Karina Longworth Quotes

You read these stories of people who were in Hollywood in the late '60s. After they found out about the murders, everybody was like, "Have you met [Charles] Manson? Have you been to that ranch?" In some way, everybody felt connected, but what was it like for people who really were connected.

I have a degree in cinema studies and the big paper I wrote at the end of that was about Judy Garland and Liza Minnelli. So I thought that I knew quite a bit about Judy Garland, but I read in passing that the Stonewall riots were a reaction to her death and I had never really read enough to know what that meant or how that could be true. I was interested in that I knew so much about Judy Garland, but I really didn't know this story.

Between the action sequences, the pleasure lies in observing impeccably dressed Brits exchanging barbed witticisms - making it, basically, Downton Abbey with cyber crime and shower sex.

As a performer, I could be like, "I don't want to leave that in there." But as a producer, I have to leave it in there.

I think, because it's one of my favorite moments in [Charles Manson's Hollywood]. That series got a lot of attention and people talk about it a lot, but they tend to focus on the episodes that have more to do with the murder, Charles Manson doing something particularly weird, or Sharon Tate.

I was trying to see if I could produce an episode - completely write it and research it and record it and edit it - all by myself in a week.

One of the reasons why I failed was because I figured out in the research process that I couldn't tell it as just, "This is what Frances Farmer's life was like." There are so many questions as to what her life was like because of the way her story has been seized upon and exploited by different factions.

If you look at pictures of David O. Selznick , he wasn't even attractive. There's no way to portray him in a way that is glamorous, but that's one of the things that's fascinating to me about him.

There are [in Hollywood] some endemic problems and some things that happen over and over again. There's the problem of representation of basically anybody but white men. These are things that we talk about a lot in contemporary culture, and it's interesting to me to go look at film history from the perspective of today.

I really feel like I could do anything if given enough time.

There's a fantastic, thousand-page book by David Thomson about [David O. Selznick]. Again, it's not the best argument or the best advertisement for his story, because most people aren't going to read a thousand-page book. But I feel like the rise and fall and the work [Mayer] produced - not just the movies, but the memos, the volume of writing - he's just so passionate, and that's really exciting.

In terms of the way the industry operates, the studio system was such its own thing. It's so different now that it's a globalized world.

The only Sundance [2011] film about cults that could actually have life as a cult film, THE WOODS has the greatest comic insight into why our current culture might inspire a search for meaning in the first place.

Now I'm in a situation where I have to plan very far ahead because there are people who are selling ads, so I have to really know what I'm going to do months in advance. If something's taking me a little bit longer to research, that's not okay. I can't take longer. I have to just get it done.

I don't know if it's entirely fair to blame [Dennis Wilson] early death and complete self-destruction on his involvement with Charles Manson, but it was certainly a factor. It affected him psychologically and emotionally.