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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... screening of the surf documentary Riding Giants, Robert Redford (whom Biskind portrays as a passive-aggressive control freak) wanly joked that he was off to a book signing with Miramax's Harvey Weinstein.” —Ty Burr, Boston Globe “The ...
... screening of the surf documentary Riding Giants, Robert Redford (whom Biskind portrays as a passive-aggressive control freak) wanly joked that he was off to a book signing with Miramax's Harvey Weinstein.” —Ty Burr, Boston Globe “The ...
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... screenings and courting their opinions. Over the last decade, the brothers have become adept at having their way with the press. In 1991, when I was working at Premiere magazine, I was asked to write an investigative piece about the ...
... screenings and courting their opinions. Over the last decade, the brothers have become adept at having their way with the press. In 1991, when I was working at Premiere magazine, I was asked to write an investigative piece about the ...
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... screening his film for the first time in front of real people. In those days Park City was a struggling, sub-Aspen ski resort, a huddle of drab buildings ringed by a dark necklace of high-priced condos splayed across the snow-covered ...
... screening his film for the first time in front of real people. In those days Park City was a struggling, sub-Aspen ski resort, a huddle of drab buildings ringed by a dark necklace of high-priced condos splayed across the snow-covered ...
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... screening venue of choice, built in 1926 apparently as a replica of the old Warner's Egyptian in Pasadena. Everywhere the young director turned were puffy, downclad filmmakers looking like so many Pillsbury Doughboys flogging their ...
... screening venue of choice, built in 1926 apparently as a replica of the old Warner's Egyptian in Pasadena. Everywhere the young director turned were puffy, downclad filmmakers looking like so many Pillsbury Doughboys flogging their ...
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... screening room. “We'd convert the restaurant into a place to stage scenes during the daytime,” Redford remembered fondly in 1990. “At night, we'd put the furniture back. We'd move the fire engine out of the firehouse and use the ...
... screening room. “We'd convert the restaurant into a place to stage scenes during the daytime,” Redford remembered fondly in 1990. “At night, we'd put the furniture back. We'd move the fire engine out of the firehouse and use the ...
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