Book Description
Looking for a career in the film business? Look no further.Making it in Hollywood is possible. But only if you have a workable strategy. When author Frederick Levy launched his own fledgling career, he didnt' know a soul in the business. But that didn't stop him and it doesn't have to stop you. Hollywood 101 is a complete game plan for getting your foot in the door of the film industry. With fascinating inside stories and advice from key players, it takes you step-by-step up the ladder of success. Whether you aspire to be a producer, director, writer, talent agent, and any other behind-the-camera professional, this is the one book you need to turn your "reel" dreams into reality!
Download Description
More than simply a technical how-to book, Hollywood 101 is full of inside stories and advice from industry leaders.
Customer Reviews:
Perfect Introductory Book to Hollywood.......2007-05-17
I purchased a number of "get into film/hollywood" books and this one was by far the most helpful. While it doesn't have much of the typical career advice (how to write your resume, cover letters etc.), which are better covered in more general job hunting books, it is the perfect book to read to get a sense for the jobs that do exist in Hollywood. If you're interested in the industry, but find it something of a "black box" or are unsure exactly what type of position to try and look for, this book is the ideal starting point. Levy walks through the entire industry, from agencies to studios, to actors, directors, costume designers etc. Given the wide canvas, none of the positions are covered in too much detail, but I think the book ideally serves as an excellent starting point from which to know where to pursue more information.
Finally, the tone of the book is excellent - one of excitement and encouragement. While it's a small point, dry and depressing hollywood career books abound - it's refreshing to find one that's has an enthusiasm and optimism to match your own.
Wanted: Hollywood film jobs.......2007-03-29
The book is great. If you want to get in the to industry (that's what people call the film industry in Southern California), buy the book. It gives a complete break down of all the people that are required to make any movie. So next time when you watch the ending credits, you'll know what a key grip, best boy, art director, first assistance director does and be able to tell your friends as they walk out of the theater asking, "What's a best boy?"
But it today!.......2006-07-23
It was informative and not at all boring. A must-read for those who are new to the Industy. Explains the steps of advancement for nearly every job in the entertainment industry. Excellent resource for goal-setting/ career management.
A Great Book to get started.......2004-07-25
I am an entertainment buff and I thought this book was great for people who want a survey of jobs they can pursue. It gave an in depth look at a lot of the positions in the film business. If you want a general look at the possible jobs, get this book. If you are more interested in television, this book is a great start, but it doesn't say anything about that since its primarly about film so look for another book for further reading. I would recommend this book for anyone who wants to break into the business, it was really helpful for me.
A Optimistic Joy.......2003-03-03
Excellent book about breaking into the "Industry". This book details almost all jobs in the industry and really tells you how to go about securing that job without knowing someone who can help you. You may find that you are better suited for another career within the industry, one you never would have dreamed of. Frederick Levy is a guy who knows his stuff and truly wrote this book to help you succeed with your career in film. He talks about writing a Television 101.......I am waiting!! Although Hollywood 101 was just as helpful! After reading your book, I am more than ever convinced that I shall succeed as well. Thanks Mr. Levy, I look forward to more books on the Industry from you!!
Book Description
Now brought completely up to date, the new edition of this classic work on documentary films and filmmaking surveys the history of the genre from 1895 to the present day. With the myriad social upheavals over the past decade, documentaries have enjoyed an international renaissance; here Barnouw considers the medium in the light of an entirely new political and social climate. He examines as well the latest filmmaking technology, and the effects that video cassettes and cable television are having on the production of documentaries. And like the previous editions, Documentary is filled with photographs, many of them rare, collected during the author's travels around the world. Covering the full course of the documentary from Louis Lumiere's first effort to recent landmark productions such as Shoah, this book makes the growing importance of a unique blend of art and reality accessible and understandable to all film lovers.
Customer Reviews:
A book about reality.......2002-05-29
I own a splanish version of this book that I used on some of my school's courses. I belive this is a great book for people interested in the other face of the film industry. It is a must buy for the people that want to go into the reality film industry
An Excellent Learning Guide.......2000-09-15
If you are interested in Documentary Film, this is a great introduction to the genre. Barnouw brings you through history with ease and enjoyment. I found it extremely satisfactory; definitely not a disappointment.
Definitive Introduction to the World of Non-Fiction Films.......2000-07-06
I know that when you see a book receive the five star rating you think that the person reviewing is either tender-hearted or an ignoramus as it is inconceivable to think of a perfect book. However, since I am neither tender-hearted nor an ignoramus I give you my word that Barnouw's book is an amazing reference guide to the world of non-fiction films. Its an incredibly quick read, it took me a matter of days despite a hectic schedule, and though a lot of names and movies come flying at you they are easy to access and remember. So if you know nothing about documentaries you can quickly become knowledgeable by reading this book and then know what films you should seek after. The book traces non-fiction films all the way from the early experiments of Muybridge and the actualities of Lumiere all the way up to the 1990s. It divides the films not by region but by their respective genre and in the order they emerged. Then in the final chapter, "Movement," it carries documentaries up into our days and explains what's going on and where it's headed. Again, though you wished Barnouw could have delved even deeper into certain aspects, or become more localized as this is mostly a globalized look, you realize that this book is only the stepping stone into a whole new world. Barnouw is merely opening the door and inviting us to enter.
