until you’re a Pez dispenser.”

ON THE FLEETING NATURE OF SUCCESS

“There is no point at which you can say, 'Well, I'm successful now. I might as well take a nap.'”

ON DEALING WITH MENTAL ILLNESS

“I'm very sane about how crazy I am.”

ON RESENTMENT

“Resentment is like drinking poison and waiting for the other person to die."

ON LOVE

“Someone has to stand still for you to love them. My choices are always on the run.”

“I've got to stop getting obsessed with human beings and fall in love with a chair. Chairs have everything human beings have to offer, and less, which is obviously what I need. Less emotional feedback, less warmth, less approval, less patience, and less response. The less the merrier. Chairs it is. I must furnish my heart with feelings for furniture.”

“I don’t hate hardly ever, and when I love, I love for miles and miles. A love so big it should either be outlawed or it should have a capital and its own currency.”

ON EMOTIONS

“The only thing worse than being hurt is everyone knowing that you're hurt.”

ON RELATIONSHIPS

“I envy people who have the capacity to sit with another human being and find them endlessly interesting, I would rather watch TV. Of course this becomes eventually known to the other person.”

ON HOLLYWOOD

“Acting engenders and harbors qualities that are best left way behind in adolescence.”

“You can't find any true closeness in Hollywood, because everybody does the fake closeness so well.”

“It's a man's world and show business is a man's meal, with women generously sprinkled through it like overqualified spice.”

ON FEAR

“Stay afraid, but do it anyway. What’s important is the action. You don’t have to wait to be confident. Just do it and eventually the confidence will follow.”

ON LIFE

“I don’t want life to imitate art. I want life to be art.”

“No motive is pure. No one is good or bad-but a hearty mix of both. And sometimes life actually gives to you by taking away.”

“If my life wasn't funny it would just be true, and that is unacceptable.”

“I shot through my twenties like a luminous thread through a dark needle, blazing toward my destination: Nowhere.”

“My life is like a lone, forgotten Q-Tip in the second-to-last drawer.”

ON DEATH

“You know what's funny about death? I mean other than absolutely nothing at all? You'd think we could remember finding out we weren't immortal. Sometimes I see children sobbing at airports and I think, 'Aww. They've just been told.'”

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12 Admissible Facts About Judge Judy
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Judge Judith Sheindlin was 54 years old when her namesake TV show premiered on September 16, 1996. Two years later the diminutive (5’1”) adjudicator was trouncing the powerhouse Oprah Winfrey Show in the Nielsen ratings. Today, she is one of the highest paid TV celebrities, earning $47 million per year—which she will continue to do through 2020, thanks to a new extended contract.

Fervent fans are familiar with Judge Judy’s more outrageous cases, like The Tupperware Lady and the eBay Cell Phone Scammer, but they might not know some of these fun facts about both the show and the woman behind it, who turns 75 years old today.

1. THAT GRUFF, NO-NONSENSE STYLE OF JURISPRUDENCE IS NOT AN ACT.

Judge Judy spent a little over 20 years in New York City’s family court system, where she earned a reputation early in her career for being blunt, impatient, and tough-talking. “I can’t stand stupid, and I can’t stand slow,” was one of her oft-repeated “Judyisms” at that time. She also frequently warned attorneys appearing before her: "I want first-time offenders to think of their appearance in my courtroom as the second-worst experience of their lives ... circumcision being the first." 60 Minutes filmed her in action as part of a 1993 profile, and while her hair color and eyebrows have softened since then, her impatient rants and verbal smackdowns haven’t changed a bit.

2. SHE BEGAN WEARING HER TRADEMARK LACE COLLAR AS SOON AS SHE WAS APPOINTED AS A JUDGE.

New York City Mayor Ed Koch appointed Judith Sheindlin to the bench in 1982, and to celebrate she and her husband Jerry—both civil servants at the time—took a $399 package trip to Greece for two weeks. While passing by a row of street kiosks with various locally made crafts for sale, she impulsively purchased a white lace collar from a vendor. She explained to her husband that male judges wore stiff-collared white dress shirts and colorful neckties that peeped out of the top of their robes, so that they had a nice colorful “buffer” between the austere black gown and their face. Female judges, however, had nothing but neck peeping out of their robes and the unforgiving black color revealed every minute of sleep deprivation as well as any skin tone irregularities. The white lace collar, she decided, would not only perk up her face but would also be a bit disarming for litigants—she could picture them thinking “That nice little lady with the lace collar sitting behind the bench couldn’t hurt a fly!”

3. DESPITE THOSE NEW YORK CITY SCENES ON THE COMMERCIAL BUMPERS, JUDGE JUDY IS TAPED IN CALIFORNIA.

Sheindlin spends 52 days per year taping her show. She flies to California via private jet every other Monday and hears cases on Tuesday and Wednesday (occasionally Thursday if there are production delays). One full week’s worth of shows are filmed each day. Many viewers, however, are fooled into thinking Judy is holding court in her native New York, thanks to the scenic Manhattan footage in between station breaks and the New York state flag behind her chair. That is, until something oh-so-unique to the west coast—like an earthquake—occurs on-camera. (Note that in the clip below, Judge Judy quickly ducks beneath her bench once the room begins to tremble.)

4. SHE IS BRIEFED ON THE CASES BEFORE SHE ARRIVES ON THE SET.

Judge Sheindlin does not go to the studio unprepared; producers FedEx the sworn statements and relevant information on each upcoming case to her home (Naples, Florida in the winter; Greenwich, Connecticut in the spring and summer) and she familiarizes herself with enough details to have some background, but not enough so that the case doesn’t appear “fresh” when she questions the litigants during filming.

