Water under the bridges, а цитата ли это? Может быть, просто вошедшая в язык метафора.
И просто не могу отказать себе в удовольствии обратиться к светлой памяти знаменитого продюсера Сэма Голдвина (of Metro-Goldwyn-Mayer fame. Сначала о нем, потом - почему он "наш кадр".
Famed for his relentless ambition, bad temper and genius for publicity, Samuel Goldwyn became Hollywood's leading "independent" producer -- largely because none of his partners could tolerate him for long. Born Shmuel (or Schmuel) Gelbfisz, probably in 1879, in the Jewish section of Warsaw, he was the eldest of six children of a struggling used-furniture dealer. In 1895 he made his way to England, where relatives Anglicized his name to Samuel Goldfish. There he begged (or stole) enough money for a ticket in steerage across the Atlantic. He reached the US, probably via Canada, in 1898. He gravitated to Gloversville, New York, in the Adirondack foothills, which was then the capital of the US leather glove industry; he became one of the country's most successful glove salesmen. After moving his base of operations to Manhattan and marrying the sister of Jesse L. Lasky, who was then a theatrical producer, Goldfish convinced Lasky and Cecil B. DeMille to go into film production. The new company's first film, The Squaw Man (1914), was one of the first features made in Hollywood; the company later became the nucleus of what would later become Paramount Pictures. As his marriage fell apart, Goldfish dissolved his partnership with Lasky. His next enterprise was the Goldwyn Co., founded in 1916 and named for himself and his partners, brothers Edgar Selwyn and Archibald Selwyn--Goldfish liked the name so much he took it for his own. The Goldwyn Co.'s stars included Mabel Normand, Madge Kennedy and Will Rogers, but its most famous legacy was its "Leo the Lion" trademark, which was adopted adopted by its successor company, Metro-Goldwyn-Mayer (MGM). Goldwyn himself was ousted from his own company before the merger, which was why his name became part of MGM even though he himself had nothing to do with the company. After his firing Goldwyn would have nothing to do with partners and went into independent production on his own, and for 35 years was the boss and sole proprietor of his own production company, a mini-studio specializing in expensive "quality" films, distributed initially by United Artists and later by RKO. His contract actors at various times included Vilma Bánky, Ronald Colman, Eddie Cantor, Gary Cooper, David Niven and Danny Kaye. In some cases, Goldwyn collected substantial fees for "lending" his stars to other producers. Touted by publicists for his "Goldwyn touch" and loathed by many of his hirelings for his habit of ordering films recast, rewritten and recut, Goldwyn is best remembered for his films that teamed director William Wyler and cinematographer Gregg Toland.
Знаменитое голдвиновское We've all (I've) passed a lotof water since then
(безусловно, контаминация water under the bridges: Sam Goldwyn's "We've all passed a lot of water since then" [is] a mix up of "A lot of water has passed under the bridge"
- цитата, известная многим американцам, иногда с атрибуцией, иногда без. Вот отрывок из воспоминаний о Голдвине:
Sam Goldwyn was perhaps the most vivid, an eccentric and very thoughtful man who loved reminiscing about his great risks -- surely "The Best Years of Our Lives" was one of the most remarkable -- but also relished the fact that neither the industry nor the filmgoing public could ever quite figure him out. When I prepared to leave, he even asked me if I had picked up any new "Goldwynisms" -- his famous malaprops and non sequitors. I told him I couldn't recall any, so he offered up a few stray ones. He told me of a quarrel he'd had in recent years with director William Wyler, adding, "That's all forgotten, of course. ... I've passed a lot of water since then." (Peter Bart, Variety 100)
Для развлечения публики - другие, менее известные цитаты из Голдвина:
"Pictures are for entertainment, messages should be delivered by Western Union."
"A verbal contract isn't worth the paper it's written on."
"In two words: im-possible."
"My wife's hands are very beautiful. I'm going to have a bust made of them."
"Include me out."
"Anyone who goes to a psychiatrist should have his head examined."
"When you're a star, you have to take the bitter with the sour."
"If you can't give me your word of honour, will you give me your promise?"
"What we need now is some new, fresh clichés."
On his longtime friend and partner, Louis B. Mayer: "The reason so many people turned up at his funeral is this: they wanted to make sure he was dead."
"Every director bites the hand that lays the golden egg."
"Too caustic? To hell with the costs, we'll make the picture anyway."
"A wide screen just makes a bad film twice as bad."
"Flashbacks are a thing of the past."
"A hospital is no place to be sick."
"I don't care if my pictures never make a dime, so long as everyone keeps coming to see them."
"I'll give you a definite maybe."
"I read part of it all the way through."
"This new atom bomb is dynamite."
"You've got to take the bull by the teeth."
"Don't talk to me while I'm interrupting."
"Our comedies are not to be laughed at."
"Tell me, how did you love my picture?"
"I never liked you, and I always will."
"Don't pay any attention to the critics; don't even ignore them."
"If I could drop dead right now, I'd be the happiest man alive!"
"I never put on a pair of shoes until I've worn them five years."
"The scene is dull. Tell him to put more life into his dying."
"I was always an independent producer, even when I had partners."
"Go see it and see for yourself why you shouldn't see it."
"I'd hire the devil himself if he'd write me a good story."
"A producer shouldn't get ulcers; he should give them."
"For your information, I would like to ask a question."
"I may not be always right, but I'm never wrong."
"This makes me so sore it gets my dandruff up."
"When I want your opinion, I'll give it to you."
"A bachelor's life is no life for a single man."
"It's more than magnificent; it's mediocre."
On Fredric March: "I'm overpaying him, but he's worth it."
"Color television! Bah, I won't believe it until I see it in black and white."
"When everybody's happy with the rushes, the picture's always a stinker."
"We'd do anything for each other; we'd even cut each other's throats for each other."
"We want a story that starts out with an earthquake and works its way up to a climax."
"Why should people go out and pay to see bad movies when they can stay at home and see bad television for nothing?"
[Upon visiting the set of Dead End (1937), a film about life amid the grinding poverty of a New York City slum] "Why do directors always try to make slums so dirty? Clean it up."
[Garson Kanin on Goldwyn's legendary inability to remember names] "He called me 'Thalberg' all the time".