This is it!.......2000-06-24
Barnbouw has taken a wealth of creativity and almost a century of filmmaking and not only made it manageable but intensely relevant and interesting, His breakdown of the various movements throughout the history of the documentary film is right on and remarkable. The research included in this masterpiece is unmatchable in other writings on the documentary. Filmmakers and non-filmakers alike need to read this book. It is a history lesson on a all too often over looked art.
The essential text on documentary cinema.......1999-07-20
Not only is this a wonderful documentary film history text, it is also extremely well-written. Barnouw is a wonderful storyteller and knows his subject perhaps better than anyone.
Book Description
In this unprecedented, all-encompassing, and thoroughly entertaining account of the movie business, acclaimed writer Edward Jay Epstein reveals the real magic behind moviemaking: how the studios make their money.
Epstein shows that in Hollywood, the only art that matters is the art of the deal: Major films turn huge profits not from the movies themselves but through myriad other enterprises, from video-game spin-offs and soundtracks to fast-food tie-ins, and even theme-park rides. The studios may compete for stars and Oscars, but their corporate parents view wth one another in less glamorous markets such as cable, home video, and pay-TV.
Money, though, is only a small part of the Hollywood story; the social and political milieus–power, prestige, and status–tell the rest. Alongside its remarkable financial revelations and incisive profiles of the pioneers who helped build Hollywood, The Big Picture is filled with eye-opening insider stories. If you are interested in Hollywood today and the complex and fascinating way it has evolved in order to survive, you haven’t seen the big picture until you’ve read The Big Picture.
Customer Reviews:
An authoritative, mesmerising read.......2007-05-01
If you want to understand how Hollywood became what it is today then this book ticks all the boxes: it tracks Hollywood from its beginnings in the early-20th century and the early part of the book focusses on the development of the big six media corporations in the world and who runs them and why TV and DVD are now far more important to the bottom line than straight theatrical release.
Some of the real examples of Hollywood's incredible loss-making ability are startling: one studio's 'greatest success' actually lost over US$60m, and you learn that the drivers of money and power are not the strong but actually it all boils down to children: what they want and don't want fuels the whole industry.
Fascinating stuff and very easy to read...five stars, no questions asked.
a good book about recent changes in the industry.......2006-09-26
Edward Jay Epstein's book provides an excellent overview of how business has changed in Hollywood since the 1970s. The book will give the reader a chance to think about how the industry moderates its relentless pursuit of money occasionally in order to pursue loftier goals. The book is particular strong in identifying key industry leaders, such as Lew Wasserman, who were able to respond quickly to changing circumstances and to rebuild the studio system in a new form after the rise of television. For a more complete history of the studio system, see Douglas Gomery's recently published book. But this one is a good read and it does a good job of recounting the recent history of the industry.
The New Hollywood Chicken/Egg Theory Exposed.......2005-11-16
Hollywood quality controlled by the bottom line? Gee, what an original concept. The question is, does Tinseltown point its checkbook any which way new media outlet winds blow or does it take a moral philosophical stance in a chaotic evil-is-hip era defined by a fantasy video game role playing culture of death?
Do most films today suck because they're only made for kids? And should it not matter because they're an easy target audience? That's a cop out. In the days of old Hollywood, moguls created demand across a wide demographic spectrum. Only advances in home media in the past 30 years have disaffected the issue of quality.
Epstein's new age filmic disorder tome basically applies cold harsh statistical reality to a cultural traffic accident and doesn't make a reasonable value judgment on what's happening. He's too busy dotting his is and crossing his ts with stat data to care. His beef is to say that's the way it is. Tough cookies.
As such, stating the facts and stressing the obvious is not rocket science when the largest demographic of Americans in 40 somethings are left out in the cold in ageist exclusion. Mature adults would rather stay at home because suits have decided only kids are worth making movies for. So they fear good filmmaking.
Any entertainment consumer with a clue is staying away in droves because the current generation of talent have no brains, style, taste or creativity for anything except that which will appeal to the lowest common denominator. And when the dream machine's quality control chicken is its egg, apathy becomes its own vice.
So don't blame the the demise of Americana on the rise of home video. Instead, blame the missing vision and low IQ of modern media decision makers and end users. Generations X and Y rule the roost. At the end of the alphabet, only Z is left. Does this signal our end days? Take in the latest 50 Cent flick to decide.
If we live in a world where movies and music contain no more important civil messages and merely serve as escapist pastime and we experience societal downfall as a result, soon there will be no bottom line to speak of. A show business peddling dreck to kids while good will falls to ruin doesn't deserve to survive.
