amy fisher: This Is An Un Official Fan Site Tribute
Long Island Lolita incident
Porn Queen Actress Superstar


amy fisher

Early life Fisher was born in Merrick, New York, on Long Island,[2] to Elliot and Roseann Fisher;[4] her father was Jewish while her mother's family, Fisher said, was "a mixture of a lot of different things, including English.
Amy Elizabeth Fisher (born August 21, 1974)[2] is an American woman who became known as "the Long Island Lolita" by the media in 1992, when, at the age of 17, she shot and severely wounded Mary Jo Buttafuoco, the wife of her illicit lover, Joey Buttafuoco.[3] Initially charged with first-degree attempted murder, she eventually pleaded guilty to first-degree aggravated assault and served seven years in prison. Paroled in 1999, Fisher became a writer, a webcam model, and a pornographic actress. Contents 1 Early life 2 Crime and prison 2.1 Paul Makely tape 2.2 Imprisonment 3 Life after prison 3.1 Fisher and Buttafuoco revisited 4 Sex tape and adult entertainment career 5 Books and films 6 References 7 External links



"[5] As a 16-year-old student at Kennedy High School in Bellmore, New York,[6] Fisher began an allegedly sexual relationship with 35-year-old Joey Buttafuoco, who denied her claim, after damaging the car her parents had given her for her 16th birthday and appealing to Buttafuoco, owner of the body shop to which she took it, to make the repairs without her family knowing of the damage.[7] Crime and prison Fisher gradually fell in love with Joey Buttafuoco and became increasingly jealous of his wife. Eventually, the then-17-year-old Fisher shared with Buttafuoco her idea of murdering his wife. According to Fisher, Buttafuoco helped her plan the shooting and told her about his wife's habits and when she was usually home. With the aid of Peter Guagenti, Fisher obtained a .25 caliber pistol and then went out to steal a set of license plates from a neighborhood car. On May 19, 1992, Guagenti helped Fisher put the license plates on his Pontiac Firebird and then drove her to the Buttafuoco home in Massapequa, New York. Fisher later explained to the police that she had expected Guagenti to carry out the shooting, but he refused. When Mary Jo Buttafuoco answered the door, Fisher told her that Joey Buttafuoco was having an affair with Fisher's (imaginary) younger sister, providing a T-shirt advertising Buttafuoco's auto body shop for her "proof." The conversation lasted about 15 minutes, but Buttafuoco became increasingly angry with Fisher's claims. She finally told her to leave and then turned her back to return to the house. Fisher then produced the gun, struck Buttafuoco in the head with it, and then aimed at her temple and fired. Buttafuoco fell to the ground, severely wounded. Fisher dropped the shirt and the gun and ran towards the car, but Guagenti told her to take the evidence with her, so she ran back to retrieve both items and then they both fled the scene. Neighbors called 911 and came to Buttafuoco's aid. She was operated on all night, and although unable to remove the bullet, the doctors were able to save her life.[8] When interviewed by police, Joey Buttafuoco told them that Fisher could be the shooter. Police Detective Martin Alger obtained a photo of Fisher, and when Mary Jo Buttafuoco regained consciousness the next day, she was able to recognize Fisher from the photo. Fisher was arrested and charged with attempted murder, and on September 23, 1992, she pleaded guilty to first-degree assault. Paul Makely tape In September 1992, the tabloid television show Hard Copy broadcast a videotaped conversation between Fisher and Paul Makely, the owner of a gym in Massapequa. In the tape, recorded hours before she agreed to the plea in court, Fisher could be seen talking about her future, saying that she wanted to marry Makely so he could visit her in prison. Fisher explained that her lawyer believed requiring people to be married for such visits was unconstitutional and that she intended to challenge the law on this matter. Fisher could be seen on the tape saying: "That will keep my name in the press. I want my name in the press. Why? Because I can make a lot of money. I figure if I'm going through all this pain and suffering, I'm getting a Ferrari."[9][10][11] Imprisonment On December 2, 1992, Fisher was sentenced to 5 to 15 years in prison.[12] She served seven years and was granted parole in May 1999 after Nassau County Court Judge Ira Wexner shortened her maximum sentence to 10 years, which made her immediately eligible for parole. The judge acted after having found that she had not been appropriately represented by her lawyer at the time of her 1992 guilty plea.[13] Joey Buttafuoco denied having an affair with Fisher. In October 1992, the Nassau County District Attorney stated that Buttafuoco would not be prosecuted. However, in February 1993, the case against him was reopened due to rape charges made by Fisher. She testified against him in court and based on this testimony and hotel receipts (dated before Fisher's 17th birthday) with Buttafuoco's signature on them, Buttafuoco was charged with statutory rape. Buttafuoco pleaded guilty in October 1993. He served four months in prison.