5. THE CASES REALLY ARE REAL.

The production company has a staff of 60-plus researchers across the country who spend their days poring over lawsuits filed in local small claims courts. Thanks to the Freedom of Information Act, they are able to photocopy cases that they think might make for interesting television and those copies are forwarded to the show’s producers. Any cases that make it to the next stage (about three percent) involve contacting the litigants involved and asking them if they’d like to forego their civil court hearing in exchange for a free trip to Los Angeles, an $850 appearance fee, and a per diem of $40 (as of 2012). An added incentive is that any judgments awarded are paid by the show, not by the plaintiff or defendant. The best cases, according to the executive producer, are those that involve litigants with a prior relationship—mother/daughter, father/son, boyfriend/girlfriend, etc. Such cases engage the audience because it’s an emotional tie that’s been broken (the recurring plot on many soap operas).

6. THE AUDIENCE, HOWEVER, IS NOT SO REAL.

Regular viewers will note that the same faces seem to pop up in the audience regularly. Those folks in the spectator seats are paid extras (often aspiring actors) who earn $8 per hour to sit and look attentive. Prospective audience members apply for the limited amount of seats by emailing their contact information along with a clear headshot to one of Judge Judy’s production coordinators (sorry, we cannot provide that info). If chosen, the spectator must dress appropriately (business casual or better) and arrive promptly for the 8:30 a.m. call time. Audience members must pass through metal detectors on their way in and are not allowed to bring cell phones or any electronic devices with them, and food, drinks and chewing gum are also verboten. Spectators are rearranged after each case so it’s not as obvious that it’s the same group of people, and the most attractive folks are always seated in the front row (it’s Hollywood, after all). The audience is instructed to talk animatedly amongst themselves in between each case so that Officer Byrd’s “Order in the court!” admonition has more impact. Bad behavior is grounds for immediate expulsion (in front of 10 million viewers, as Judge Judy likes to remind us).

7. JUDGE JUDY DRESSES CASUALLY FOR THE JOB.

Sheindlin has been known to publicly chastise litigants who come to her courtroom in skimpy clothing or “beach attire,” but behind that bench and under that robe she is usually sporting jeans and a tank top or T-shirt.

8. OFFICER BYRD IS A REAL BAILIFF.

Brooklyn native Petri Hawkins Byrd earned his B.Sc. degree from the John Jay College of Criminal Justice in 1989 and started working in the Brooklyn Family Court system. He first worked with Judge Sheindlin when he transferred to the Manhattan Family Court. “We [the court officers] used to call her the Joan Rivers of the judicial system,” he recalled in a 2004 interview. “She was just hilarious.” Byrd relocated to San Mateo, California in 1990 to work as a Special Deputy U.S. Marshal and a few years later he read an item in Liz Smith’s gossip column about Sheindlin’s upcoming TV show. He sent his old colleague a congratulatory letter and added, “If you need a bailiff, I still look good in uniform.”

9. DESPITE HIS SOMETIMES IMPOSING COURTROOM DEMEANOR, OFFICER BYRD IS ALSO A VERY FUNNY GUY.

He is a talented impressionist, but his sense of humor almost cost him his job—or so he thought at the time. Once, back when he was working with the feisty Judge Sheindlin in New York, he donned her robe and reading glasses to entertain his co-workers with a barrage of Judyisms. Of course, as always seems to happen when one mocks the boss in the workplace, he was caught in the act.

10. THE OCCASIONAL CELEBRITY RELIES ON JUDGE JUDY’S BRAND OF JUSTICE.

Depending upon your own definition of “celebrity”, of course. Actress Roz Kelly (Pinky Tuscadero on Happy Days) appeared on the show in 1996 as the plaintiff, suing her plastic surgeon for a leaky breast implant that was impeding her acting career. One year later, former Sex Pistol John Lydon (a.k.a. Johnny Rotten) appeared as a defendant when drummer Robert Williams, who was hired to support Lydon on a solo tour, sued the singer for lost wages and an assault. Despite Lydon’s occasional bad courtroom behavior, the decision was made in his favor.

11. THE STAR ORIGINALLY DIDN’T WANT THE SHOW NAMED AFTER HER.

Sheindlin first envisioned calling her show Hot Bench, a term used frequently in the appellate court, but the producers wisely advised her that the term was meaningless to TV viewers who didn’t work in the legal system. Her next thought was Judy Justice, since she’d overheard her court officers warning deadbeat parents who were delinquent in child support payments that they were in for a load of "Judy Justice" if they weren’t prepared to cough up some money. In retrospect, Sheindlin realized the wisdom in calling the show Judge Judy: She couldn’t be easily replaced, as the various judges had been on The People’s Court. However, after 19 years on the air, she still does not refer to herself by that sobriquet; whether introducing herself to someone or advertising her show in a promotional clip, she is always either “Judge Sheindlin” or “Judge Judy Sheindlin.”

12. JUDGE SHEINDLIN INHERITED HER SENSE OF HUMOR FROM HER FATHER.

Murray Blum, Judy’s beloved father, was a dentist whose office was in the family home. In those days—before sedation dentistry was an option—a dentist’s best tool to distract nervous patients was the gift of gab, and Murray became a master storyteller out of necessity. Years of listening to her father at the dinner table and at family gatherings taught Judy how to deliver a punchline. One evening outside of a hotel in Hollywood, Sheindlin was approached by a woman who introduced herself as Lorna Berle. She told the judge that her husband Milton was a huge fan and asked if she would mind talking to him for a moment. The elderly comic slowly emerged from a limo and Judy greeted him by singing the theme song to Texaco Star Theater, her favorite TV show as a child. Milton Berle complimented her in return, saying “Kid, you’ve got great comic timing.”

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