Stallone je inzistirao na tome da se snimi scena gdje on noc prije borbe priznaje Adrian da se boji...Produceri su je htjeli da preskoce tu scenu jer nisu imali dovoljno vremena jer su film snimali samo 28 dana.On je imao samo jednu priliku sa snimi scenu nije bilo drugog,treceg ili cetvrtog pokusaja samo jedan.Bio je prestrasen da ce zabrljati jedinu scenu za koju misli da je najvaznija za film da se napio da bi ju mirno izveo.....
Nisam nasla bas najbolju snimku ali nema veze vazno da mozete vidjeti....Neizgleda mi pijan....Dobro njegova faca je uvijek takva nekakva...hhehhe...pa nemoge niko rec....hhehehe
-U intervijuju Slya su upitali jeli ikada upoznao Elvisa Preslya.Sly je rekao da je 1976 godine kada je izasao Rocky Elvis ga je kontaktirao i pitao ga dali zeli posjetiti njegovu kucu u Gracelandu i da ponese kopiju filma sa sobom.Stallone je rekao da ga je bilo previse tesko da upozna Elvisa i nije isao no poslao mu je kopiju filma koju je Elvis gledao sa svojim prijateljima...
Reporter:"Stallone.....Neki od tvojih faova su me zamolili da te pitam kako ti izgovaras svoje prezime...Stallone...Stallone or Stallion.... Sly:Shwarz.... Sly:...Stallone...Stallone
Zvijezde Ekstra...29.9.2007-Najseksi akcijski junaci...
Najseksi akcijski junaci
Subota, 29.09.2007.
Nakon što smo prošle subote vidjeli 25 najljepših osoba koje su ikada šetale svjetskim modnim pistama, u današnjem izdanju emisije Zvijezde Ekstra podsjetit ćemo se na 25 najseksipilnijih junaka akcijskih filmova. Oni su naši seksi junaci, neustrašivi vragolani, zanosni pobjednici i izazovne tigrice, a uvijek igraju samo prema poznatim pravilima - svojim vlastitim! Oružje u rukama čini ih opasnima za protivnike, a pravednost neodoljivima u očima gledatelja diljem svijeta.
Šetnju po našoj seksi listi zajedno će otvoriti tri heroja osamdesetih godina, pravi muškarci koji su svoje neprijatelje pobjeđivali na provjeren način: odvažno, nepromišljeno, sirovom muškom snagom. Mišićavi i moderni, upravo su Sylvester Stallone, Arnold Schwarzenegger i Bruce Willis postavili standard za sve buduće spasitelje svijeta. Uz junake poput Keanua Reevesa, Jasona Stathama ili Paula Walkera, upoznat ćemo i neodoljive heroine, englesku ružu Keiru Knightley, koja je, unatoč svojoj krhkosti, spremna i na pošten udarac, špijunku Jennifer Garner, azijsku kraljicu Michelle Yeoh ili prekrasnog anđela tame Jessicu Albu.
No tko se nalazi na samom vrhu liste? Pogledajte zajedno s nama u još jednome uzbudljivom izdanju emisije Zvijezde Ekstra.
ZVIJEZDE EKSTRA
Tko je najbolji od najboljih? U magazinskoj emisiji "Zvijezde Ekstra" otkrivamo tko je najzgodniji, najpoželjniji, najatraktivniji i sve ostalo naj-naj, među najslavnijim osobama iz svjetskog show buissinesa.
Atraktivna ljepotica i najseksipilnija Hrvatica Renata Sopek, svake nas subote u emisiji upoznaje sa slavnim imenima, koje druge javne osobe kritiziraju - od stila, javnog nastupa, do ljubavi I privatnog života.
Ljestvice popularnosti osmislio je popularni portal E! Online, a na RTL Televiziju informacije Vam donose "Zvijezde Ekstra". U četrdesetak minuta emisije, a u opsežnom i zanimljivom sadržaju saznat ćete biografije poznatih, manje poznate informacije "iz prve ruke", snimke zanimljivih događaja iz zvjezdanog života, kao I poneke "privatne snimke". Oni koji su već imali priliku gledati ovu emisiju, jasno je kako se nakon odgledanih četrdeset minuta emisije čeka nova subota i emisija...
