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. |
Dentro del libro
Resultados 6-10 de 87
Página
... filmmaker who spends two years making his film, and then another two years distributing it, only to find out he can't make any money on it, and four ... filmmakers. It would be called the Sundance Institute, after the bank robber Redford had.
... filmmaker who spends two years making his film, and then another two years distributing it, only to find out he can't make any money on it, and four ... filmmakers. It would be called the Sundance Institute, after the bank robber Redford had.
Página
... filmmakers who worshipped at the altar of art. While directors accumulated BMWs and homes in Malibu, filmmakers made unimaginable sacrifices and lived in New York, preferably on the Lower East Side. They scammed and hustled, lied and ...
... filmmakers who worshipped at the altar of art. While directors accumulated BMWs and homes in Malibu, filmmakers made unimaginable sacrifices and lived in New York, preferably on the Lower East Side. They scammed and hustled, lied and ...
Página
... filmmakers which came up in the 1980s was forged in the crucible of the civil rights and anti-war movements, which had enough staying power to survive into the 1970s, and animate its values. Sayles in particular had absorbed the ...
... filmmakers which came up in the 1980s was forged in the crucible of the civil rights and anti-war movements, which had enough staying power to survive into the 1970s, and animate its values. Sayles in particular had absorbed the ...
Página
... filmmakers who wanted to 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 ...
... filmmakers who wanted to 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 ...
Página
... filmmakers have even rejected the auteur label. “I certainly didn't feel like I was going to grow up to be Steven Spielberg, but nor did I think I was going to grow up to become Martin Scorsese,” says Soderbergh. “I'm not one of those ...
... filmmakers have even rejected the auteur label. “I certainly didn't feel like I was going to grow up to be Steven Spielberg, but nor did I think I was going to grow up to become Martin Scorsese,” says Soderbergh. “I'm not one of those ...
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