We got killed in Newsweek.
This is between us! You know this is the best thing for the company.
I’m not Sammy Glick. I’ve never killed anyone. I don’t have to. I’m too talented.
In Los Angeles, they don’t want you to fail, they want you to die.
I had worked for Warner Brothers most of my adult life, and I was totally enthralled by the world that this guy had created. So I bought the house. And I sold Warner Brothers all the scripts, the Oscars, the mementoes for $3 million, which they’re going to use for a museum. I sold some of the rest of the stuff for $7 million. And I kept millions of dollars of furniture and silver. So I was really paying about $34 million for prime Beverly Hills property.
I never thought that I would have a career in show businessÂ…
[On Laura Nyro] I said to Laura ‘You know Laura, I think we should sell your music publishing company. I think right now is the right time you have three songs in the top ten this may never happen again and I think we can get a lot of money for it.’ And I made a deal with Clive Davis to sell Tuna Fish Music for $4 million. And that was a hell of a lot of money in 1969. It made her famous, it made her rich. It got people to listen to her music with her singing.
I would rather have been beaten up in the media than live a life that wasn’t happy.
I actually don’t read most of the coverage about Facebook. I try to learn from getting input from people who use our services directly more than from pundits.
I don’t care what is written about me so long as it isn’t true.
Arianna Huffington is unattractive both inside and out. I fully understand why her former husband left her for a man – he made a good decision.
If you don’t read the newspaper, you’re uninformed. If you read the newspaper, you’re mis-informed.
One of the more radical and interesting possible ways to limit the power of unaccountable media barons is to give journalists the power to elect editors and have seats on boards for workers and consumers when a title or programme gets particularly large and influential.
The point is that if you are a little different, or a little outrageous, or if you do things that are bold or controversial, the press is going to write about you.
When I hear about negative and false attacks, I really don’t invest any energy in them, because I know who I am.
The most important service rendered by the press and the magazines is that of educating people to approach printed matter with distrust.
You can’t interview my brother!Â… We can call this thing off – right now!
If you are a little different, or a little outrageous, or if you do things that are bold or controversial, the press is going to write about you.
My people keep telling me I shouldn’t write letters like this to critics. The way I see it, critics get to say what they want to about my work, so why shouldn’t I be able to say what I want to about theirs?
With the press there is no ‘off the record’.
It seems not more reasonable to leave the right of printing unrestrained, because writers may be afterwards censured, than it would be to sleep with doors unbolted, because by our laws we can hang a thief.
If you get good ratings, they’ll cover you even if you have nothing to say.
