"You think you know her. Just wait and see the change. I'll have her trained in no time"
About this Quote
A producer’s confidence can sound like romance until you hear the machinery grinding underneath. Selznick’s line is pure show-business swagger: the promise of a “change,” the insinuation that the audience (or rivals) are naive, and the clincher - “trained” - that turns a person into a project. It’s not just prediction; it’s ownership language. He’s staking a claim over “her” as if talent is raw material and his job is to sand it down into something market-ready.
The intent is strategic intimidation: you think you know her now, but my version is the one that will matter. That’s a classic studio-era move, when producers and moguls didn’t merely finance pictures; they curated public identities, managed behavior, and engineered desirability. “Just wait and see” reads like a trailer tag line, a tease that leverages anticipation as power. It’s also a warning to anyone attached to the star - friends, lovers, even directors - that Selznick sees himself as the primary author of her image.
The subtext is a gendered hierarchy so normalized it can be said casually: she is someone to be “trained,” not collaborated with. The brilliance (and chill) of the phrasing is how it fuses confidence with coercion, implying that transformation is both inevitable and quick. In one sentence, Selznick frames Hollywood as a finishing school with a cash register: personality in, product out, with the producer’s hand invisibly everywhere.
The intent is strategic intimidation: you think you know her now, but my version is the one that will matter. That’s a classic studio-era move, when producers and moguls didn’t merely finance pictures; they curated public identities, managed behavior, and engineered desirability. “Just wait and see” reads like a trailer tag line, a tease that leverages anticipation as power. It’s also a warning to anyone attached to the star - friends, lovers, even directors - that Selznick sees himself as the primary author of her image.
The subtext is a gendered hierarchy so normalized it can be said casually: she is someone to be “trained,” not collaborated with. The brilliance (and chill) of the phrasing is how it fuses confidence with coercion, implying that transformation is both inevitable and quick. In one sentence, Selznick frames Hollywood as a finishing school with a cash register: personality in, product out, with the producer’s hand invisibly everywhere.
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