The only useful thing this book has to say is that corporate entities make most of their profits in direct home DVD sales. So if you're making a movie, bypass bohemian green lighters who set the substandards and go straight to digital video. Not only is quality old hat these days. Film itself is an endangered species.
Interesting book, but a lot of redundant information.......2005-11-15
This is a good book about the evolution and the workings of the modern Hollywood system. (For summaries, see the other reviews.) I enjoyed the first third of the book a lot, but then it became more and more repetitive. A lot of the information contained in Part 4 ("The Economic Logic of Hollywood"), Part 5 ("Social Logic"), and Part 6 ("Political Logic") had been already presented in the preceeding parts. For example, I don't know how many times Epstein mentions the 29 million USD Arnold Schwarzenegger received for "Terminator 3" - it sure seems like a million times. In the end, you get the impression that the author had access to more detailed information about a limited number of movies (T3, Gone in 60 seconds) and then used them as examples for each and every point he is trying to make. All in all, some serios editing would have turned this really good book into an excellent one.
Hollywood in the spotlight.......2005-11-09
There's no business like show business, goes the old adage. But we now need a clarifier; which show business? The old show business of the 1940s-1950s of the big-budget epics starring the big name stars, or the new show business of DVD's, toys, stand-alone soundtracks, digital piracy, multi-national crews and casts and computer animation...
This book examines the evolution of the Hollywood business throughout the 20th century and into the early 21st century. Unlike other books of the same topic, this one looks at the major players, both individuals and companies, and covers a lot of the technological changes such as the advent of talkies, color movies, VHS, DVD, and the Internet. The book also deals with a lot of the legal / political issues, such as free-agency of actors and actresses, unions and guilds within the industry, copyright laws and intellectual property, and interconnected web that links TV, video, toy sales, franchise names, and company logos together.
The author shows how changes in technology and laws have changed the Hollywood business by changing relations between movie companies and their employees, between directors and the actors and actresses, and between moviegoers and moviemakers. The role of advertising is examined to see how it has changed over the decades from posters and previews of previous decades, to the TV spots, toys in food boxes, pre-screenings, and guest-show appearances of today. The book also shows how changes in Hollywood have affected the movie industry in other countries, and vice versa.
Overall, a well balanced and comprehensive book on the movie-making history.
Book Description
The story of the William Morris Agency is the story of show business itself. Founded at the turn of the century, it stood as the premier agency in Hollywood for 80 years. Practically all the major names in the industry started in its mailroom. Then, in the last 10 years, it went from the most powerful agency in the movie business to an also-ran, even as it made megastars out of Mel Gibson, Tom Hanks, Julia Roberts and Kevin Costner.
How this happened is a fantastic story of loyalty and betrayal, a multi-generational saga that culminates in the emergence of Michael Ovitz and the rival CAA as the dominant force in Hollywood. With unvarnished descriptions of the politburo-like board that runs William Morris, the fanatically driven agents who do the work and the needy and demanding stars they represent, The Agency is a compelling tale that lifts the curtain on the most intriguing business in America today.
Amazon.com
The Chairman of the Board has inspired a great many emotions--from hero-worship to withering contempt--and you'll find most of them documented in this intelligent compendium. The editors have dredged up some wonderful relics, like Bruce Bliven's 1944 rumination on what makes the Voice so magical in the first place ("Undoubtedly, just plain sex has a great deal to do with the whole matter"). But the essays, reviews, and memoirs cover every segment of Sinatra's career, including the end-game triumph (or travesty) of the best-selling "Duets."
Book Description
From the time he made hordes of hysterical fans swoon at the Paramount in 1942 up until the present day, Frank Sinatra has never been out of the public spotlight. With some 1,800 recordings, 60 film credits, two Oscars, numerous Grammys and a Grammy Legends Award, and the undying loyalty of millions of fans around the world, Sinatra has become an American hero. Songs sung by the Italian-American phenomenon, such as "New York, New York," "My Way,""Fly Me to the Moon," and "That's Life" are now among the undisputed classics of American popular music. In The Frank Sinatra Reader, Leonard Mustazza and Steven Petkov have brought together for the first time a singular selection of writings about the famous singer that focuses on his music and his legendary voice. A unique anthology of reviews, photographs, and memoirs, many of them back in print for the first time in decades, this collection tells the story of Sinatra's extraordinary musical career from its inception to the present. We see Sinatra as a teen phenomenon and follow his rise and fall as a solo performer, his comeback as a mature recording artist with Capitol Records, and his reign as a powerful and influential personality in the '60s. Lastly, the book contemplates Sinatra's ability to endure and triumph in a changing musical world. Included among the prominent writers, musicians, and journalists that recount and applaud the star's progress through the twentieth century are Henry Pleasants, Arnold Shaw, Stephen Holden, Gay Talese, Whitney Balliet, Gene Lees, Bill Boggs, Will Friedwald, and William Kennedy. Readers will also find intimate recollections by writers who knew not only the musician but the man himself, such as those by Pete Hamill, Jonathan Schwartz, and Rosalind Russell. The editors provide introductions to each section, a selected discography, a complete filmography, as well as a biographical chronology of the author's life and a selected bibliography. In The Frank Sinatra Reader, the man and his music become inseparable as the reader develops a greater understanding and appreciation of both. Mustazza and Petkov have created an invaluable collection that both illuminates and reflects Sinatra's incredible impact on the American cultural landscape. It is a must read for all Sinatra fans and for anyone interested in popular music and culture.