[14] Life after prison After her release from prison, Fisher became a columnist for the Long Island Press. Her biography, If I Knew Then..., written by Robbie Woliver, was published in 2004 and became a New York Times bestseller. In 2003, Fisher married Louis Bellera. The couple had three children before divorcing in 2015.[15][16] Fisher and Buttafuoco revisited In 2006, Fisher reunited with Mary Jo Buttafuoco in sessions televised for Entertainment Tonight and its spinoff, The Insider. Fisher said she wanted to heal and move on with her life. However, two years later, she said she felt "no sympathy for Mary Jo",[17] without giving an explanation. Fisher and Joey Buttafuoco eventually reunited for the first time at the 2006 Lingerie Bowl for the coin toss. In May 2007, Fisher and Joey Buttafuoco met for dinner in Port Jefferson, Long Island, in what TV producer David Krieff said was an attempt to develop a reality-television show.[18][19] In June and July 2011 Fisher appeared as a cast member in the fifth season of the reality-television series Celebrity Rehab with Dr. Drew, which aired on VH1.[20] Sex tape and adult entertainment career Fisher in 2010 In October 2007, the New York Post published allegations that Fisher's husband, Lou Bellera, had sold a sex tape of the couple to Red Light District Video of Los Angeles.[21] Red Light District Video published a press release stating that it intended to release a sex video of the couple.[22] On October 31, nude pictures of Fisher from the video were posted at various Internet sites, and on November 1, 2007, a teaser clip was released by Red Light District Video that showed a nude Fisher showering and sunbathing. Of note were a tattoo surrounding her navel and a breast augmentation. On November 6, 2007, Fisher sued Red Light District and its owner David Joseph, claiming copyright infringement and other damages.[23] But by November 8, 2007, amyfisher.com, a website of whose ownership Fisher had previously fought to win, had begun pointing directly to the Red Light District website.[24] In early January 2008, Fisher announced that she had settled with Red Light and agreed to do a related promotional appearance. The same announcement indicated that she and Bellera had reconciled.[14] The promotional appearance took place at Retox in New York City on January 4, 2008.[25] Clips of the video were played on The Howard Stern Show. On March 6, 2008, Fisher was a guest on the Stern show, and one topic of discussion was meant to be her video. But after the first phone call, which was from Mary Jo Buttafuoco's daughter Jessica, Fisher left the show six minutes into her interview.[26] On January 12, 2009, Fisher released a pay-per-view adult film titled Amy Fisher: Totally Nude & Exposed.[25] Fisher signed a deal with Lee Entertainment to become a stripper doing club shows at least once a month. Fisher claimed she planned to strip until her fans told her, "Dear, please put your clothes back on. You're too old."[27][28] In September 2010, DreamZone Entertainment released the adult film Deep Inside Amy Fisher, calling it the first of eight such films Fisher would produce and in which she would star. The company had announced the movie in July 2010 under the working title The Making of Amy Fisher: Porn Star.[29] In June 2011, Fisher said she was no longer making adult films.[15] Books and films Books by Amy Fisher Fisher, Amy & Robbie Woliver (2004). If I Knew Then. iUniverse. ISBN 0-595-32445-2. Fisher, Amy with Sheila Weller (1994). Amy Fisher: My Story. (Reprint edition.) ISBN 0-671-86559-5. (Originally published by Pocket Books in 1993; ISBN 0-671-86558-7.) Books about Amy Fisher Dominguez, Pier (2001). Amy Fisher: Anatomy of a Scandal: The Myth, the Media and the Truth Behind the Long Island Lolita Story. Writers Club Press. ISBN 0-595-18417-0. Eftimiades, Maria (1992). Lethal Lolita: A True Story of Sex, Scandal and Deadly Obsession. St. Martin's Press. ISBN 0-312-95062-4. Movies about Amy Fisher Amy Fisher: My Story, 1992 (TV) Noelle Parker starred as Fisher. Casualties of Love: The "Long Island Lolita" Story, 1993 (TV) Alyssa Milano starred as Fisher. The Amy Fisher Story, 1993 (TV) Drew Barrymore starred as Fisher. According to Alan Ball, Fisher's story was an inspiration to him in his writing the script for the 1999 film American Beauty.[30] Seduced by a Cougar 22 (Video) 2011Fatal Seduction (Video) Anna Falkner 2011Amy Fisher with Love (Video) 2011My Wife's Hot Friend 10 (Video) 2011Amy Fisher Is Sex (Video) 2010Deep Inside Amy Fisher (Video) Amy Fisher By 1924, Griffith had dropped out, and the company was facing a crisis.[citation needed] Veteran producer Joseph Schenck was hired as president.