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“... Between me and my childhood,’ says Budd Schulberg, ‘is a wall.’ Half-remembered incidents are the loose stones which he must tear away to make a hole big enough to crawl through. There is a Greta Garbo stone (he once pelted her with ripe figs), and stones called Gary Cooper, Freddie March and Sylvia Sidney, but one of the biggest and loosest goes by the name of Clara Bow ...”

“... To be anti-Hollywood was, in a sense, to be anti-semitic.’ So said Budd Schulberg, the son of a pioneer film producer, a successful screenwriter and author of the quintessential Hollywood novel, What Makes Sammy Run? (a book that was itself accused of a self-directed anti-semitism). To be anti-Hollywood has also, at various times, been a way to enlist the rhetoric of anti-semitism to express sentiments that are anti-modern, anti-urban, anti-New Deal, anti-internationalist, anti-capitalist, anti-Communist or anti-American ...”

“... he agreed to do it that On the Waterfront was ‘really a metaphorical argument’ by Kazan and Budd Schulberg: ‘they made the film to justify finking on their friends.’ Then there was the unrequited flirtation with the Panthers, when, innocent that he was, he failed to twig that walking through the streets of Harlem with Mayor John Lindsay might ...”

“... Dmytryk, many prominent ex-radicals became ‘artist stool-pigeons’: Elia Kazan, Clifford Odets, Budd Schulberg, Sterling Hayden, Lee J. Cobb. ‘That’s the problem: choice,’ Trumbo explained in a letter. ‘Not compulsion: choice’. In the Hollywood community, 250 people were blacklisted – disrupting or destroying careers, and often lives. This ...”

“... sweet ‘Wow’ at the sight of Charley’s gun is a highlight in that scene. The scriptwriter, Budd Schulberg (who had also testified to HUAC), admitted it was an ad-lib. ‘So small, so human, so formidable,’ Mann writes, that moment ‘exemplifies everything that made Marlon Brando the actor great’.Brando won an Oscar for Terry Malloy, and ...”

“... his resurrection and afterlife. The first to promote the legend was the Hollywood screenwriter Budd Schulberg, who had also assumed Fitzgerald was dead until he was asked to work with him. In Schulberg’s novel The Disenchanted (1950), Shep, a young writer, reads a draft written by Manley Halliday, a once great ...”

“... William Inge. He did the same in the cinema with Williams, Robert Sherwood, Inge, Steinbeck and Schulberg. Though he modestly disclaims more than typecast competence on the boards, it should be remembered that he was a succès fou as Agate Keller in Clifford Odets’s Waiting for Lefty – perhaps the Group Theatre’s finest hour – and even came to ...”