Customer Reviews:
Frank Sinatra.......2006-04-16
Here's a collection of articles and book excerpts dealing with Frank Sinatra - the man, his music, his career. A vast majority of the pieces were written after 1965, and most are fairly long and substantial. It's amazing how similar in approach many of the personal reminiscences are: I knew Sinatra a long time, though we're not close friend; his personality is volatile - up one minute, demonic the next; he's performed magically at times and also in a mediocre fashion - are typical remarks. The ambiguity that those who know the man share is fascinating. Just about everyone acknowledges a magnetism about Sinatra - even bigger than his talent, said Billy Wilder - and many who have come to know him almost fear being sucked in by that magnetism - so they purposely keep the man at arm's length (at least in their writings about him). Just about every author who writes about keeping an appointment, for example, with Ol' Blue Eyes relates it with a marked tentativeness, some (notably Pete Hamill) as if they were going to their doom. I guess that was the power of Sinatra.
Guy Talese's "Sinatra Has a Cold" 1966 Esquire article (an early example of the New Journalism) is included, and it's a highlight of the book. Also of special interest are Pete Hamill's "The Legend Lives," Sinatra fanatic Jonathan Schwartz's "In the Wee Small Hours," and Petkov's own essay on Sinatra's greatest years when recording for Capitol records. But all the pieces are worthwhile and together build a well-rounded, critical (as opposed to mere adulation) view of perhaps the greatest male pop singer of all time. Worth checking out.
Great Inside View of the #1 Megastar of them all!!.......2001-12-23
From Bobby Sox fave to Sultan of Swoon to the Fall and Great Comeback, it is just about all here, except for the very last years from the mid-1990's to the end. This volume is a collection of essays surveying the vast realm of an incredible career. The clear links between his peerless Capitol recordings,and his own life are explained,as are the demanding sessions themselves, his always being in charge with a lot of help from his friends. Every piece here is worthwhile, my favorite being Gay Talese's FRANK SINATRA HAS A COLD (1966)To quote:"Sinatra with a cold is Picasso without paint,Ferrari without fuel..A Sinatra with a cold can, in a small way,send vibrations through the entertainment industry and beyond as surely as a President can, suddenly sick, shake the national economy." A great fun of a read! Not for Frank fanatics only.
A must for anyone who loves Ole Blue Eyes.......2000-09-19
This book is like an almanac of information on Frankie. I had the pleasure of reading it at a friends house, and it was just great. I highly recommend it. Another good one, is "Why Sinatra Matters." Both give a glimpse into a man that we all love.
Book Description
The dark shadow of America's entertainment giant.
Customer Reviews:
Scary. A MUST READ for Parents Considering a Disney Trip........2007-08-20
Forget the political propaganda some posters are trying to attach to this book. It isn't only for Conservatives or "right-wingers". Truth has no political ties. Everyone has a right to know of the horrors Disney has been covering up for years.
These facts weren't taken from one source. They aren't a product of the author's imagination. The author did his homework. He dug deeply into Disney's hidden secrets by talking with a ton of employees, many who weren't afraid to be named. He (author) includes dozens of documents that Disney tried to hide - documents that expose the child molesters hired to entertain your children.
Though Disney knows about unsafe conditions in their amusement park they do nothing. The pending lawsuits from deaths or serious injury are cheaper to deal with than the cost of repairing the dangers. It's all about profit and greed.
Even if only half of this book is the absolute truth you have an obligation to inform yourself. You and your children may be at serious physical and emotional risk. If you go to Disney World and get hurt, don't sign anything and don't let the older kids wander off by themselves, not even for a second.
Read the book and judge for yourself the presented facts .
Poisonous.......2007-07-22
I bought this as an impulse buy, confusing it for Stewart's "Disney War." It took me about a page and a half to figure out it was actually right-wing propaganda written with the intent of furthering a Christian-based agenda to tear down the Disney empire for having had the audacity to get "too big."
I worked at the Disney studios of the 90's as well as the theme park of the 80's. I was like many a mystified "Disnoid," having been raised to believe that if you wish upon a star you could get anything you wanted, and that you were always the star of the movie. Working at the parks deconstructed my concept of a world of "magic" and working for the studio instructed me on the ways and means of big corporations. Growth usually comes with pain but it's necessary. There's nothing less attractive than a grown adult stubbornly refusing to leave the world of childhood fantasy. I was bitter and cynical for a long time after my experiences and would have written a book similar in (initial) intent as the Schweizers, had I not grown up. Reading this book actually made me re-examine my bitterness and take the side of the Disney corporation. It is just a business after all.