[8] He had produced pictures for a decade,[citation needed] and brought commitments for films starring his wife, Norma Talmadge,[8] his sister-in-law, Constance Talmadge,[citation needed] and his brother-in-law, Buster Keaton.[8] Contracts were signed with independent producers, including Samuel Goldwyn, and Howard Hughes.[8] In 1933, Schenck organized a new company with Darryl F. Zanuck, called Twentieth Century Pictures, which soon provided four pictures a year, forming half of UA's schedule.[8] Schenck formed a separate partnership with Pickford and Chaplin to buy and build theaters under the United Artists name. They began international operations, first in Canada, and then in Mexico. By the end of the 1930s, United Artists was represented in over 40 countries. When he was denied an ownership share in 1935, Schenck resigned. He set up 20th Century Pictures' merger with Fox Film Corporation to form 20th Century Fox.[9] Al Lichtman succeeded Schenck as company president. Other independent producers distributed through United Artists in the 1930s including Walt Disney Productions, Alexander Korda, Hal Roach, David O. Selznick, and Walter Wanger.[8] As the years passed, and the dynamics of the business changed, these "producing partners" drifted away. Samuel Goldwyn Productions and Disney went to RKO and Wanger to Universal Pictures. In the late 1930s, UA turned a profit. Goldwyn was providing most of the output for distribution. He sued United several times for disputed compensation leading him to leave. MGM's 1939 hit Gone with the Wind was supposed to be a UA release except that Selznick wanted Clark Gable, who was under contract to MGM, to play Rhett Butler. Also that year, Fairbanks died.[8] UA became embroiled in lawsuits with Selznick over his distribution of some films through RKO. Selznick considered UA's operation sloppy, and left to start his own distribution arm.[8] In the 1940s, United Artists was losing money because of poorly received pictures.[citation needed] Cinema attendance continued to decline as television became more popular.[8] The company sold its Mexican releasing division to Crédito Cinematográfico Mexicano, a local company. Society of Independent Motion Picture Producers (1940s and 1950s) In 1941, Pickford, Chaplin, Disney, Orson Welles, Goldwyn, Selznick, Alexander Korda, and Wanger—many of whom were members of United Artists—formed the Society of Independent Motion Picture Producers (SIMPP). Later members included Hunt Stromberg, William Cagney, Sol Lesser, and Hal Roach. The Society aimed to advance the interests of independent producers in an industry controlled by the studio system. SIMPP fought to end ostensibly anti-competitive practices by the seven major film studios—Loew's (MGM), Columbia Pictures, Paramount Pictures, Universal Pictures, RKO Radio Pictures, 20th Century Fox, and Warner Bros./First National—that controlled the production, distribution, and exhibition of motion pictures. In 1942, SIMPP filed an antitrust suit against Paramount's United Detroit Theatres. The complaint accused Paramount of conspiracy to control first-and subsequent-run theaters in Detroit. This was the first antitrust suit brought by producers against exhibitors that alleged monopoly and restraint of trade. In 1948, the U.S. Supreme Court Paramount Decision ordered the major Hollywood movie studios to sell their theater chains and to end certain anti-competitive practices. This court ruling ended the studio system. By 1958, SIMPP achieved many of the goals that led to its creation, and the group ceased operations. Krim and Benjamin She won a Press Club Media Award for the prestigious and very competitive category "Column/News" in 2004. This award is voted on by chapters of the highly regarded Society of Professional Journalists. Release of her book, "Amy Fisher: My Story" by Amy with Sheila Weller. [1993] Release of her book, "If I Knew Then...". [2004] Is a weekly columnist with the Long Island Press. [October 2004] Personal Quotes (2) I got upset if I got a traffic ticket, and now I'm in prison. I can't believe it! (Interview with NBC News, 1992.) [2010] For 20 years, people have been thinking of me as this crazy, wild 16-year-old who had no control of what was said about her. Now, at least they can say that she looks good and pays her taxes. Needing a turnaround, Pickford and Chaplin hired Paul V. McNutt in 1950,[10] a former governor of Indiana, as chairman and Frank L. McNamee as president. McNutt did not have the skill to solve UA's financial problems and the pair was replaced after only a few months.[8] On February 15, 1951, lawyers-turned-producers Arthur B. Krim (of Eagle-Lion Films), Robert Benjamin and Matty Fox[10] approached Pickford and Chaplin with a wild idea: let them take over United Artists for ten years. If UA was profitable in one of the next three years, they would have the option to acquire half the company by the end of the ten years and take full control.[10] Fox Film Corporation president Spyros Skouras extended United Artists a $3 million loan through Krim and Benjamin's efforts.