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 80
Página
... marketing campaigns they'd done. He thought, Jesus, what the hell is this? Spaced Out? Goodbye, Emmanuelle? What have I got myself into here? “I discovered that they knew nothing about movie distribution,” he says. “They had the passion ...
... marketing campaigns they'd done. He thought, Jesus, what the hell is this? Spaced Out? Goodbye, Emmanuelle? What have I got myself into here? “I discovered that they knew nothing about movie distribution,” he says. “They had the passion ...
Página
... marketing campaigns they would use to launch them. From the beginning, it was clear that the Weinsteins would not be satisfied with merely distributing other people's movies. These two cinema-besotted young men, like many who labored in ...
... marketing campaigns they would use to launch them. From the beginning, it was clear that the Weinsteins would not be satisfied with merely distributing other people's movies. These two cinema-besotted young men, like many who labored in ...
Página
... marketing to drive up grosses, thus swelling its share of the profits, while raising the profile of the company—a not uncommon practice in the industry. Directors loved the publicity and the grosses— and only later did they recognize ...
... marketing to drive up grosses, thus swelling its share of the profits, while raising the profile of the company—a not uncommon practice in the industry. Directors loved the publicity and the grosses— and only later did they recognize ...
Página
... marketing, “We sold it as a genre film—Pelle the Conqueror, this action hero—and we booked it as such into some multiplexes. It was their way of getting to those places you were never able to get to in the past, maybe not in a truthful ...
... marketing, “We sold it as a genre film—Pelle the Conqueror, this action hero—and we booked it as such into some multiplexes. It was their way of getting to those places you were never able to get to in the past, maybe not in a truthful ...
Página
... -Lewis. The Weinsteins had paid $400,000 for Errol Morris's documentary. From a marketing standpoint, the film presented some of the same problems as Miramax's other pictures, namely, to get butts in Two: The Anger Artists 1989.
... -Lewis. The Weinsteins had paid $400,000 for Errol Morris's documentary. From a marketing standpoint, the film presented some of the same problems as Miramax's other pictures, namely, to get butts in Two: The Anger Artists 1989.
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