Epstein Secrets

the S.E.C. in 1981 and to lawyers in a 198,4 deposition involving a civil business case in Philadelphia. In 1981 the S.E.C.'s Jonathan Harris and Robert Blackburn took Epstein's testimony and that of other Bear Stearns employees in part of what became a protracted case about insider trading around a tender o

everything he can about how the business works—not just the craft of acting. but from the producing standpoint, from the studio standpoint.- says Jon Gordon. exec- utive vice president of production at Mira- max. "He knows how deals work. It's what sets him apart. If he wanted to run a studio at some po

the S.E.C. in 1981 and to lawyers in a 1989 deposition involving a civil business case in Philadelphia. In 1981 the S.E.C.'s Jonathan Harris and Robert Blackburn took Epstein's testimony and that of other Bear Steams employees in part of what became a protracted case about insider trading around a tender of

everything he can about how the business works—not just the craft of acting, but from the producing standpoint, from the studio standpoint." says Jon Gordon, exec- utive vice president of production at Mira- mar. "He knows how deals work. ft's what sets him apart. If he wanted to run a studio at some po

the S.E.C. in 1981 and to lawyers in a 1989 deposition involving a civil business case in Philadelphia. In 1981 the S.E.C.'s Jonathan Harris and Robert Blackburn took Epstein's testimony and that of other Bear Stearns employees in part of what became a protracted case about insider trading around a tender o

everything he can about how the business works—not just the craft of acting. but from the producing standpoint, from the studio standpoint," says Jon Gordon. exec- utive vice president of production at Mira- max. "He knows how deals work. It's what sets him apart. If he wanted to run a studio at some po

the S.F..C. in 1981 and to lawyers in a 1989 deposition invoh ing a civil business case in Philadelphia. In 1981 the S.E.C.'s Jonathan Harris and Robert Blackburn took Epstein's testimony and that of other Beat Steams employres in part of what became a protracted ease about insider trading around a tender of

everything he can about how the business works—not just the craft of acting, but from the producing standpoint. from the studio standpoint." says Jon Gordon, at- utive vice president of production at Mira- max. "He knows how deals work. It's what sets him apart. If he wanted to tun a studio at some poin

o the S.E.C. in 1981 and to lawyers in a 1939 deposition invoking a civil business case in Philadelphia. In 1981 the S.E.C.'s Jonathan Harris and Robert Blackburn took Epstein's testimony and that of other Bear Steams employees in part of what became a protracted case about insider trading around a tender ot

everything he can about how the business works—not just the craft of acting, but from the producing standpoint, from the studio standpoint." says Jon Gordon, exec- utive vice president of production at Mira- max. "He knows how deals work. It's what sets him apart. If he wanted to run a studio at some po

o the S.E.C. in 1981 and to lawyers in a 1989 deposition involving a civil business case in Philadelphia. In 1981 the S.E.C.'s Jonathan Harris and Robert Blackburn took Epstein's tes- timony and that of other Bear Stearns emicrWann part of what became a pro- tracted case about insider trading around a tender off

everything he can about how the business works—not just the craft of acting, but from the producing standpoint, from the studio standpoint," says Jon Gordon, exec- utive vice president of production at Mira- max. "He knows how deals work. It's what sets him apart. If he wanted to run a studio at some po

the S.E.C. in 1981 and to lawyers in a 1989 deposition involving a civil business case in Philadelphia. In 1981 the S.E.C.'s Jonathan Harris and Robert Blackburn took Epstein's testimony and that of other Bear Steams employees in part of what became a protracted case about insider trading around a tender of

everything he can about how the business works—not just the craft of acting, but from the producing standpoint, from the studio standpoint." says Jon Gordon, exec- utive vice president of production at Mira- max. "He knows how deals work. It's what sets him apart. If he wanted to run a studio at some po