[8] [11] In taking over UA, Krim and Benjamin created the first studio without an actual "studio". Primarily acting as bankers, they offered money to independent producers. UA leased space at the Pickford/Fairbanks Studio but did not own a studio lot. Thus UA did not have the overhead, the maintenance, or the expensive production staff at other studios. Among their first clients were Sam Spiegel and John Huston, whose Horizon Productions gave UA one major hit, The African Queen (1951) and a substantial success, Moulin Rouge (1952). As well as The African Queen UA also had success with High Noon in their first year, earning a profit of $313,000 compared to a loss of $871,000 the previous year.[10][8] Others clients followed, among them Stanley Kramer, Otto Preminger, Hecht-Hill-Lancaster Productions, and actors newly freed from studio contracts and seeking to produce or direct their own films. With the instability in the film industry due to theater divestment, the business was considered risky. In 1955, movie attendance reached its lowest level since 1923. Chaplin sold his 25 percent share during this crisis to Krim and Benjamin for $1.1 million, followed a year later by Pickford who sold her share for $3 million.[8] In the late 1950s, United Artists produced two modest films that became financial and critical successes for the company. The company made Marty which won 1955's Palme d'Or and best picture Oscar. 12 Angry Men (1957) which according to Krim before home video, was being seen on TV 24 hours a day, 365 days a year some place in the world.[11] By 1958, UA was making annual profits of $3 million a year.[10] Public company United Artists went public in 1957 with a $17 million stock and debenture offering. The company was averaging 50 films a year.[8] In 1958, UA acquired Ilya Lopert's Lopert Pictures Corporation, which released foreign films that attracted criticism or had censorship problems.[12] In 1957, UA created United Artists Records Corporation and United Artists Music Corporation after an unsuccessful attempt to buy a record company.[13] In 1968, UA Records merged with Liberty Records, along with its many subsidiary labels such as Imperial Records and Dolton Records. In 1972, the group was consolidated into one entity as United Artists Records and in 1979, EMI acquired the division which included Blue Note Records.[14] In 1959, after failing to sell several pilots, United Artists offered its first ever television series, The Troubleshooters,[15] and later released its first sitcom, The Dennis O'Keefe Show. In the 1960s, mainstream studios fell into decline and some were acquired or diversified. UA prospered while winning 11 Academy Awards, including five for best picture,[8] adding relationships with the Mirisch brothers, Billy Wilder, Joseph E. Levine and others. In 1961, United Artists released West Side Story, which won a record ten Academy Awards (including Best Picture). In 1960, UA purchased Ziv Television Programs. UA's television division was responsible for shows such as Gilligan's Island, The Fugitive, Outer Limits, and The Patty Duke Show. The television unit had begun to build up a profitable rental library, including Associated Artists Productions,[16] owners of Warner Bros. pre-1950[17][note 1] features, shorts and cartoons and 231 Popeye cartoon shorts purchased from Paramount Pictures in 1958, becoming United Artists Associated, its distribution division. In 1963, UA released two Stanley Kramer films, It's A Mad, Mad, Mad, Mad World and A Child Is Waiting. In 1964, UA introduced U.S. film audiences to the Beatles by releasing A Hard Day's Night (1964) and Help! (1965). At the same time, it backed two expatriate North Americans in Britain, who had acquired screen rights to Ian Fleming's James Bond novels. For $1 million, UA backed Harry Saltzman and Albert Broccoli's Dr. No in 1963 and launched the James Bond franchise.[18] The franchise outlived UA's time as a major studio, continuing half a century later. Other successful projects backed in this period included the Pink Panther series, which began in 1964, and Spaghetti Westerns, which made a star of Clint Eastwood in the films of A Fistful of Dollars, For a Few Dollars More and The Good, The Bad and The Ugly. In 1964, the French subsidiary, Les Productions Artistes Associés, released its first production That Man from Rio. In 1965, UA released the anticipated George Stevens' production of The Greatest Story Ever Told and was at the time, the most expensive film which was budgeted at $20 million. Max Von Sydow in the role of Jesus Christ, lead an all-star cast which includes Charlton Heston, Roddy McDowell, Martin Landau, Dorothy McGuire, Sal Mineo, Ina Balin, Joanna Dunham, David McCallum, Nehemiah Persoff, Donald Pleasence, José Ferrer and Ed Wynn. Some had cameos for only a brief moment in the picture: Angela Lansbury, Sidney Poitier, Shelley Winters, Pat Boone and John Wayne as the Centurion who