Joe Eszterhas Quote
They were liberating Harrisonville, showing the hypocrites and phonies and $$$-squirrelers and chokeragged Yesmen some puffed-up balls. They were widening the mental horizons of a town more narrow-minded than its streets; they were missionaries laboring amon their bloodkin: montheytheistic theocentric cousins and uncles who swore allegiance to Uncle Sam, Jim Crow, Oral Roberts, and Dale Carnegie; they were waging their impudent revolution against people they'd cowedly called sir all their teenage lives.
Joe Eszterhas
They were liberating Harrisonville, showing the hypocrites and phonies and $$$-squirrelers and chokeragged Yesmen some puffed-up balls. They were widening the mental horizons of a town more narrow-minded than its streets; they were missionaries laboring amon their bloodkin: montheytheistic theocentric cousins and uncles who swore allegiance to Uncle Sam, Jim Crow, Oral Roberts, and Dale Carnegie; they were waging their impudent revolution against people they'd cowedly called sir all their teenage lives.
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About Joe Eszterhas
József Antal Eszterhás (Hungarian: [ˈjoːʒɛf ɒntɒl ˈɛstɛrhaːʃ]; born November 23, 1944), credited as Joe Eszterhas, is a Hungarian-American writer. Born in Hungary, he grew up in Cleveland, Ohio, in the United States. After an early career as a journalist and editor, he entered the film industry. His first screenwriting credit was for the film F.I.S.T. (1978). He co-wrote the script for Flashdance, which became one of the highest grossing films of 1983, and set off a lucrative and prolific run for his career. By the early 1990s, he was known as the highest-paid writer in Hollywood, and noted for his work in the erotic thriller genre. He was paid a then-record $3 million for his script Love Hurts, which was produced as Basic Instinct (1992), and following its success, news outlets reported he earned seven-figure salaries solely on the basis of two-to-four page outlines.
However, Eszterhas' screenwriting career experienced a decline over the rest of the decade, with films such as Showgirls (1995), Jade (1995), and An Alan Smithee Film: Burn Hollywood Burn (1997) receiving negative reviews and performing poorly at the box office. He mostly withdrew from Hollywood afterward, though he has since authored several books. His publications include American Rhapsody (2000), and two volumes of memoirs: Hollywood Animal (2004), an autobiography, and Crossbearer (2008), which detailed his adulthood return to the Catholic faith he was raised in.
However, Eszterhas' screenwriting career experienced a decline over the rest of the decade, with films such as Showgirls (1995), Jade (1995), and An Alan Smithee Film: Burn Hollywood Burn (1997) receiving negative reviews and performing poorly at the box office. He mostly withdrew from Hollywood afterward, though he has since authored several books. His publications include American Rhapsody (2000), and two volumes of memoirs: Hollywood Animal (2004), an autobiography, and Crossbearer (2008), which detailed his adulthood return to the Catholic faith he was raised in.