The Schweizers will try to convince you that Disney is "bad," using a bar for measuring badness that they assume their readers share. It's interesting to read about the things they criticize from a different perspective. An example--I had an accident while working at the park in the 80's and was amazed at the efficient way the company handled it. As a guest I would not have wanted to see someone stumbling around with a bloody head waiting for an ambulance, nor did I have any right to sue, as might have happened today. They whisked me away to a hospital and compensated me fairly, one time, for something that should not have happened but was, after all, an accident. Would the Schweizers be happier if everything stopped while stretchers were paraded through the park every time something happened?
Of course much of the book is concerned with perversion, much of it centering on the "obvious" shared traits of pedophiles and the "gay mafia" that had a stronger presence in the Disney corporation than it currently holds. The ideas the Schweizers are trying to sell--something along the lines of if you go to Disneyland you're likely to be sodomized--would be disturbing if they weren't so ridiculous (quote: "some cross-dressers even tried to hold their OWN parade down Main Street, but it never got fully organized," ha ha). And the presentation--there's even a warning at the beginning of one of the chapters--is done in that "can you BELIEVE this?" style that makes Michael Moore's films so inflammatory. I found these chapters almost enjoyable on a salacious level--the Schweizers seem to take great glee in discussing the grittier, "naughty" topics, presenting just enough detail to entice the reader but withholding as much to make the reader curious, a good advertisement for the very thing they would condemn: "Just how bad ARE Larry Clark's movies/photos? I MUST know for MYSELF." Of course, in the Schweizer world the worst thing you can possibly do is be a man who loves other men. To quote the film "Victor/Victoria": "Kill him but mustn't kiss him."
There's rampant misinformation as the Schweizers bend facts to further their agenda, making these authors the ultimate hypocrites since the point of their book is to point out that this is what the Disney Corporation is doing. I know at least two of the people quoted in the book and their comments were not solicited; they were taken from public resources and quoted completely out of context. Hardly surprising since the foundation of many a Christian's religious belief system is based on this process. I know very few Christians who have slogged through the bible, even less who have taken the time and energy to research the meaning behind the book. With that in mind I did my best to give "Disney: The Mouse Betrayed" a thorough, unbiased and fair reading. There are sections that are well researched and present indisputable truths; ten years on the world has become more than aware that there was a lot of money-grubbing, greed, and deceit involved in the "Eisner" years of Disney. No one is really surprised anymore that big corporations deal in this sort of excess, even if they are organizations founded on providing family entertainment.
However, I find it interesting to note that Disney is still doing fairly well for all of that (and for better or worse) and that the Schweizers' book has faded into obscurity (it can be had for a buck twenty-five on this very page). Their would-be poisonous diatribe against The Mighty Goliath failed; the antidote, much like the cure for the obsessions of Christian fantaticism in general, was education and rationality.
A slap in the face for everyone who's EVER worked for Disney.......2006-11-02
I was looking through a friend's copy, and I've gotta say, the section I read on Disney's supposedly lax safety practices disgusted me. I work for the Mouse at Disneyland, and NEVER have I EVER in my backstage experience been given a reason to question my safety when I attend Disney as a guest. Far more damaging was my job in fast food to my desire to eat McDonalds. If anything, I feel more comfortable now knowing exactly how much care they put into the safety of their guests. There will be the occasional instance of human error or guest idiocy, but they do a superb job of minimizing them. For those who take a dim view of Disney's morals, perhaps it's because unsafe rides lead to accidents, which in turn lead to expensive, high-profile lawsuits.
This book, or at least that topic, which was all I could stomach reading, was full of half-truths, misleading statements, and occasionally outright falsehoods. I personally feel insulted, because I've now been unfairly deemed part of the profit-hungry scum of the earth.
A readable yet disconcerting account that tries to enlighten but leaves many questions murky .......2006-10-19
This volume sets a lofty goal of being a definative work about the failures of Walt Disney Corperation, but in spite of heart-felt emotive writing, the account left, at least this reader with little more clarification of disney practices than I had before reading it.
Some of the allegations seem credible and well backed by named sources and these should concern everybody especially the section of ride and guest safety, but the account breaks down in the credibility department when all the supposed sins of the various subsiduary companies are laid squarely at Disney's feet. I am not saying the company is inocent,just stating the fact that the book fails to make a very good case for castigating the parent company.
Too often first person disgruntalled employee accounts are treated as facts - which they may or may not be. The statistical section was very disappointing in that they used raw numbers without qualification. For example: The number of Disney injuries per employee in hotels compared to the average. The problem is that there are no qualifications of the raw data - consider for example that over a year a hotel staff caring for a hotel that averages a 75% occupancy is unliekly to have as many injuries as a hotel running near 100% occupany as many Disney hotels are. Clearly the more stressed the staff the greater the odds are of injury. Hence comparison of raw data can be misleading and once more the inron-clad evidence of the "Evil Disney" lacks the credibility that would convert the cynics.
