Final Cut: Art, Money, and Ego in the Making of Heaven's Gate, the Film that Sank United Artists
| Author | : | |
| Rating | : | 4.22 (572 Votes) |
| Asin | : | 1557043744 |
| Format Type | : | paperback |
| Number of Pages | : | 432 Pages |
| Publish Date | : | 2013-10-02 |
| Language | : | English |
DESCRIPTION:
Gripping story of a major film disaster. Just wish it had pictures in the book. Doy Virginia Great book on the inside story of one of the great movie disasters of all time. I was 25 when the Heaven's Gate debacle occurred, and was one of those who was fortunate enough to have seen the movie during it's brief national theater run. I recently watched it ag. Johnny G said When Art Meets Business!!. Must read for anyone interested in film making and the business of distribution. While art is important to some this still is a business that needs "product." Self indulgence too often results in a product that no one wants except the i individual who indulged hi. olingerstories said Ego, Dollars, and Art. Steven Bach's FINAL CUT about Michael Cimino's ego run amok and the consequent dismantling of United Artists has long been considered the great insider's tale of Hollywood's actual doings and follys. For both Bach and the reader, it is easy to see the perfect sto
Griffith, and Charlie Chaplin. W. Its notoriety is so great that its title has become a generic term for disaster, for ego run rampant, for epic mismanagement, for wanton extravagance. Heaven's Gate is probably the most discussed, least seen film in modern movie history. It was also the film that brought down one of Hollywood’s major studios—United Artists, the company founded in 1919 by Douglas Fairbanks, Mary Pickford, D. Combining wit, extraordinary anecdotes, and historical perspective, he has produced a landmark book on Hollywood and its people, and in so doing, tells a story of human absurdity that would have made Chaplin proud.. Steven Bach was senior vice president and head of worldwide production for United Artists at the time of the filming of Heaven's Gate, and apart from the director and producer, the only person to witness the film’s evolution from beginning to end
From The New Yorker The best account of American moviemaking in the age of conglomerate control of the studios.