Books About Movies - Page One
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In this unique collection, New York Times film critic Rick Lyman sits down with notable directors, actors, screenwriters, cinematographers, and other film industry professionals to watch and discuss a movie that each person considers seminal or influential on his or her career. From Steven Soderbergh on how All the President's Men influenced Erin Brockovich and Traffic, to Woody Allen's, John Travolta's, Sissy Spacek's, and Kevin Smith's favorite movies, each interviewee's character is revealed in the resulting essays, which deepen our appreciation of landmark films, and give us extraordinary insight into the process of filmmaking.
Lyman enhances every essay with a brief biography, career history, and complete filmography of each of the subjects, which puts them in a historical and creative context.
Drawn from the enormously popular series in The New York Times, Watching Movies will fascinate film students and curious moviegoers alike.
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Making Sense of Movies is a film appreciation text that focuses on the Hollywood style of moviemaking to examine the aesthetic, historical, and theoretical aspects of film studies. The text focuses on a limited number of significant movies to provide greater depth of knowledge and understanding, gradually expanding the number of films with each chapter.
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Hollywood calls it the "shoot out"... the point during the making of a movie when star-fits and power struggles turn into standoffs, walk-outs, and clashing egos. How a film ever gets made is a wonder. Leave it to two industry icons to unreel the true story...
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In this latest addition to the spate of Hollywood tell-alls, the producer of The Untouchables and Fight Club details the planning, handholding and power games involved in making movies. Each film brings its own problems, which Linson recounts in sardonic discussions of his own less-than-boffo features, including Pushing Tin and Great Expectations (the 1998 remake). His account of The Edge is particularly remarkable, as it demonstrates the difficulties of putting together a deal (De Niro had a problem with fighting a fake bear), placating the stars (Alec Baldwin didn't want to shave his beard) and finding a title (The Bear and the Brain was a contender, as was the screenwriter's choice, Bookworm). Linson's insights into why some movies fail are revealing: no one wants to see John Cusack naked (which explains Pushing Tin), for one, and you don't stand a chance if an earlier, bigger release (Titanic) uses the same erotic scene as your movie (Great Expectations). To hear Linson tell it, it's a jungle out there, with loads of fussy, naive, brazen and unlucky monkeys swinging from the trees. He reels out one conversation after another, unearthing the bar banter, telephone exchanges and studio tˆte-…-tˆtes that reveal just how much quibbling goes on behind the scenes. Although Linson's book lacks the polish of William Goldman's Adventures in the Screen Trade or the all-around savvy of Peter Bart and Peter Guber's Shoot Out, it provides a decent bird's-eye view on what a producer actually does and the pressures it involves.
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Though it offers few revelations about the details of Campbell's personal life, this entertaining and witty Hollywood memoir combines his life story with how-to guidance on making independent films and becoming a pop culture cult hero. Campbell began working in show business as a teenager, and in high school became friends with future director Sam Raimi, with whom he eventually co-produced the 1982 cult horror hit Evil Dead, in which Campbell starred. Despite his wry, modest sense of humor Campbell recognizes the peculiar place that Evil Dead holds in contemporary culture he sincerely conveys the enormous commitment and work that went into making and marketing the movie. By the time he describes the film's premiere, Campbell's sense of triumph is palpable: we share his excitement when the film makes back its money and by 2000 becomes number three on the all-time video charts after Lady and the Tramp and Titanic. When Campbell isn't starring in new films like Evil Dead II and Moontrap, he is desperately often hilariously looking for investors for his new projects. His subtitle aside, Campbell's career has gone mainstream: he has appeared in Homicide and Ellen, is a regular on Hercules and Xena, and has started directing as well. (June)Forecast: While a boon to film cultists and to Campbell's many fans, this book also has enough insights and smarts to appeal to readers with a serious interest in popular culture. A planned author tour and national print advertising will help it capitalize on Campbell's cult following.
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