A book that takes a similar approach to a different period the seventies and is far more effective is Peter Biskin I felt the scope of this was too broad for any sort of real depth or insight. Still, as someone who saw most of these movies when they came out and remembers the decade very well, I appreciated how the book brought the era into sharper focus and made me realize how these directors and these movies were part of a trend or movement, more so than I did at the time. I have to admit I was a bit disappointed with Sharon Waxman's Rebels On The Backlot 2006. Using her journalistic skills honed as an entertainment reporter for The New York Times and The Washington Post, Waxman builds a crosscutting narrative depicting each director engaged in seemingly endless struggles with actors, agents, writers, producers, and executives to bring their respective visions to the screen. Click to order this book directly from. The spotlighted directors are Quentin Tarantino, Steven Soderbergh, David O. These are some of my favorite films of the last 20 years, but I would have liked to see more critical analysis and discussions o I have to admit I was a bit disappointed with Sharon Waxman's Rebels On The Backlot 2006.
I'm sure this was due to the fact that she had to rely so heavily on interviews with her six subjects and others in the movie business, which were not always easy to get. Waxman's storytelling is very captivating and the way she presents the story, especially during the Soderbergh and Fight Club chapters, had me going through this in no-time. For another, he was infuriatingly unpredictable. A major facet of this attitude began to be imprinted in the Hollywood indie scene. Despite my general panning of this book, it was actually a fun read.
None of them went to film school, and few attended college; Tarantino dropped out of high school. Most of what follows in the early chapters read like something out of Variety magazine or Rolling Stone. As she confesses in her introduction, the omission of certain directors will puzzle some readers, but this is a book shaped as much by access all six directors agreed to be interviewed by Waxman about their films, careers, and, perhaps most problematically, personal lives as a wider sense of recent film history. The spotlighted directors are Quentin Tarantino, Steven Soderbergh, David O. Russell, Three Kings; and Spike Jonze, Being John Malkovich. The stories about Jonze and Being John Malkovich are worth the price of admission alone in my opinion. She lives in Santa Monica, California with her family.
Although he appears to spend much of his down time in a haze of pot and junk culture, he knows that the phenomenal success of Pulp Fiction, the rocket fuel that launched Miramax into mini-major status, allowed him time enough and the world to muse over his next B-picture-as-A-picture opus, Kill Bill Vol. Another point of good measure for the book is Waxman's sometimes-delving into an extra production from some of the directors. Having emerged from the box office wilderness of films like King of the Hill 1993 and Schizopolis 1996 with hits like Erin Brockovich 2000 and Out of Sight 1998 , Soderbergh still found he had to employ almost Machiavellian tactics to handle the script demands of a big name star in order to get Traffic off the ground. Or even just three of them. Russell, Spike Jonze, and Paul Thomas Anderson — and their battles to get films like Pulp Fiction Tarantino, 1994 , Traffic Soderbergh, 2000 Fight Club Fincher, 1999 , Three Kings Russell, 1999 , Being John Malkovich Jonze, 1999 and Boogie Nights Anderson, 1997 made.
Though personally, it feels like David O'Russell is mostly included because of his feud with George Clooney. Waxman unearths juicy anecdotes that'll keep film fans cackling and turning the pages. Which one bathes and changes his clothes so infrequently that he smells bad? At least his pals seem to have been jettisoned for neurotic personal reasons; the author relates many incidents that bolster longstanding rumors that Tarantino makes professional use of his buddies, then drops them. They had absolutely no interest in tailoring their work to suit the demands of an industry that had only grown more rigid and bottom-line focused since Coppola, Scorsese, et al. Despite a background in special effects, commercials and rock videos, David Fincher is revealed as surprisingly cineliterate about films like Satyricon Federico Fellini, 1969 , Dr.
Overall, though, a good read if you are into movies. Even Spike Jonze, portrayed as an ahistorical idiot savant because of his obliviousness to culture pre-1990 in a memorable exchange with his star on Being John Malkovich, he blithely reveals he has never heard, read or seen The Glass Menagerie , could point to a strong connection with the New Hollywood of the past through his brief marriage to Sofia Coppola. When I got home the cinema, the only God I've ever truly believed in, came through for me. Very much as the 1970s gave rise to a defining group of filmmakers such as Martin Scorsese and Francis Ford Coppola, the 1990s witnessed a new generation who captured the imaginations of audiences and opened the purse strings of the Hollywood film machine. Ultimately, a confused marketing plan and a post-Columbine aversion to violence doomed the project to commercial failure though it has thrived as a cult classic.
As a source of inspiration, almost functioning as a self-help book on how to navigate through the Hollywood-system spoiler: by having your way at all costs , it is wonderful. She came to Hollywood after nearly a decade of reporting abroad, covering European politics and culture, and before that the Middle East, focusing on the Israeli-Palestinian conflict. Sharon Waxman of the New York Times spent the decade covering these young filmmakers, and in Rebels on the Backlot she weaves together the lives and careers of Quentin Tarantino, Pulp Fiction; Steven Soderbergh, Traffic; David Fincher, Fight Club; Paul Thomas Anderson, Boogie Nights; David O. Also, 90s independent film, yay! This is also a story of an emerging community of talented artists —— directors, writers, actors of young Hollywood —— who supported each other, burn with envy at one another's success, swap girlfriends and boyfriends and ultimately spur each other to greater accomplishments. Some of it may be an act. The 1990s in cinema were something else. Rebels on the Backlot is one such chronicle.
Which one bathes and changes his clothes so infrequently that he smells bad? Waxman's main point in this book it seems is that each of these filmmakers were incredibly lucky. The prestigious Weinsteins are aptly mentioned, and their friendship with Quentin Tarantino and the Oscars are there; Bob Shaye, and even Rupert Murdoch make appearances that set the stage for many of these would-be kingpins of the indie crowd. Movies like The Matrix, Election, and Rushmore get some attention but mostly as setups. Think you know all you can about Quentin Tarantino, Paul Thomas Anderson, Spike Jonze, David Fincher and other 90s indie film stalwarts? Also detailed is Harrison Ford's turning down the drug czar part in Traf Credit to the author for coming up with a good book that spends a lot of time on movies that I think are self-indulgent crap Reservoir Dogs, Three Kings, Fight Club. This is one of the series of books I'm reading to get a better understanding of the entertainment industry. The Tarantino stuff certainly had a negative spin to it and told me nothing I didn't already know from other books.