Urednik magazinskog programa: Ivan Lovreček
Voditelj: Renata Sopek
Sly kaze da Gere misli da on jeste prosirio te glasine.Kak to Sly opisiva on i Gere su imali malih nesuglasica na snimanju filma "The Lords Of Flutbush" 1974 godine.Kako Sly kaze Gere je trebao glumiti ulogu koju je dobio Perry King.Obadvoje su bili toliko ljuti i nikada nisu uzvratili udarac tako da su se iskaljivali jedno na drugom,a Sly se jednom toliko naljutio da je laktom udario Gera radi piletine.Taj dogadaj Sly je opisao stranici AintItCoolNews.com.Sly je rekao da jednom na setu za vrijeme scene u kojoj se odvijala bitka izmedu Slya i Gera da je izmakla malo kontroli te da je bitka postala malo prestvarna i za jos jedan pojen za vrijeme rucka na setu Sly je usao u Toyou da pojede rucak.Sly govori:"Ja sam jeo hotdog i on je usao u auto sa sendvicem od piletine koji je plivao u senfu.Ja sam rekao:"Ta ce se stvar rasprsiti po cjelom autu!!!",a on je odvratio:"Nebrini se!!!"I tada sam ja odvratio:"Ako ista sleti meni u krilo ti ces se imati za sto brinuti".I tada se dogodio taj trenutak zagrizao je sendvic od piletine koji je plivao u senfu kako sam rekao i velika,sluzava "rijeka" sefa je meni sletjela u krilo i na hotdog.Onda sam se razljutio i udario ga laktom u glavu tako da je i on skupa sa sendvicem izletio kroz prozor!!!Direktoru smo presli preko glave i morao se odluciti jedan mora odletjeti,a jedan ostaje!!!"-Gere nije bio dostupan za komentare.Sly je na kraju rekao:"Od tada me Gere prezire i misli da sam ja odgovoram za one glasine!!!Pa mozemo se sloziti pajdasi glasine su samo glasine!!!"-Time je Sly zavrsio svoj interviju!!!
"Ja nisam ovo napravio ovaj kip....on je uvijek bio ovdje no ja sam samo odstranio nepotrebne komade.....To je isto kao sa tobom....mi te nismo petvorili u ovu masinu...ti si uvijek bio takav mi smo te samo usavrsali....."
SYLVESTER STALLONE je od divljeg covjeka presao na vjernog muza zahvaljujuci njegovj voljenoj zeni Jennifer Flanin.54-godisnji ROCKY je hodao sa najseksi zenama Hollywooda i volio je zivjeti u Los Angelesonim najboljim sportskim mjestima.Ali nakon Favin Stallone je odlucio posvetiti svoj zivot svojoj zeni-JENIFER FLAVIN i svojim kcerkama.Nepoznati izvor sa Flavin strane kaze:"Jen mi je rekla da je nakon sto se Stallone vratio bojala se da ce je ponovno povrijediti.Tako je mislila sve dok djeca nisu dosla.Tada se on "smirio" i postao najbolji otac na svijetu."
Takoder je jedan izvor rekao sa je nakon sto se Sophia rodila sa rupom u svome srcu,Stallone je obecao Bogu da ce biti najbolji TATA na cijelome svijetu.Nakon sto se Sophia oporavila,Stallone je poceo ziviti svoje obecanje Bogu.Iz sebe je izbacio onog zenskara te zapoceo zivjeti OBITELJSKI ZIVOT.
Jennifer Flavin-Stallone,zena Sylvester Stallone,je suosnivac Seriesse International.Kompanija je zasnovana na prodaji preparata za kozu.Njihov novi proizvod S-Force i Almarush su zasnovaani na Slyevm velikom znanju o zdravlju.Na videu s You Tubea Sly govori o proizvodima te opisuje neke izazove koje je imao tjekom simanja njegovog najnovijeg filma John Rambo.Opisuje trcanje gore-dolje Burmese dzunglom.Slyova nova produkcija preparata za kozu ce se odrzati u Planet Hollywoodu-u u Las Vegasu October 20th and 21st 2007.
Za one koji nisu pogledali video kliknite ovdje
Ovdje imate kompletan dokumentarac o Rocky filmovima.Ja sam pocela plakat dok sam ga gledala.....pitanje je ako ga i vi budete gledagi hoce li vas tako ganuti jer mene jest.....
Rocky lives on...
"Superman"
Sly je trebao glumiti upermena no nije...Kad je... "Beverly Hills Cop"
Sly je bio prvi izbor za Alexa Foleya.No on je zeljeo nesto ozbiljniju akciju.Sly je zato otisao snimati Cobru a produceri su izabrali Eddie Murphy.
