Epstein Secrets

yself.— Yet. this is not the story that Epstein told to 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 beca

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

myself:" Yet. this is not the story that Epstein told to 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 becam

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

myself:- Yet. this a not the story that Epstein told to 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 beca

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

myself— Net, this is not the story that Epstein told to 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 becam

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

myself.'" Yet. this is not the story that Epstein told to 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 becam

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

myself.'" Yet, this is not the story that Epstein told to 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

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

myself.— Yet. this is not the story that Epstein told to 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 becam

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