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Editorial Reviews
From Publishers Weekly
Hailed as a landmark victory for writers, Art Buchwald's 1988 lawsuit against Paramount Pictures is the subject of this lengthy, compulsively readable brief written by O'Donnell, the Los Angeles lawyer who represented Buchwald, and Los Angeles Times reporter McDougal. Buchwald and his partner, producer Alan Bernheim, claimed that Paramount had failed to give them credit for the original story of Eddie Murphy's 1988 hit movie Coming to America . Though O'Donnell and McDougal focus on procedural aspects and the courtroom drama, they blow the lid off the major Hollywood studios's sleazy accounting practices, which have enabled them to deprive creative talent of millions of dollars in royalties by claiming that top-grossing films earned zero net profits. Murphy, given credit for the story line in the film, is portrayed here as "a talented human being . . . reduced to a commodity." The authors also unreel withering profiles of director John Landis, Paramount executive Martin Davis, Arsenio Hall and others. Photos.
Copyright 1992 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
One of 1988's biggest movie hits was Coming to America , which starred Eddie Murphy. One of Hollywood's biggest lawsuits ever soon ensued when humorist Art Buchwald and his partner, Alain Bernheim, sued Paramount, claiming that they had actually created the story upon which the movie was based. O'Donnell, their attorney, and McDougal, a Los Angeles Times investigative reporter, have turned this legal battle into a fascinating behind-the-scenes look at how Hollywood really works and how major litigation really takes place. Detailing the dispute from the very beginning to the very bitter end, the authors show how legal strategies evolved (e.g., why the plaintiffs sued for breach of contract, not plagiarism) and the courtroom machinations that culminated in a trial to determine how a blockbuster movie could somehow fail to turn any profit, according to the studio. The strongest depictions, however, are of the cast of characters--sympathetic plaintiffs, overworked attorneys, witnesses both helpful and otherwise, and studio executives who were often either devious or greedy, if not both. Very highly recommended for all collections. (Photos not seen).
- Sally G. Waters, Stetson Law Lib., St. Petersburg, Fla.
Copyright 1992 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
Hailed as a landmark victory for writers, Art Buchwald's 1988 lawsuit against Paramount Pictures is the subject of this lengthy, compulsively readable brief written by O'Donnell, the Los Angeles lawyer who represented Buchwald, and Los Angeles Times reporter McDougal. Buchwald and his partner, producer Alan Bernheim, claimed that Paramount had failed to give them credit for the original story of Eddie Murphy's 1988 hit movie Coming to America . Though O'Donnell and McDougal focus on procedural aspects and the courtroom drama, they blow the lid off the major Hollywood studios's sleazy accounting practices, which have enabled them to deprive creative talent of millions of dollars in royalties by claiming that top-grossing films earned zero net profits. Murphy, given credit for the story line in the film, is portrayed here as "a talented human being . . . reduced to a commodity." The authors also unreel withering profiles of director John Landis, Paramount executive Martin Davis, Arsenio Hall and others. Photos.
Copyright 1992 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
One of 1988's biggest movie hits was Coming to America , which starred Eddie Murphy. One of Hollywood's biggest lawsuits ever soon ensued when humorist Art Buchwald and his partner, Alain Bernheim, sued Paramount, claiming that they had actually created the story upon which the movie was based. O'Donnell, their attorney, and McDougal, a Los Angeles Times investigative reporter, have turned this legal battle into a fascinating behind-the-scenes look at how Hollywood really works and how major litigation really takes place. Detailing the dispute from the very beginning to the very bitter end, the authors show how legal strategies evolved (e.g., why the plaintiffs sued for breach of contract, not plagiarism) and the courtroom machinations that culminated in a trial to determine how a blockbuster movie could somehow fail to turn any profit, according to the studio. The strongest depictions, however, are of the cast of characters--sympathetic plaintiffs, overworked attorneys, witnesses both helpful and otherwise, and studio executives who were often either devious or greedy, if not both. Very highly recommended for all collections. (Photos not seen).
- Sally G. Waters, Stetson Law Lib., St. Petersburg, Fla.
Copyright 1992 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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15
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cite this book:
See all 15 books citing this book
- The Yosemite Murders (True Crime (New York, N.Y.).) by Dennis Mcdougal in Back Matter (1), and Back Matter (2)
- Mother's Day by Dennis Mcdougal in Front Matter, and Back Matter
- In the Best of Families: The Anatomy of a True Tragedy by Dennis McDougal in Front Matter
- Extreme DV at Used-Car Prices: How to Write, Direct, Shoot, Edit, and Produce a Digital Video Feature for LessThan $3,000 by Rick Schmidt on page 5
- Engulfed: The Death of Paramount Pictures and the Birth of Corporate Hollywood by Bernard F. Dick in Back Matter
See all 15 books citing this book
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