Hollywood Hellraisers: The Wild Lives and Fast Times of Marlon Brando, Dennis Hopper, Warren Beatty, and Jack Nicholson
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In his follow-up to the acclaimed Hellraisers, Sellers traces the intertwining lives and careers of four outrageous Hollywood movie mavericks.
“I don’t know what people expect when they meet me. They seem to be afraid that I’m going to piss in the potted palm and slap them on the ass.”—Marlon Brando
“I should have been dead ten times over. I believe in miracles. It’s an absolute miracle that I’m still around.”—Dennis Hopper
“You only lie to two people in your life: your girlfriend and the police.”—Jack Nicholson
“The best time to get married is noon. That way, if things don’t work out, you haven’t blown the whole day.”—Warren Beatty
They’re the baddest bad-asses Hollywood as ever seen: Marlon Brando, Dennis Hopper, Warren Beatty, and Jack Nicholson. They are men to whom rules did not apply; normal standards of behavior were simply too wearisome to worry about. These are men who brawled, boozed, snorted, and screwed their way into legendhood—but along the way they changed acting and the way movies were made forever. Hollywood Hellraisers is a whistle-stop tour of jaw-dropping sexual activity, misbehavior of an Olympic standard, all-out excess, and genuine madness. It’s a wonder Hollywood survived. 24 black-and-white photographs
star misbehavior.” — Empire “Do you ever get the feeling that a book has been written especially for you? That’s how I felt when I first spied [Hollywood Hellraisers].” —Kathy Charles, author of John Belushi Is Dead “[F]antastic book.” — The Knutsford Times Praise for Hellraisers: The Life and Inebriated Times of Richard Burton, Richard Harris, Peter O’Toole, and Oliver Reed ‟Hellraisers is completely unapologetic about its party-hearty premise . . . a rowdy collection of
with alacrity from one classic to another, but turned down On the Waterfront (1954) when it was first offered, not because he didn’t want to do it, but because Elia Kazan was attached as director. The true story of mob rule on the New York docks and one young worker’s determination to testify against the crime bosses had obvious resonance for Kazan, but Brando was still in turmoil over what he’d done by selling out his friends to McCarthy paranoia. So Frank Sinatra was installed as star. All the
current emphasis on brooding Roman gods like Marlon and Rock Hudson. ‘Hiya, Joe,’ Jack greeted Pasternak in the corridor a few days after. The producer stopped for a moment, mulling over the earnest youth’s face. Then he spoke: ‘Hey — how’d ya like to be in pictures?’ Jack shrugged his shoulders over the fickle business he’d chosen to be a part of and walked away. Get up! Get up, you scum-suckin’ pig! Despite all the success Marlon Brando had enjoyed he remained a psychological mess.
action, threw it into the grave and started screaming, ‘You motherfucker. You motherfucker. You motherfucker. You motherfucker. You wanna go to Nam? You wanna go to Nam? You motherfucker.’ It was a barrage of fury and inarticulate rage, ‘A thousand times better than all that smart stuff I had written,’ said Jaglom. ‘Dennis understood the anger and the hurt better than I did.’ Before the likes of Coming Home and The Deer Hunter made films about Vietnam fashionable, that particular conflict was
industry wondered, though, if he’d listen to them. Buck Henry admitted there were plenty of disagreements on set. ‘When Warren wants to do something his way, he has it all figured out, so you goddamn well better be prepared to argue your case if you differ with him.’ David Foster, who produced McCabe and Mrs Miller, is the first to acknowledge Warren’s pedigree: ‘Of course he’s a multitalented guy, it’s just hard for him to listen to other people, I guess. He’s such an intense guy. To get an