Esther Zuckerman

Despite being for grown up.

I think of Touchstone films with a lot of warmth.

Because there was, not just because of the air it represented, but it did feel like Touchstone had a lot of good, mid-budget, kind of gooey, movie star comfort films.

I think of the warmth because when lightning strikes.

Hot.

You don't want to touch the stone if lightning's hit it.

No, I do too.

You see that logo and you're like, ah.

I think that's sort of maybe what people were starting to comment on is like, is this just going to be their fucking beat now?

And, you know, up until that point, when they found it, Eisner and Katzenberg, their whole strategy was like, get diminished value stars.

Yeah, sure.

Like a sort of a B-level guy.

They were like Bette Midler, five-picture deal.

Richard Dreyfuss, five-picture deal.

It was so easy.

No, it was either people who had flops they were too afraid to recover from.

Yeah, or... Or had just kind of like...

alienated too much of the industry and you could get them at a bargain.

He hadn't had any pops or alienated anybody.

I think it's down and out in Beverly Hills is Dreyfuss, Nolte, and Midler who were all like fucking bargain basements, clearance, must-go movie stars.