Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent FilSimon and Schuster, 2013 M01 8 - 560 páginas In this “dishy…superbly reported” (Entertainment Weekly) New York Times bestseller, Peter Biskind chronicles the rise of independent filmmakers who reinvented Hollywood—most notably Sundance founder Robert Redford and Harvey Weinstein, who with his brother, Bob, made Miramax Films an indie powerhouse. As he did in his acclaimed Easy Riders, Raging Bulls, Peter Biskind “takes on the movie industry of the 1990s and again gets the story” (The New York Times). Biskind charts in fascinating detail the meteoric rise of the controversial Harvey Weinstein, often described as the last mogul, who created an Oscar factory that became the envy of the studios, while leaving a trail of carnage in his wake. He follows Sundance as it grew from a regional film festival to the premier showcase of independent film, succeeding almost despite the mercurial Redford, whose visionary plans were nearly thwarted by his own quixotic personality. Likewise, the directors who emerged from the independent movement, such as Quentin Tarantino, Steven Soderbergh, and David O. Russell, are now among the best-known directors in Hollywood. Not to mention the actors who emerged with them, like Matt Damon, Ben Affleck, Ethan Hawke, and Uma Thurman. Candid, controversial, and “sensationally entertaining” (Los Angeles Times) Down and Dirty Pictures is a must-read for anyone interested in the film world. |
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... opened quietly to respectful reviews and decent business. None had the seismic impact of Dennis Hopper and Peter Fonda's not-just-abiker-movie, and all wore their earnestness conspicuously on their sleeves, but for those who hungered ...
... opened quietly to respectful reviews and decent business. None had the seismic impact of Dennis Hopper and Peter Fonda's not-just-abiker-movie, and all wore their earnestness conspicuously on their sleeves, but for those who hungered ...
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... opened to that new spring.” The indies of the 1990s were a diverse lot, ranging from Haynes, with his astringent exercises in theoretically inflected gay cinema on the one hand to Smith, with his twenty-something gross-out comedies on ...
... opened to that new spring.” The indies of the 1990s were a diverse lot, ranging from Haynes, with his astringent exercises in theoretically inflected gay cinema on the one hand to Smith, with his twenty-something gross-out comedies on ...
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... opened up between Sundance's high-flying executives, who breathed the rarefied air of wealth and celebrity, and its young, poorly paid, idealistic staff, which felt under-appreciated. “I worked there for a year and one half before Bob ...
... opened up between Sundance's high-flying executives, who breathed the rarefied air of wealth and celebrity, and its young, poorly paid, idealistic staff, which felt under-appreciated. “I worked there for a year and one half before Bob ...
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... opened. Harvey wanted them desperately, and he wouldn't give up. He was like a hair in the back of your throat that swallowing won't get rid of. He bellowed, “You're going to sell me the rights—” “I'm not going to sell you the rights. I ...
... opened. Harvey wanted them desperately, and he wouldn't give up. He was like a hair in the back of your throat that swallowing won't get rid of. He bellowed, “You're going to sell me the rights—” “I'm not going to sell you the rights. I ...
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... opened there. Miramax had to reimburse Borden. It was small change but, as Pierson wrote later, “Distribution costs on an independent film should always be only direct, out-of-pocket costs—the cash spent on that one, specific movie ...
... opened there. Miramax had to reimburse Borden. It was small change but, as Pierson wrote later, “Distribution costs on an independent film should always be only direct, out-of-pocket costs—the cash spent on that one, specific movie ...
Contenido
Risky Business | |
The Buying Game | |
Hes Gotta Have | |
The House That Quentin Built | |
Pumping Up the Volume | |
Crossover Dreams | |
The Bad Lieutenant | |
The King of New York | |
All That Jazz Is Gone | |
Gods and Monsters | |
The Sweet Hereafter | |
Cast of Characters | |
Photographs | |
Otras ediciones - Ver todas
Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Film Peter Biskind Vista previa limitada - 2004 |
Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Film Peter Biskind Vista previa limitada - 2005 |
Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Film Peter Biskind Vista de fragmentos - 2004 |
Términos y frases comunes
According actors Affleck asked audience became become brothers called changed Confidential source continues Damon deal didn’t directed director Disney don’t executive feel felt festival film filmmakers finally four friends fuckin fucking getting give going gonna Greenstein grossed hand happened Harvey Harvey Weinstein Harvey’s head Hollywood independent indie interested it’s John Kids kind knew later lies Line live look marketing meeting million minutes Miramax moved movie never October once opened Oscar person picture play producer Quentin recalls Redford release says Schmidt Scott screening script seemed Shakespeare in Love shit Smith Soderbergh star started story studio success Sundance talk Tarantino tell theater There’s thing thought told took trying turned Universal walked Weinstein York