Over all the book fails to deliever the material expected in a definative and unemotional manner. Disney may indeed be a mouse betrayed, but it nearly impossible to draw that conclusion based upon the data supplied (or not supplied) here, at least if one is to be intellectually honest
Interesting.......2006-08-15
This book, so far, is an interesting book. Although I haven't finished it yet, I find the information useful. The employee viewpoints and facts will make my next visit to Disney World a more cautious one.
Book Description
When the head of Columbia Pictures, David Begelman, got caught forging Cliff Robertson's name on a $10,000 check, it seemed, at first, like a simple case of embezzlement. It wasn't. The incident was the tip of the iceberg, the first hint of a scandal that shook Hollywood and rattled Wall Street. Soon powerful studio executives were engulfed in controversy; careers derailed; reputations died; and a ruthless, take-no-prisoners corporate power struggle for the world-famous Hollywood dream factory began.
First published in 1982, this now classic story of greed and lies in Tinseltown appears here with a stunning final chapter on Begelman's post-Columbia career as he continued to dazzle and defraud . . . until his last hours in a Hollywood hotel room, where his story dramatically and poignantly would end.
Customer Reviews:
The Ultimate Study in Greed and Hubris.......2007-04-05
I bought this book when it first came out and have reread it every year or so. Tends to be a bit long and sometimes slow, but it's great. Buy a used copy, or check at the library.
Being from the Washington D.C. area I kept constantly asking why someone didn't leak this to the press and blow the whole compiristy.
The only comparable book is "The Great Salad Oil Swindle"
Domino Effect.......2004-04-08
David Begelman, powerful head of a studio thinks he is above the law, until an actor by the name of Cliff Robertson exposes him. This book is a well written tale of immorality in a town known for it's lack of scruples. Hollywood insiders should not be surprised at this tale, but I was. The check Begelman forged was for a small amount. The man made more than that in a month. The book exposes the reasons why a man who had it all, would choose to commit such a crime and fall from grace. I was quite disappointed by Robertson's treatment by Hollywood's hierarchy when he was the victim, not Begelman. But it proves just how far studios will go to protect the bottom line. I read this book when it was first published years ago and I'm reading it again. The list of books I will read more than once is a short one. I highly recommend it.
Good Coverage of Major Scandal!.......2003-11-30
This book gives details of David Begelman the head man at
Columbia Pictures getting caught forging Cliff Robertson's name
on a check. Robertson had won an Oscar for his role in Charly.
As a result of Begelman getting caught Roberetson would suffer
mightily at the hands of the powerful in Hollywood.Cliff Robertson wound up being blacklisted as a result of this scandal.This scandal would send shockwaves from Hollywood to
Wall Street.You are given a complete coverage of this event in
this excellent book.You are given good coverage of some of the
individuals who were involved in this scandal.David Begelman's demise is also given coverage in this book.This is an excellent book on this event. Read it. You will not be dissapointed.
Cliff Robertson is the true star of this story........1998-06-06
David Begelman would never have been exposed as the crook he was without the dogged, principled determination of Cliff Robertson to get to the bottom of corruption at the top levels of Hollywood. This excellent book documents Robertson's heroic efforts to get at the truth -- for which he was blackballed by the Hollywood establishment for years. Cliff once said to me: "Of all the things in my life I'm proud of -- if I'm proud at all -- it's not winning the best actor Oscar or Emmy; it's my part in bringing down that crook Begelman."
But perhaps the book is most valuable for its exposure of the top echelon of Hollywood -- people with lots of money and no taste; people who know nothing whatever about movies. And could care less. I hope this book is reprinted soon. It is timeless.
A fascinating study of the real powers of Tinseltown........1997-11-27
First things first. This book only gets an "8" becuase I realize some people could care less about studio executives in Hollywood(unless their name is Julia Phillips or Steven Speilberg, both of whom make appearences in the book) but it truly is a ten. It is truly an amazing tale: what starts out as a theft of less then a $100, 000 becomes a battle for corporate power. David Begelman, the man behind the scandal, isn't even the main character of the book. It's Alan Hirschfield trying, desperately, to do the responible business decisions he was hired to do and is one of only a few major players in this detailed history to remain a completely sympathetic person by story's end. Indecent Exposure is truly is one of great true life American Dramas I have ever read. (Review by Michael Goodman)
Book Description
Zenith's "The Quality Goes in Before the Name Goes On" is one of the most recognized, and well earned, corporate mottos in America. Founded by two Navy radiomen in 1919, luck and the infusion of capital from a wealthy adventurer and car salesman started the Zenith Radio Corporation on a journey that would propell it to the top of the United States electronics manufacturing industry. The rise was an interesting one, the cast of high profile. With access to the Zenith corporate archives and their discovery of the long sealed files of one of Zenith's founders, the authors present for the first time the documented story of Zenith radio and company from 1919 through 1935. Professors Cones and Bryant draw on their long experience as radio enthusiasts and writers for both the popular and scholarly press to tell the fascinating story of Zenith's impact on early radio history. They present a wealth of never before published photographs, documents, and information, as well as color portraits of many Zenith radios of the era. Complimenting the story is an illustrated catalog of nearly every Chicago Radio Laboratory and Zenith radio model produced between 1919 and 1935 and a database of valuable information which covers every radio produced by the company, along with a rarity and price guide.