supervises Christ’s crucifixion. While the film was released in Ultra Panavision 70 and included several breathtaking scenes of cinematography, the film didn’t make back its budget and was released to mixed critical receptions, but it has since been acclaimed as a classic by audiences around the world for being admirably inspired in its attempt to be faithful to the four books of the New Testament in the Holy Bible plus the book of the same name by Fulton Oursler and the radio program. "The Greatest Story Ever Told" received five Academy Award® nominations in 1965 and received an accolade as one of the “Top 10 Films of the Year” from The National Board of Review. Transamerica subsidiary The second United Artists logo, used during the company's sale to Transamerica from 1967 until 1982. On the basis of its film and television hits, in 1967, Transamerica Corporation purchased 98 percent of UA's stock. Transamerica selected David and Arnold Picker to lead its studio.[8] UA debuted a new logo incorporating the parent company's striped T emblem and the tagline "Entertainment from Transamerica Corporation". This wording was later shortened to "A Transamerica Company". The following year, in 1968, United Artists Associated was reincorporated as United Artists Television Distribution. UA released another Best Picture Oscar winner in 1967, In the Heat of the Night and a nominee for Best Picture, The Graduate, an Embassy production that UA distributed overseas. In 1970, UA lost $35 million; thus the Pickers were pushed aside for the return of Krim and Benjamin.[8] Other successful pictures included the 1971 screen version of Fiddler on the Roof. However, the 1972 film version of Man of La Mancha was a failure. New talent was encouraged, including Woody Allen, Robert Altman, Sylvester Stallone, Saul Zaentz, Miloš Forman, and Brian De Palma. In 1973, United Artists took over the sales and distribution of MGM's films in Anglo-America. Cinema International Corporation assumed international distribution rights for MGM's films and carried on to United International Pictures (made from CIC and UA's International assets being owned by partner MGM) in the 1980s. As part of the deal, UA acquired MGM's music publishing operation, Robbins, Feist, Miller.[19] In 1975, Harry Saltzman sold UA his 50 percent stake in Danjaq, the holding-company for the Bond films. UA was to remain a silent partner, providing money, while Albert Broccoli took producer credit. Danjaq and UA remained the public co-copyright holders for the Bond series, and the 2006 Casino Royale remake shares the copyright with Columbia Pictures. UA released One Flew Over the Cuckoo's Nest in 1975 a film which won the Best Picture Academy Award and earned $56 million. UA followed with the next two years' Best Picture Oscar winners, Rocky and Annie Hall.[8] However, Transamerica was not pleased with UA's releases such as Midnight Cowboy and Last Tango in Paris that were rated X by the Motion Picture Association of America. In these instances, Transamerica demanded the byline "A Transamerica Company" be removed on the prints and in all advertising. At one point, the parent company expressed its desire to phase out the UA name and replace it with Transamerica Films. Krim tried to convince Transamerica to spin off United Artists, but he and Transamerica's chairman could not come to an agreement.[20] Finally in 1978, following a dispute with Transamerica chief John R. Beckett[8] over administrative expenses,[citation needed] UA's top executives, including chairman Krim, president Eric Pleskow, Benjamin and other key officers walked out. Within days they announced the formation of Orion Pictures,[8] with backing from Warner. The departures concerned several Hollywood figures enough that they took out an ad in a trade paper warning Transamerica that it had made a fatal mistake in letting them go.[citation needed] Transamerica inserted Andy Albeck as UA's president. United had its most successful year with four hits in 1979: Rocky II, Manhattan, Moonraker, and The Black Stallion.[8] The new leadership agreed to back Heaven's Gate, a project of director Michael Cimino, which vastly overran its budget and cost $44 million. This led to the resignation of Albeck who was replaced by Norbert Auerbach.[8] United Artists recorded a major loss for the year due almost entirely to the box-office failure of Heaven's Gate.[21] It destroyed UA's reputation with Transamerica and the greater Hollywood community. However, it may have saved the United Artists name, as UA's final head before the sale, Steven Bach, wrote in his book Final Cut that there was talk about renaming United Artists to Transamerica Pictures. In 1980, Transamerica decided to exit the film making business, and put United Artists on the market. Kirk Kerkorian's Tracinda Corp. purchased the company in 1981.[22][23] Tracinda also owned Metro-Goldwyn-Mayer.[24] United Artists Classics


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