By Lynda Obst
The veteran manufacturer and writer of the bestseller Hello, He Lied takes a witty and important examine the hot Hollywood.
Over the prior decade, manufacturer Lynda Obst steadily learned she was once operating in a Hollywood that used to be present process a drastic transformation. The the place every thing had as soon as been widespread to her used to be all at once disturbingly strange.
Combining her personal adventure and interviews with the brightest minds within the company, Obst explains what has stalled the colossal moviemaking laptop. The calamitous DVD cave in helped bring in what she calls the recent irregular (because Hollywood was once by no means basic to start with), the place studios are actually seriously depending on overseas markets for revenue, a state of affairs which without delay affects the type of leisure we get to determine. Can comedy live on in the event that they don’t get our jokes in Seoul or let them in China? Why are studios making fewer video clips than ever—and why are they greater, dearer and almost always sequels or recycled ideas?
Obst writes with affection, remorse, humor and wish, and her behind-the-scenes vantage element permits her to discover what has replaced in Hollywood like nobody else has. This candid, insightful account explains what has occurred to the motion picture enterprise and explores no matter if it’ll ever go back to creating the flicks we love—the classics that make us chortle or cry, or that we simply can’t cease speaking approximately.
Read Online or Download Sleepless in Hollywood: Tales from the New Abnormal in the Movie Business PDF
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The veteran manufacturer and writer of the bestseller hi, He Lied takes a witty and demanding examine the hot Hollywood.
Over the earlier decade, manufacturer Lynda Obst progressively learned she used to be operating in a Hollywood that was once present process a drastic transformation. The the place every little thing had as soon as been regularly occurring to her used to be unexpectedly disturbingly strange.
Combining her personal adventure and interviews with the brightest minds within the enterprise, Obst explains what has stalled the titanic moviemaking laptop. The calamitous DVD cave in helped herald what she calls the recent irregular (because Hollywood was once by no means common to start with), the place studios at the moment are seriously depending on international markets for revenue, a state of affairs which at once affects the type of leisure we get to work out. Can comedy live on in the event that they don’t get our jokes in Seoul or permit them in China? Why are studios making fewer videos than ever—and why are they greater, costlier and almost always sequels or recycled ideas?
Obst writes with affection, remorse, humor and desire, and her behind-the-scenes vantage element permits her to discover what has replaced in Hollywood like nobody else has. This candid, insightful account explains what has occurred to the motion picture company and explores no matter if it’ll ever go back to creating the flicks we love—the classics that make us snort or cry, or that we simply can’t cease conversing approximately.
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Additional info for Sleepless in Hollywood: Tales from the New Abnormal in the Movie Business
In these and many other examples, images from amateur camcorders vie with those shot on professional formats, representing two different ontological levels. Curiously, the electronic image almost always connotes a primal level of reality to which the celluloid fiction must adjust. Yes, ‘‘the ontology of the photographic image’’ has come center stage again, as the relevance of this ontology and the questions associated with cinema’s recording phase become increasingly acute. The Cahiers Axiom Let’s draw the line at camera-less animation.
Despite her 8 The Camera Searching in the World Truth and appearance. Rules of the Game. binoculars – indeed, because of this apparatus, one that stands in for the camera – she misunderstands what she sees and brings ruin down upon everyone as a consequence. ’’ If appearances can be a pseudorealism in Bazin and Renoir (and in Rohmer, as well), what has become of the epiphany of the natural world rendered by the camera? Rohmer’s films are talky for good reason. Undoubtedly, Bazin expressed a positive view of the unadorned cinematic image.
Neither gravity nor mystery distinguishes Audrey Tautou’s character nor Jeunet’s film, except in those black and white videos that Amelie sends to the reclusive painter Dufayal: babies swimming in slow motion, a blues singer, a peg-legged black man doing a soft shoe. Did Jeunet introduce these germs of video to contaminate the self-satisfaction of his carefully coiffed celluloid pictures? Disturbed by this message from a world outside his studio, Dufayal returns with renewed inspiration to his version of Renoir’s ‘‘Le dejeuner des canotiers’’ (‘‘The Boating Party,’’ 1871), determined to capture the mystery of one figure, ‘‘the girl holding the glass,’’ whose depth eludes him.