" The Bodyguard "
Neproducirani Slyev scenari u 70-tima.Kako je onaj BodyGuard prosao mi
slim da bi trebao jos malo promisliti hoce ili nece li ga producirati.
Jos neki filmovi u kojima je Sly trebati glumiti no nije:
"Godfather Part III"
"Fatalis"
"Father Lefty"
"Frequency"
"Gangster"
"Isobar"
"Negotiator, The
1.
To tell you a little bit about myself, I'm not that much more exceptional than any other actor. I've always maintained that maybe I had something unusual, maybe I had something special that eventually I could sell, but the problem was finding someone who would buy that product-and that's exactly what it is: a product. If people think along heavily esoteric terms in which they are pure artists who won't ever sell out, they'll never make it because, unfortunately, the business revolves around the decimal point and the dollar sign; so you have to be artistic and commercial at the same time. In 1969, I was about as inartistic and uncommercial as any human being could be. I had just come back from Europe where I had recently purchased a backpack and some walking boots. Of course, I had also just sold those after four days of ownership.
2.
I maintained that routine for three days until finally I hitchhiked a ride down to the Costa Brava in Spain. And there I was sitting on the sand, on a moonlit night, trying to pick up pieces of shell and with only a hunk of cheese that I had purchased as my total meal for the day. I lived on mussels for twenty pesetas and a piece of cheese-they call it cheese-that looked like a large hunk of dandruff. With the crashing of the waves in my ears and the moon caroming off the water, it sounded and looked very romantic, but somehow I wasn't being overwhelmed by all this nature. If anything, I was beginning to suffer guilt complexes and a guilt reflex syndrome simply because I wasn't doing anything with my life. I was just becoming a movable statue. So, I sat up that night contemplating my existence, and the following morning as the sun was coming over the horizon, the sum total of all the wisdomof my life came to me in one big unexciting burst. "If you really want to find yourself, where do you look?"
3.
And the answer that came to me from the depths of my soul said, "Reach into your pocket, Sylvester, and grab your ass, because if you want to know where you are and who you are, you'll find it back there." And 10 and behold, the answer was right. I had found myself. So I jumped up, packed up my belongings and headed for the first plane smoking-in Zurich. I don't know why I went to Zurich but somehow I ended up there less than twenty-four hours later and I got on the plane for home. And I remember my arrival in New York simply because the headlines that day were screaming about some new revolutionary gathering place called Woodstock. I had no idea what Woodstock was. I thought perhaps Woodstock was an investment in a woodchuck farm. But anyway, Woodstock was the beginning of getting back to nature, getting back to honesty, getting back to roots. I guess we all were very excited about that prospect.
4.
Why did I sell them? Well, in 1969, it seemed to be the vogue for everyone in their late teens and early twenties to go out and hit the road and find themselves. Why should I be any different? Even though I didn't have any idea of what I was searching for, I felt that hitting the road was easier than getting a job and somehow, it seemed to be in unison with the times. So there I was, backpack, stained dungarees, stiff undershirt, hair as greasy as a pork chop, walking my way through Europe, puffing along, living on the wind-probably the most boring existence on the face of the earth. Tramping through New York, I didn't do anything exceptional. I found myself a fleabag joint to live in.
5.
I lived there for six days until my money ran out and I spent the next eleven days sleeping on a bench in the Port Authority Bus Station with other aspiring junkies, assorted street maniacs, and, every now and then, a budding artist of sorts. I became an actor by chance. I had only been on stage when I was eight in a Cub Scout play about Smokey the Bear. I played the lower half of the bear. While in college I was cast in a play almost by accident, but it felt good performing and I had finally found something that was not illegal that I enjoyed. I distinctly remember my first audition in New York. It was for a man named Sal Mineo. I was going out for this tough guy in a script he had, I think, recently optioned, called Forlune and Men's Eyes and the character's name was Rocky. Prophetic, wouldn't you say? So I auditioned for Rocky and Sal said, "Well, Sly, you just don't intimidate me." I couldn't believe my ears. Not intimidate Sal Mineo? Sal Mineo was perhaps the size of one of my arms. So I proceeded to shove this stage manager around.
6.
