Sleepless in Hollywood: Tales from the New Abnormal in the by Lynda Obst

By Lynda Obst

The veteran manufacturer and writer of the bestseller Hello, He Lied takes a witty and demanding examine the recent Hollywood.

Over the prior decade, manufacturer Lynda Obst progressively learned she was once operating in a Hollywood that was once present process a drastic transformation. The the place every little thing had as soon as been standard to her was once unexpectedly disturbingly strange.

Combining her personal event and interviews with the brightest minds within the company, Obst explains what has stalled the enormous moviemaking laptop. The calamitous DVD cave in helped herald what she calls the recent irregular (because Hollywood used to be by no means basic to start with), the place studios at the moment are seriously depending on overseas markets for revenue, a scenario which without delay affects the type of leisure we get to determine. Can comedy live to tell the tale in the event that they don’t get our jokes in Seoul or let 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 even if it’ll ever go back to creating the flicks we love—the classics that make us snigger or cry, or that we simply can’t cease speaking approximately.

Show description

By Lynda Obst

The veteran manufacturer and writer of the bestseller Hello, He Lied takes a witty and demanding examine the recent Hollywood.

Over the prior decade, manufacturer Lynda Obst progressively learned she was once operating in a Hollywood that was once present process a drastic transformation. The the place every little thing had as soon as been standard to her was once unexpectedly disturbingly strange.

Combining her personal event and interviews with the brightest minds within the company, Obst explains what has stalled the enormous moviemaking laptop. The calamitous DVD cave in helped herald what she calls the recent irregular (because Hollywood used to be by no means basic to start with), the place studios at the moment are seriously depending on overseas markets for revenue, a scenario which without delay affects the type of leisure we get to determine. Can comedy live to tell the tale in the event that they don’t get our jokes in Seoul or let 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 even if it’ll ever go back to creating the flicks we love—the classics that make us snigger or cry, or that we simply can’t cease speaking approximately.

Show description

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Additional resources for Sleepless in Hollywood: Tales from the New Abnormal in the Movie Business

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338. GOtsch: Auf der Suche nach der verlorenen Unmittelbarkeit 23 Die Polaritiit von Perversion und Aufopferung ist sicherlich nicht die gleiche wie die von Perversion und Hysterie, da die Haltung der Aufopferung, wie noch im Zusammenhang mit BREAKING THE WAVES zu zeigen ist, schlieBlich bereit ist, auch die perversen Vorstellungen zu erfilllen, wiihrend die Hysterie als Zweifel an der Erfilllbarkeit einer selbstgewissen Begierde, wie sie in der Perversion in extremer Form zum Ausdruck kommt, die Perversion gerade unterlauft.

14 In den genannten Filmen stellen Aufopferung und Perversion zwei gegensiitzliche Strategien dar, das Nicht-Verstehen und die Kluft zu dem Anderen zu uberwinden. Wiihrend die Aufopferung sich ganz in den Dienst des Anderen stellt, tritt die Perversion mit dem Anspruch auf, durch ein die konventionellen Grenzen uberschreitendes Ausleben von Sexualitat unmittelbare Erfiillung zu finden oder auch zu bieten und dabei jeden Rest an Phantasie, Illusion oder Schein - an einer Offenheit also, in der sich ein Zl>gern, ein Zweifel, eine Unbestimmtheit oder eine Reflexion einstellen kl>nnte - durch den Akt der Realisierung auszull>schen.

V. Ernst Behler unter Mitwirkung von Jean-Jacques Anstett und Hans Eichner, MUnchen, Paderbom, Wien 1969, S. 309534, hier: S. 353. ,,40 Und weiter heiJ3t es: ,,[Djie Pointe von DOGMA 95 liegt gerade darin, dafJ sein Ziel kein Dokumentarismus ist - was die Methode eher konventionell als innovativ erscheinen liefJe -, sondern dafJ es aufgrund der Dialektik zwischen Fiktion und Wahrheitssuche eine Herausforderung fiir den Spielfilm darstellt. ,,41 Gewiss lassen sich ahnliche Verfahrensweisen wie die DOGMA-Regeln auch schon in frliheren Filmen tinden, so beispielsweise in den Filmen John Cassavetes' oder in Woody Aliens EHEMANNER UND EHEFRAUEN (HUSBANDS AND WIVES, 1992).

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