Customer Reviews:
A great book on early years of Zenith.......1999-03-05
This book is of real interest to someone interested in tube radios and their beginnings. Has great pictures and copies of sales brochures Just wish the authors would have gone clear through the 1930s.
Book Description
Like one of the movie moguls of old, Michael Eisner is a titan -- feared, powerful, and almost magically successful. After rising through ABC television and Paramount Pictures, he awoke the sleeping giant of Disney and sent it stomping across the entertainment landscape. But since the tragic death of Frank Wells in a helicopter crash in 1994, he has lacked -- for the first time in his career -- a colleague who could temper his personality.
The result, writes Kim Masters, has been a slide into a Nixonian paranoia and isolation. In The Keys to the Kingdom, Masters crafts a gripping account of this larger-than-life story of larger-than-life hubris, combining an insightful analysis of power in Hollywood with a vivid, deeply researched narrative that brings the personalities, the enmities, and the corporate mayhem to life.
Customer Reviews:
digging into disney.......2005-03-26
A very well written account of the movie business--detailing a lot of the major players. Discussion how decisions are made and how grown men act like little boys most of the time. This industry is ruthless and this book gives the reader on all the inside scoop about how that happens. A fascinating read. The pictures stink but thats ok.
Prescient Book.......2004-04-12
Keys to the Kingdom predicted the current situation at Disney with remarkable accuracy. The insights about Michael Eisner turned out to be right on the mark.
pretty terrible.......2004-02-25
Oh Lord, this book is so unbelievably frustrating....more than any book I've ever read. Eisner, his life and his actions are so completely fascinating and Masters somehow manages to take all this great material and make it mind-numbingly boring...what was she thinking? That you could write a "nuanced" portrait of someone by throwing in hot gossip, sound bites, bits of articles from Time and Newsweek, as well as a bunch of stories that don't remotely relate to the main subject but are "dishy"? There was so much I wanted to know as I read this book, so many questions I had and she didn't answer any of them. Masters discusses Eisner's charm vs. his ruthlessness, she brings up provacative examples of his relationship to his family, his friends and his colleagues, and then steamrolls all of them by emphasizing how "aloof" he is and "imperial." Doesn't she know that when sketching a complicated portrait of someone, you can't just throw a bunch of facts around but you have to maintain interest by putting them TOGETHER to form a PERSPECTIVE, a CONTEXT. Much more time should have been spent on Eisner's days at Disney (rather than the completely gratuitous tales of his time at Paramount, and Star Trek, and Nimoy, and Gene Roddenberry, and Don Simpson, and Barry Diller, and...well you get the picture). I liked the parts about his childhood and his relationship to his parents, they should have been given much more space...but the biggest flaw of this book is the lack of info on the Eisner-Katzenberg relationship. Sure, Masters give plenty of space to financial issues about Katzenberg's bonus, but aside from Wall Street enthusiasts, who the hell cares? She COMPLETELY glosses over the roots of the Eisner-Katzenberg bond, and we never get an idea of WHY IN THE WORLD DID THESE TWO PEOPLE REMAIN TOGETHER FOR 19 YEARS IF THEY WERE SUCH ENEMIES? What held them together? How exactly did they meet? She talks about how Katzenberg was won over, like others, by Eisner's self-deprecating charm and his (Eisner's) confidence in him, about Katzenberg's not-so-great childhood and his problems with his own parents (very vague descriptions there as well) and how Katzenberg constantly "sought Eisner's approval". Why? What did Eisner offer him that no one else did? Why did Katzenberg follow Eisner from Paramount to Disney? She spends a whole lot of time talking (in a dry, Variety-kind-of-way) about the break-up, but the real question she (and other writers) have often missed is NOT why this relationship crashed and burned but why it was born in the first place. Why did Eisner need Katzenberg? Why did Katzenberg become so enamoured with animation, with his role at Disney, with a potential role as Eisner's number 2? These people are not carbon cut-outs, they are people. They are fascinating, complex characters and Masters gives them with about as much focus as subjects of an obituary. She seems more interested in how much money Captain EO lost, how much money Eisner allegedly cheated certain people out of, how much money Eisner paid Michael Ovitz, how much money Katzenberg wanted, how pissed Leonard Nimoy was at Paramount, what a disaster Star Trek: The Motion Picture was to produce. I don't know about you, but I didn't pick that book up to learn about this stuff. It's SO DIFFICULT to really learn about these people (Eisner and Katzenberg) despite their famous "relationship" or "feud" extremely little is really written about their interactions together as people...you have to research a ton of articles to even find out anything...this is such an interesting subject but whatever Master's knows that the rest of us don't, she isn't sharing. Her book (like many articles) unfortunately is pervaded with the "Everyone knows this" kind of tone that drives me nuts...well, I'm not a Hollywood producer, or director, or actor. I've never met either of these people, but that's why I'm interested! People buy books on Spielberg because they're interested, why the hypocricy? Masters book is slanted, glib, gossipy, disorganized, unfocused,and worst of all, insulting to the reader.