I flipped over all the furniture and I leaped off the stage and grabbed him by his kerchief and said, "Now do I intimidate you?" I didn't intimidate him any longer. I terrified him and now he wanted to work with me even less. So that was my rather lackluster debut in the New York world of theater. After that major setback and I do say it was a major setback, because I believe we actors share the common dream that we'll walk into a studio or onto a stage and immediately the director will say " Ah, just the one I've been looking for!" Or, "Isn't he perfect?" Or, "My God, another James Dean!" (or some other thespian of great artistic proportions). Usually they told me, "Take a shower and get into another field of endeavor." That's when I began to cool on theater: after perhaps six or seven thousand rejections. And I mean classical rejections-the kind of rejections where I couldn't even get into the office.
7.
They'd say, for example, "Slip your picture under the door, Sylvester," and I'd slip my picture under the door. Ten seconds later, the picture would come out all wrinkled and with stains on it, and they'd say, "No sale." I had no idea what they were using the pictures for. And I had no idea of the face of my rejecter. That bothered me. At least I would have liked to see the man say it to my face. Again, it was becoming a pattern where, after a while, I could build up immunities to rejection. What that developed in me was a sense of humor. I knew that if I didn't laugh a great deal about what was happening, I would surely explode. And as we know, we have enough exploding human beings in the world without my contributing to the problem. By 1973, I would say I had been flatly rejected by every casting agent in every agency in New York City. I had already been signed with five agencies and had met with five failures at communication. They simply didn't seem to work for me. It was as though they had all been coached by the same dialogue instructor.
8.
They'd say, "Sylvester, whatever you have, no one seems to be in the market for. You are a unique case. You seem to require special handling. There is no call for your particular type." And you wonder why psychiatrists will one day inherit the world! They go around giving out bad advice, forgetting that many actors live on a precariously delicate glass ledge that borders between sanity and dangerous depression and rather than handling you in a gentle fashion, these people, these agents do things that only inflame the situation. So, by 1974, I had already been employed as an usher, a fish-head cutter, a lion-cage cleaner, a basket boy, a bouncer chasing bums out of an apartment building, and had had other assorted jobs that I took just to leave my days open so I could I circulate among the casting agents. I remember distinctly that at the beginning of 1974 I had decided that my New Year' s resolution was that I had to find out if I had any other options in life.
9.
I recalled having seen several films- Easy Rider for one-which I felt that I could duplicate. I could make an inexpensive film and make it even more interesting and maybe as socially affecting as that one. I proceeded to buy a nineteen-cent Bic pen and a forty-nine-cent pad and with these two objects, I planned on altering my career. I really was going downhill fast. I don't know if 1 was beginning to panic but I could definitely hear the wolf at the door. I knew my options were running out. I certainly could not go to medical school since I had hardly been able to get out of high school. And college- I don't know why they kept me there. I suppose they needed the tuition. Because college proved one thing {and I have said this before and I'll say it again): college proved that I could go for four years without having any brain waves or a single original thought.
10.
I believe the last place an acting student should be is in college. It just seems to be counter-productive to realism, the type of realism that he will eventually be asked to portray. But to each his own. As I said earlier, I felt I couldn't do any worse than the Easy Rider script and perhaps I could do better. Well, 10 and behold, I did do worse. I did so badly that I don't even think the script was worth training a bird on. I don't know whatever happened to it. I think it was called Cry Full and Whisper Empty in the Same Breath or some other pretentious title; but even though the script was bad, it gave me a sense of accomplishment. Here I had written one hundred and eighty pages of garbage but somehow that put the gears in motion and lubricated my creative self in such a fashion that I began to enjoy it.
11.
I began to see an accomplishment. All those hours I had spent going around to auditions and being flatly turned down, and here I had spent several days at home {however long it took to produce a script) and I was seeing a result. It was on the page. It might not have been classic prose but it was an accomplishment-a timeless accomplishment, an accomplishment that wouldn't dissolve. I could always say: You see that? I did have dedication. I did sit down and I did complete a story from beginning to end. For better or worse, it's there. This was something new for me because I was a man who had never passed an English course in his life, a man in whom even the mention of a spelling bee would strike terror because I knew I would be the first one to bomb out and end up in his seat. And it's always that first one people snicker at, especially when you are asked to spell the word car and you ask the teacher to give you a hint.
12.
