Val Kilmer: Watch Magnolia for jumbled up dialogue that works. It’s wonderful. They’re all so stressed out that they…
Robert Downey Jr.: Can we not direct people to other films while we’re talking about this one?
Val Kilmer: Less people saw Magnolia than Kiss Kiss Bang Bang.
Shane Black: Less people saw it?
The writers of Mannequin, Edward Rugoff and Michael Gottlieb, based the character of Hollywood on André Leon Talley, editor-at-large of Vogue magazine.
In the 1991 sequel Mannequin: On the Move, Hollywood revealed that he was a former member of the United States Marine Corps, because, in his words, “The Marines were looking for a few good men, and so was I.” In this movie, he was the only character who related some knowledge of the events of the first movie and is, therefore, the only character unsurprised by the events in the sequel.
Hollywood was in many ways a stereotype of an effeminate gay man; He was a fashion expert who wore pink sunglasses at all times, dressed his “subjects” (the store’s mannequins) in flashy outfits, and often wore flamboyant purple suits. His car is a pink convertible called “Bad Girl”, and it has a flashy cover which is navy blue with pink dots painted all around. He was also known for his catch phrases, such as “Never you fear. Your Hollywood is here!”
Hollywood Montrose is a fictional character played by Meshach Taylor in the 1987 romantic comedy film Mannequin.
Fanta has its origins in Nazi Germany ,when a trading ban was placed on Germany by the Allies during World War II. The Coca-Cola company therefore was not able to import the syrup needed to produce Coca-Cola in Germany. As a result, their chief chemist, Dr. Schetelig, decided to create a new product for the Germany market created using only ingredients available in Germany. They called the new product Fanta.
In 1979, Universal sued Sony, claiming its timed recording capability amounted to “copyright infringement”. However, a district court found that noncommercial home use recording was considered fair use and ruled in favor of Sony. In appeals, the United States Court of Appeals reversed this decision in 1981 giving the edge to Universal, but the Supreme Court of the United States reversed it yet again in 1984, and found in favor of Sony 5-4.
Many of the same points of law that were litigated in this case are still being argued in various cases, particularly in light of recentpeer-to-peer lawsuits; for example, in A&M Records, Inc. v. Napster, Inc. 239 F.3d (9th Cir. 2001), the Ninth Circuit Court of Appeals rejected a fair use “space shifting” argument raised as an analogy to the time-shifting argument that prevailed in Sony.
The film industry lobbied Congress to impose a small statutory royalty on the sale of blank videotapes, but Congress would not follow suit, noting the increased profits for film studios in the home video rental and sales market
Immediately after their loss in the Supreme Court, the plaintiffs lobbied Congress to pass legislation that would protect them from the effects of home copying. However, in the eight years that had passed since the suit was initially filed, the use of home recording devices had become sufficiently widespread that Congress was not prepared to take any actions to the detriment of the significant population of VCR owners.
