John travolta dating history
In 1998, Travolta was honored by the British Academy of Film and Television Arts with the Britanna Award: and in that same year he received the Lifetime Achievement Award at the Chicago Film Festival. From Travolta’s famous “Stayin’ Alive” strut to the mid-filming death of his girlfriend, to three harrowing nights on the Verrazano-Narrows Bridge, Sam Kashner has the story of a culture-bending hit, whose music—by a revitalized 60s band called the Bee Gees—became the best-selling soundtrack of its time Robert Stigwood, the 42-year-old Australian impresario known as “the Daryl Zanuck of pop,” was out of his mind.But you should see his movie first.”“So we saw on Monday, and we made a deal,” recalls Mc Cormick, now executive vice president of production at Warner Bros.The client was director John Avildsen, and he brought in screenwriter Norman Wexler, who had earned his first Academy Award nomination for the screenplay for for the screen (which brought him a second Oscar nomination).By this time he was running RSO Records, which boasted Eric Clapton and the Bee Gees among its roster of pop stars.“Everyone thought it was madness,” says Oakes, “because nobody had ever made the transition from television to movie stardom.
Ousted in the power struggle that followed Epstein’s death, Stigwood went on to create RSO Records, and in l968 he branched out into theater, putting together the West End productions of the rock musical written by the Who and directed by the flamboyant Ken Russell, which became one of the biggest movies of l975.
So, a lot of us thought to pay a million dollars for Vinnie Barbarino [Travolta’s character on the TV sitcom the long-running Broadway musical (in which Travolta had already appeared as Doody, one of the T-Bird gang members, in a road company).
Five years earlier, Stigwood had auditioned the actor—then just 17—for stipulated that production could not begin before the spring of 1978, because the musical was still going strong.
With that welcome, the two men hightailed it back to Manhattan, but not before Cohn caught a glimpse of a figure, dressed in “flared, crimson pants and a black body shirt,” coolly watching the action from the club doorway.
“There was a certain style about him—an inner force, a hunger, and a sense of his own specialness. He’d found his Vincent, the protagonist of his New Journalism—style piece.Cohn’s hero, named Vincent, was a tough, violent guy but a great dancer who yearned for a chance to shine, and to escape the mean streets of Brooklyn.