But I should jump ahead a year and a half. By that time, I had completed eight screenplays and still had not sold any because they all reveled in pessimism. They were all drenched in negativism, nihilism, the idea that man is no good, and the Hemingway philosophy that every story should end in the death of its protagonist-its hero should go down in flames. Well, maybe it worked for Hemingway, but it sure wasn't paying my gas and electric. By this time, I had completely given up my acting career. I had disassociated myself from thespian ism in any shape or form. One day-I don't recall exactly the month- I bought a can of black spray paint and blackened all my windows so I had no sense of time.
13.
I disconnected my phone. I disassociated myself from any communications with so-called friends and acquaintances and I only kept in touch with only one or two people that I could actually relate to, and that was simply to bounce ideas off of them. Then I entered that subterranean world of writers, the world of fantasy, the world of mobile ideas in imagery. I continued to write tremendously fast. I remember I once wrote six half-hour television dramas in one day and one evening, in a matter of fourteen hours-so writing came fairly easy to me. I did not care if fifty percent of the first draft was rotten; 1'd correct the mistakes later. It seems I had had all these fantasies percolating, incubating for years and now they all seemed to be coming out in one wave. ...I still hadn't earned a cent. I remember that it was around the end of 1974 and I had been in a film called The Lords of Flatbush. I received a few dollars for that which came in handy and I proceeded to buy a forty-dollar Oldsmobile, which Nature had painted rust.
14.
Very nice. Two-tone corrosion. I threw whatever possessions I had-a beautiful wife, my voracious monster dog -in the car, and set out west. I would say the car broke down at least three thousand times on the way out here- about every mile- but it gave me a sense of pioneer spirit. At least I felt this was the way our forefathers had done it; and eventually, we made it to California. I don't know if it was prophetic but the car blew up on Hollywood and La Brea and we gave it a decent burial not far from that spot. After seven months in Hollywood, writing continuously, I concluded that the only difference between my West Coast and my East Coast existence was that on the West Coast, I was unemployed with a tan rather than with the sickly green hue that had followed me around during my New York days.
15.
Even though I was writing out here, all my scripts seemed to be entrenched in pessimism and again the Hemingway philosophy that all the heroes must die in the end and go down in the one big blaze of glory. Even though violence and degradation and whatever the sadistic vogue was-it seemed to change monthly-were selling, I didn't have a beat on it. I was writing things that I thought would definitely sell but no one was buying. The turning point came without a doubt at my twenty-ninth birthday party. It was in July and I was sitting across the table from my wife who was growing wider with pregnancy and my dog who was eating his own fleas because we were so broke. My wife had purchased a $1.15 cake at a local store and we were looking at one another and talking.
16.
She was saying, "Make a wish," and I looked around and I wished I was out of this place so badly and I knew that the only way I was ever going to get out of this place was not through "physicalization" but actually through creative endeavor, dedication, discipline. Then I got a pang, I got a pang of fear, of fright, of uncertainty, knowing that the situation could only be getting worse. It is getting worse; it is not getting better. I have a child on the way and there is nothing in the fire. I am going down for the third time. What am I going to do now? I've had these electrical jolts of paranoia several times before and every time they came on me, I would go to my writing table and scratch out a new idea. This time was no different.
17.
I made my excuses as soon as I had gorged myself on cake and ice cream which tasted as if it had been made by Dupont, and headed for my writing room, which was a folding table outside the garage. I was again hit with another jolt and that was the realization that all I had been writing had been trite, that it had been done before and I was simply yielding to a vogue. What did I really enjoy seeing up on the screen? I enjoyed heroism. I enjoyed great love. I enjoyed stories of dignity, of courage, of man's ability to rise above his station and take life by the throat and not let go until he succeeded. Yet no one was making films like that.
18.
"They" would call that corny, outdated, and thirtiesh or a throwback to the forties or the unrealistic fifties. Well, not me. I knew I had a story in me but I didn't have any idea what the handle would be, where to fix my energies. Through fate or whatever, I ended up at the Muhammad AlVChuck Wepner fight. Chuck Wepner, a battling bruising type of club fighter, who had never really made the big, big time, was now having his shot. But the fight was not regarded as a serious battle.
19.
It was called a public joke. He would barely go three rounds, most of the predictions said. Well, the history books will read that he went fifteen rounds and he established himself as one of the few men who had ever gone the distance with Muhammad Ali and he can hold his head up high forever no matter what happens. I am sure that moment meant more to him than any money he could ever receive from fighting because now he had run the complete circle. This is why he had been training for thirty-four years.
20.
