He was very lonely and extremely depressed about his struggling career.
JONATHAN BRANDIS : 1976 – 2003
“When you talk about BLACKLISTING, does it go on? Yes. Is it understood? No, because they ( the Political Left in Hollywood ) don’t make the connection ( between their hypocritical actions and the oppressive consequences thereof ).
However, I would make this distinction. In a BLACKLIST, you didn’t work if you were a communist. It didn’t matter how well you did. You were not going to work.
What we have here is a WHITELIST. There is a list but the difference is that you’re not really accepted in ‘Polite Company’ ( the A-List as defined by the leftwing cultural elites of Tinseltown ). However, if you are necessary and useful to a project, you can be used and that can be done without reflecting poorly on the employer.
You have two choices. One is to bury your ( conservative ) politics and simply go about your business. The other is to be open about what you really are. You cannot get caught between two seats or stools.
For me, it was just too hard. It’s never the crime. It’s the lie. It’s not in my nature. It never was. That’s what my choice was.
I have survived and succeeded and flourished inspite of it. But I know the price I paid socially and I know the price I paid professionally.”
( Lionel Chetwynd , writer-director-producer in “AMC Explores What It Means To Be A Hollywood Republican In Hollywood” by Kate O’Hare, zapzit.com: September 14, 2004 )
“Conservative cuties can also find succor at the home of Emmy-nominated producer Lionel Chetwynd. The writer of more than 30 television movies, Chetwynd acts as informal counselor to young actor and actresses easing themselves out of the Republican closet.
‘Most of them are simply looking for advice,’ he says. ‘What will this really do to me? They must understand that there is a price to be paid.‘
His advice to querulous young righties: ‘Recognize that you’re not one of those actors who can throw a fit. Always say yes. Always be cooperative. Recognize there is no margin for error for people like us in this community.‘ ”
( “Young And Republican In Hollywood” by Ruth Shalit, DETAILS magazine : September 2004, p. 216 )
“In 1980, Lionel Chetwynd was an accomplished screenwriter who was working with the Ronald Reagan campaign and hosting meetings where Reagan boosters talked up their candidate before Hollywood denizens. After a session featuring supply-side guru Arthur Laffer, a prominent L. A. liberal named Stanley K. Sheinbaum chastized the attendees for flirting with Reaganism.
‘Sheinbaum pointed his finger and said ( a virtual threat ) : You are consorting with people who ran the Hollywood BLACKLIST. I know who you are and I know where you work.‘ Chetwynd recalls ( the menacing act of intimidation ). ‘It was chilling. Noone came back. A lot of people whispered, I’m with you but don’t tell anyone.‘
After Clinton won in 1992, Chetwynd was willing to take another stab at corralling Hollywood’s conservatives. ‘I have had nightmares about the Sheinbaum episode,’ Chetwynd says. ‘But I felt that if we cannot have an alternative view here, its bad for the Republic. We create the popular culture here and there’s no political debate in Hollywood? That cannot be healthy.’ ”
( “Looking For Mr. Right” by David Corn, The Nation : April 5, 1999 )
“Nevertheless, Lionel Chetwynd’s attachment to cherished Republican causes sometimes disqualifies him from work.
There was once a television network executive who declined to hire him and actually said to other people at a staff meeting: ‘We will not be hiring Lionel Chetwynd because he is a conservative and conservatives cannot write caring characters.’
‘This kind of distressed me, especially because he ( the executive ) was a gay man. And I would have thought that he should, at the very least, have enough sensitivity to avoid that kind of prejudiced stereotyping.’ Chetwynd says.
‘Being a liberal in Hollywood is not just a political statement. It’s a religion.‘ ”
( “Mr. Right : Lionel Chetwynd, Hollywood Republican” by Michael Posner, The Globe and Mail : January 25, 2003 )
“So how do conservatives survive? They survive by being better. That’s to say it’s do-able. Popular culture is always going to be a grab bag. My complaint has been that Hollywood is like a grab bag which has only a single kind of Jolly Rancher hard candy. There hasn’t been enough choice.
I am worried that this situation will infuriate my colleagues on the right and they will never embrace Hollywood. They’ll always see it as a punching bag rather than look upon it as an important and vital industry. I mean, it’s the jewel in our national patrimony. Films tells us who we are. They are how we tell the world what we stand for. It’s why people want to come here. And we must never, never desert this battlefield.
My view has always been: don’t apologize for who you are. You cannot tell me that being a conservative means you can’t write a sitcom or a movie. That’s how we make our way: by outperforming the other side, by being better. There’s a great vineyard here from which to harvest and make the wine for our side. And we represent an increasingly large part of the market, too. I think what we need to do is ply our craft and not be afraid of who we are.”
( “A Conversation With Lionel Chetwynd” interviewed by Govindini Murty, www.libertyfilmfestival.com : June 23, 2005 )
“Are conservatives in Hollywood scared to death of identifying themselves publicly and speaking out?
Yes, because they know that they will be punished if they do.
However, the degree of punishment ultimately depends upon how far up their positions are within the industry’s pecking order and hierarchy.
If they are useful enough and can do something valuable for the corporate structure or system of the liberal elites, they may survive.
But if not, then they will be definitely shunned and may even be fired.”
( Playwright David Mamet talking about his new book “The Secret Knowledge” during an interview with Sean Hannity on the FOXNews channel : July 8, 2011 )