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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... seemed to excite him. His face lit up, and he bellowed, “That's a terrific idea, that could make millions. We'll do it, won't we, Bob? Why don't you just give up the book you're writing now and do this one.” I declined, and he seemed ...
... seemed to excite him. His face lit up, and he bellowed, “That's a terrific idea, that could make millions. We'll do it, won't we, Bob? Why don't you just give up the book you're writing now and do this one.” I declined, and he seemed ...
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... seemed. As that extraordinary era was drawing to a close, Kramer vs. Kramer became the number one grosser of the year, breaking $100 million; Bob Fosse's All That Jazz was a hit, and so was Francis Coppola's Apocalypse Now. One of that ...
... seemed. As that extraordinary era was drawing to a close, Kramer vs. Kramer became the number one grosser of the year, breaking $100 million; Bob Fosse's All That Jazz was a hit, and so was Francis Coppola's Apocalypse Now. One of that ...
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... seemed a little off, uncomfortable in his own skin, as if he were not in the right place, but in some world of his own. If Harvey was bigger than life, Bob was smaller, more intense, a reduction, l'essence d'Herve. If Harvey was the ...
... seemed a little off, uncomfortable in his own skin, as if he were not in the right place, but in some world of his own. If Harvey was bigger than life, Bob was smaller, more intense, a reduction, l'essence d'Herve. If Harvey was the ...
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... the National Endowments during the Jimmy Carter years. Suddenly, there seemed to be an indie movement that had people who care about film practically dancing in the streets. For the organizers of Sundance, the hope was that.
... the National Endowments during the Jimmy Carter years. Suddenly, there seemed to be an indie movement that had people who care about film practically dancing in the streets. For the organizers of Sundance, the hope was that.
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... seemed most healthy but had made the mistake of turning away from acquisitions to make their own films. GENUINE CHILDREN of the New Hollywood, the indies absorbed, at least in the beginning, their anti-Hollywood aesthetic. What defines ...
... seemed most healthy but had made the mistake of turning away from acquisitions to make their own films. GENUINE CHILDREN of the New Hollywood, the indies absorbed, at least in the beginning, their anti-Hollywood aesthetic. What defines ...
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