That night I went home and I had the beginning of my character. I had him now. I was going to make a creation called Rocky Balboa, a man from the streets, a walking cliche of sorts, the all-American tragedy, a man who didn't have much mentality but had incredible emotion and patriotism and spirituality and good nature even though nature had not been good to him. All he required from life was a warm bed and some food and maybe a laugh during the day. He was a man of simple tastes. The second ingredient had to be me, my particular story, my inability to be recognized.
21.
I felt Rocky to be the perfect vehicle for that kind of sensibility. So I took my story and injected it into the body of Rocky Balboa because no one, I felt, would be interested in listening to or watching or reading a story about a down-and-out, struggling actor/writer. It just didn't conjure up waves of empathy even from me and I was sure it wouldn't do it from an audience either. But Rocky Balboa was different. He was America's child. He was to the seventies what Chaplin's Little Tramp was to the twenties.
22.
For the next three and a half days straight, Sasha, my wife, who had always done the typing, was called upon to go above and beyond the call of duty. I wrote and she typed. We had a two-person factory going. We'd watch the sun go up and the sun go down and we'd eat standing up and she would struggle and slap herself in the face at the typewriter to keep herself awake. I don't know why we were pushing so hard. No one was asking for the script. I didn't have a producer giving me a dead- line, but deep down inside I knew that something was brewing. There was heat.
23.
I knew that the time was now and that the quicker I got it out, the quicker it was going to be sold. It's as though the stars were aligning themselves for some great cata- clysmic explosion and I wanted to be ready when it happened. ...I told myself any lie to keep going. The script was done in three and a half days and I took it to my agent who felt very good about it. He took it to a man called Gene Kirkwood, a neophyte producer who had just been hired by the studios.
24.
He had no features under his belt at all. Rocky was going to be his first. So he took it to his heart. Then he took it in to the producers and the producers' response was also very good at first. They asked for several changes and they got them. Every day, I was in conference with Irwin Winkler and Robert Chartoff, the producers, until finally the hour came when they said, "Yes, we want the script!"
25.
I said "Great!" And the sum of $75,000 was mentioned. This is a staggering amount for a man who has $106.00 in the bank and nothing coming over the hill. Zero. I went home and I thought about it. I didn't tell my wife about it. I came back the next day and I refused it. The fee went to $125,000. When I heard that, I immediately got a migraine headache over my left eye-$125,000-no one in the world has that kind of money. They asked me why I didn't want to sell it. The answer was simple. I wrote it for me.
26.
I wanted to do it. They replied that they would love me to do it-only I was not bankable; I was an unknown commodity. They felt that they should go with Ryan O'Neal, who enjoyed boxing, or Burt Reynolds or Paul Newman or Steve McQueen, or Al Pacino-or anyone of the ten or fifteen major actors who are marketable, because I was about as marketable as tear gas. Nobody wanted me around but I wasn't about to let this thing go.
27.
"$200,000.
No.
$210,000.
No.
$235,000.
No.
You're crazy, Sylvester.
I know that, but it's incurable.
$245,000.
No sale.
All right, Sylvester. $255,000. That's American currency."
28.
I went outside and I thought about it and I thought that I was losing my grip. But then something down inside, or wherever our real conscience lives, told me that the money meant nothing. This is it. You're on the ride of your life. Don't let go because if you do, you're going to hate yourself for the rest of your life. The movie is about not selling out. The movie is about going the distance. The movie is about that million-to-one shot. Don't become a hack.
29.
Another consideration came into my mind and that was that I was no longer alone in this world. I was not the solitary man. I had obligations. I had a wife. I went home and I told her about the situation and that the money could probably buy us indefinite security and at least guarantee a substantial writing career, for in Hollywood, usually if you sell one script, you're bound to sell many, many more. The trick is getting that first one sold. I'll never forget her response: "Go for it," she said.
30.
The next day, the bid went up to $265,000 and I made a simple declaration to my agent and whoever wanted to hear, that I would sooner burn the script, that I would sooner bury the script, that I would sooner put the script out to sea and blow it up than to have anyone else play Rocky. "If the price went up to half a million, if the price went up to a million, 'I said, 'No sale. ", Finally, the producers swung over to my side and used their influence to convince United Artists to take me on. The script went to Arthur Krim, Eric Pleskow, Mike Medavoy, and all the upper echelon of the United Artists organization and finally it came down, the word from above, that it was a "go" for one million dollars. Not a penny more, not a penny less. One million dollars!
