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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... tell-all Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Film hangs over the proceedings. In his remarks before the opening night screening of the surf documentary Riding Giants, Robert Redford (whom Biskind ...
... tell-all Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Film hangs over the proceedings. In his remarks before the opening night screening of the surf documentary Riding Giants, Robert Redford (whom Biskind ...
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... tell the story about going to see The 400 Blows when he was fourteen, which he believed, for reasons best known to himself, to be a sex film, but during the course of the hour and a half he spent in the theater, he was transported by ...
... tell the story about going to see The 400 Blows when he was fourteen, which he believed, for reasons best known to himself, to be a sex film, but during the course of the hour and a half he spent in the theater, he was transported by ...
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... tell stories with a human scale. Although it might be argued that the 1990s—a decade in which indies reached a détente with their historical enemy, Hollywood—marked the end of the movement, this is too harsh. For our purposes it was a ...
... tell stories with a human scale. Although it might be argued that the 1990s—a decade in which indies reached a détente with their historical enemy, Hollywood—marked the end of the movement, this is too harsh. For our purposes it was a ...
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... tell people he works for Bob Redford. He was willing to do whatever he thought Bob wanted. It was, 'Yes Bob, yes Bob.'” Many blamed Redford for Beer. “Bob had blinders on about Gary,” says a source. Beer was like “the hunchback who ...
... tell people he works for Bob Redford. He was willing to do whatever he thought Bob wanted. It was, 'Yes Bob, yes Bob.'” Many blamed Redford for Beer. “Bob had blinders on about Gary,” says a source. Beer was like “the hunchback who ...
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... tell you that's not what they said at all. Something was great one minute and horrible the next. I'm professionally accustomed to cutting directors a whole lot of slack in the temper department. People undergo personality changes in the ...
... tell you that's not what they said at all. Something was great one minute and horrible the next. I'm professionally accustomed to cutting directors a whole lot of slack in the temper department. People undergo personality changes in 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