In addition, the 1994 TriStar film release was " . . . set during the early 20th century . . . " The story " . . . focuses on the three sons of retired calvary officer William Ludlow (Anthony Hopkins) . . . " who " . . . left the military at issue with government treatment of plains Indians." The film includes an important segment portraying the horror of World War I and fighting against the German enemy. Much of the rest of the movie dealt with the effects of that war experience on the lives of a U.S. family.
In 1954, actor Bert Moorhouse, who appeared in shot and killed himself (January 26, 1954). That same year, actor James Cardwell, who appeared in " . . . shot himself to death in Hollywood on February 4, 1954. He was thirty-three." Also, in 1954 (August 8), "Charles Gioe, one of seven men convicted in 1943 of conspiring to extort money from the motion picture industry . . . was machine-gunned to death . . . " The body of the long-time Sidney Korshak associate " . . . was stuffed into the trunk of a car."
Its head coach was now the prime head coach for the city.
For example, Koppes and Black report, "[t]here was a nest of communists and fellow travelers in the film colony in the 1930s." On the other hand, these authors also state that "[b]ecause of the structure of the industry . . . they had virtually no chance to inject their politics into their products." This latter statements appears to be another case of writers protesting an allegation so strongly that their credibility is severely weakened, at least on this particular point. The history of Hollywood and its relationship with both the Production Code Administration headed by Joseph Breen and the Office of War Information's Motion Picture Bureau is replete with examples of the film industry manipulating the content of films to skirt around the explicit efforts of such offices to control or influence the content of films. How then can any writer make the claim that the studio executives could be 100% successful in preventing well disguised communist propaganda or other sympathetic messages from being included in a film when virtually no one can make such a claim
As shown in the film, Yoast's coaching style was laid back and quiet.
John Singleton who is " . . . a member of the painfully small circle of Hollywood's African-American royalty . . . " sounded the warning (in July of 1993) that the situation is so bad for African-Americans in Hollywood, that "[i]f there's not more John Singletons . . . there's gonna be a lot more carjackings." In other words, Singleton is saying, " . . . if you stifle someone's creativity, you make that person dangerous." Starting with the fact that the film industry is one of Los Angeles' most important industries and recognizing that John Singleton may not be the only young black male who feels those same sentiments, it is naive to deny that film industry discrimination against blacks, Hispanics and others was a contributing cause to the so-called L.A. riots of the early '90s, and may continue to contribute to extreme racial tension in Los Angeles for years to come.
Other specifics concerning the coaches:
For example, director Hugo Fregonese was born in Buenos Aires. He went " . . . to New York in 1935 to study at Columbia and spent part of his American sojourn in Hollywood as a technical advisor in films with Latin-American backgrounds. He returned to Argentina in 1938 and entered the film industry as editor, assistant director, and a director of shorts, and made his debut as a feature director in 1943. He was back in Hollywood in 1949 and for the next couple of years directed B pictures for Universal. Despite low budgets and simple scripts, he managed to turn out
Coach Boone ordered them off the buses.
The highest ranking black person on the 1993 list of the 101 most powerful people in entertainment and who primarily works in the film industry was an actress, Whoopi Goldberg, ranked at 55. The highest ranking black male was writer/director Spike Lee at position #63. Again, there were no black studio executives or agents on the list. Remember, once again, that it is this small group of top major studio/distributor executives who generally determine which movies are produced, released and viewed by the vast majority of Americans, who gets to work on those movies in the top creative positions and the content of the scripts.