Not a full view of the man -- which proves the point!.......2002-10-11
Some may say that Masters' book is biased against Eisner, but she does nothing except reiterate the feelings about him that have been voiced by many others in other forums. Maybe you want to give him the benefit of the doubt, but the duplicity, wishy-washiness, undercutting, second-guessing, micro-management and all around malevolence that is evidenced shows that's pretty much impossible. What we can't figure out is just why he is the way he is? Why does he casually cast aside decades-long friendships? Why doesn't he cultivate relationships with valuable talent instead of alienating them? What is most important to him that would cause him to make some the decisions he does? Eisner seems to be capable of cutting off his nose to spite his face--he fails to do things that would be beneficial to the company's bottom line which is what he claims to be most interested in. It doesn't add up. Still, it is fun reading about the Paramount years, the Katzenberg trial, etc. At this point in time (summer of 2002) when many believe Eisner is in danger of losing his job, this book gives us as much insight as possible as to the inner workings of Eisner's brain.
instead of burning
Masters Paints a Grim Picture of Disney's Inner Sanctum.......2001-09-24
After reading Hit and Run and an excerpt from the this book in Vanity Fair, I couldn't wait to read "Keys to the Kingdom." I was not disappointed. Masters does a fine job of telling Eisner's (and the stories of those around him--Katzenberg, Diller, etc)story. Something about Eisner has always bit a bit unreal--even smarmy at times--and Masters holds nothing back. It isn't always balanced, but overall is fair. The details and stories are terrific--until the last 1/5th of the book. I was engrossed until the story turned the Katzenberg trial--where Masters drowned us in the details. I love details, but at times one needed a road map to keep. Masters is to be commended for a journalistic/insiders account of that dark time for Disney, but wow...I just had a time staying focused. However, on the whole the book is well worth the paper back price. You'll learn how Disney has never really gotten over the death of Frank Wells and why all those executives keep leaving. It is indeed a grim place; Eisner's inner sanctum. It is also another fascinating book.
Book Description
Vividly recreating the unique pleasure of experiencing a song-and-dance show, Broadway Babies spotlights the men and women who made a difference in the development of American musical comedy. Mordden's account features such show people as Florenz Ziegfeld, Harold Prince, Bert Lahr, Gwen Verdon, Angela Lansbury, Victor Herbert, Liza Minnelli, and Stephen Sondheim, and such musicals as Sally, Oh Kay!, Anything Goes, Show Boat, Oklahoma!, Follies, Chicago, and countless others. While theatrical historians traditionally have emphasized the role of the authors of musicals, Mordden also examines the personal styles of the directors, choreographers, and producers, in order to demonstrate not only what the musical became but what it was. The volume includes an extensive discography--the first of its kind--which offers a virtually self-contained history of recorded show music.
Books:
- Hoshin Kanri for the Lean Enterprise: Developing Competitive Capabilities And Managing Profit
- How Customers Think: Essential Insights into the Mind of the Market
- How to Become a Rainmaker: The Rules for Getting and Keeping Customers and Clients
- How to Win Friends & Influence People
- John Douglas's Guide to the California Police Officer Exam (Kaplan)
- Kellogg on Branding: The Marketing Faculty of The Kellogg School of Management
- Made to Stick: Why Some Ideas Survive and Others Die
- Marketing: An Introduction
- Marketing Channels (7th Edition) (Prentice Hall International Series in Marketing)
- Marketing Engineering: Computer-Assisted Marketing Analysis and Planning (2nd Edition)
Books Index
Books Home
Recommended Books
- The No Asshole Rule: Building a Civilized Workplace and Surviving One That Isn't
- Jokes My Father Never Taught Me: Life, Love, and Loss with Richard Pryor
- Advanced Screenwriting: Raising Your Script to the Academy Award Level
- Babies
- Financial Markets and Institutions
- Knuffle Bunny
- Hiking Wisconsin
- Valuation: Setting Sound Business Goals
- Business Darwinism Evolve or Dissolve: Adaptive Strategies for the Information Age
- Biology And Pathology Of Astrocyte-neuron Interactions
General
| Job Hunting & Careers
| Business & Investing
| Subjects
| Books
The Hollywood Rules
The Movie Business Book, Third Edition (Movie Business Book)
All You Need to Know About the Movie and TV Business: Fifth Edition
The Mailroom: Hollywood History from the Bottom Up
Hollywood Dealmaking : Negotiating Talent Agreements
