What Just Happened?: Bitter Hollywood Tales from the Front Line

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		What Just Happened?: Bitter Hollywood Tales from the Front Line
		What Just Happened?: Bitter Hollywood Tales from the Front Line

基本信息·出版社：Grove Press
·页码：224 页
·出版日期：2008年10月
·ISBN：0802143385
·条形码：9780802143389
·装帧：平装
·正文语种：英语
·外文书名：即时发生: 来自一线好莱坞的辛酸传说

内容简介 As a Hollywood film producer, Art Linson has had a hand in producing some of the most unforgettable films of the last half century--Fast Times at Ridgemont High, The Untouchables, Fight Club--and has worked with some of America’s finest actors and directors. Dubbed by the Los Angeles Times “a breezy anatomy of ritual humiliation,” Art Linson’s Hollywood memoir What Just Happened? gives us a brutally honest, funny, and comprehensive tour through the horrors of Hollywood. To be released in 2008 as a feature film starring Robert De Niro and featuring appearances from Bruce Willis, Sean Penn, and John Turturro, among others, Grove Press’s reissue of Linson’s hysterical memoir will include a new foreword, the film’s script, and several black-and-white shots from the film.
作者简介 ART LINSON was born in Chicago and grew up in Hollywood. He has been producing movies for twenty-four years, and his credits include The Untouchables, Heat, Fast Times at Ridgemont High, Scrooged, Fight Club, and Heist. In 1995, he published his first book, A Pound of Flesh: Perilous Tales of How to Produce Movies in Hollywood --This text refers to an out of print or unavailable edition of this title.
编辑推荐 From Publishers Weekly
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, na‹ve, 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.
Copyright 2002 Cahners Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

Review
'Art Linson sings of Hollywood in a low, guttural, animal wail, alternately hysterical, biting, humiliating, and wise.' -- Sean Penn

'I laughed. I cried. I was horrified.' -- Sue Menger

'Wickedly funny and sardonic...It is the best user's manual to Hollywood I know.' -- Peter Biskind, author of Easy Riders, Raging Bulls --This text refers to an out of print or unavailable edition of this title.

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