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Editorial Reviews
Product Description
In 1967, John Gregory Dunne asked for unlimited access to the inner workings of Twentieth Century Fox. Miraculously, he got it. For one year Dunne went everywhere there was to go and talked to everyone worth talking to within the studio. He tracked every step of the creation of pictures like "Dr. Dolittle," "Planet of the Apes," and "The Boston Strangler." The result is a work of reportage that, thirty years later, may still be our most minutely observed and therefore most uproariously funny portrait of the motion picture business.
Whether he is recounting a showdown between Fox's studio head and two suave shark-like agents, watching a producer's girlfriend steal a silver plate from a restaurant, or shielding his eyes against the glare of a Hollywood premiere where the guests include a chimp in a white tie and tails, Dunne captures his subject in all its showmanship, savvy, vulgarity, and hype. Not since F. Scott Fitzgerald and Nathanael West has anyone done Hollywood better.
"Reads as racily as a novel...(Dunne) has a novelist's ear for speech and eye for revealing detail...Anyone who has tiptoed along those corridors of power is bound to say that Dunne's impressionism rings true."--Los Angeles Times
From the Inside Flap
In 1967, John Gregory Dunne asked for unlimited access to the inner workings of Twentieth Century Fox. Miraculously, he got it. For one year Dunne went everywhere there was to go and talked to everyone worth talking to within the studio. He tracked every step of the creation of pictures like "Dr. Dolittle," "Planet of the Apes," and "The Boston Strangler." The result is a work of reportage that, thirty years later, may still be our most minutely observed and therefore most uproariously funny portrait of the motion picture business.
In 1967, John Gregory Dunne asked for unlimited access to the inner workings of Twentieth Century Fox. Miraculously, he got it. For one year Dunne went everywhere there was to go and talked to everyone worth talking to within the studio. He tracked every step of the creation of pictures like "Dr. Dolittle," "Planet of the Apes," and "The Boston Strangler." The result is a work of reportage that, thirty years later, may still be our most minutely observed and therefore most uproariously funny portrait of the motion picture business.
Whether he is recounting a showdown between Fox's studio head and two suave shark-like agents, watching a producer's girlfriend steal a silver plate from a restaurant, or shielding his eyes against the glare of a Hollywood premiere where the guests include a chimp in a white tie and tails, Dunne captures his subject in all its showmanship, savvy, vulgarity, and hype. Not since F. Scott Fitzgerald and Nathanael West has anyone done Hollywood better.
"Reads as racily as a novel...(Dunne) has a novelist's ear for speech and eye for revealing detail...Anyone who has tiptoed along those corridors of power is bound to say that Dunne's impressionism rings true."--Los Angeles Times
From the Inside Flap
In 1967, John Gregory Dunne asked for unlimited access to the inner workings of Twentieth Century Fox. Miraculously, he got it. For one year Dunne went everywhere there was to go and talked to everyone worth talking to within the studio. He tracked every step of the creation of pictures like "Dr. Dolittle," "Planet of the Apes," and "The Boston Strangler." The result is a work of reportage that, thirty years later, may still be our most minutely observed and therefore most uproariously funny portrait of the motion picture business.
Whether he is recounting a showdown between Fox's studio head and two suave shark-like agents, watching a producer's girlfriend steal a silver plate from a restaurant, or shielding his eyes against the glare of a Hollywood premiere where the guests include a chimp in a white tie and tails, Dunne captures his subject in all its showmanship, savvy, vulgarity, and hype. Not since F. Scott Fitzgerald and Nathanael West has anyone done Hollywood better.
"Reads as racily as a novel...(Dunne) has a novelist's ear for speech and eye for revealing detail...Anyone who has tiptoed along those corridors of power is bound to say that Dunne's impressionism rings true."--Los Angeles Times
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Inside This Book
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First Sentence:
Shortly after two o'clock on the afternoon of May 16, 1967, Darryl F. Zanuck stepped out of an elevator on the eighteenth floor of the Waldorf-Astoria Hotel in New York. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
talent school, special props, presentation film, production chief Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Richard Zanuck, Los Angeles, Darryl Zanuck, Natalie Trundy, Arthur Jacobs, Julie Andrews, The Sweet Ride, Twentieth Century Fox, Rex Harrison, David Brown, Peyton Place, Stan Hough, Barbra Streisand, Harry Sokolov, Tom Swift, Richard Fleischer, San Francisco, Irene Sharaff, Tony Rome, Academy Award, Gertrude Lawrence, Mort Abrahams, New Talent Program, Bobby Darin New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | First Pages | Back Cover | Surprise Me!
Shortly after two o'clock on the afternoon of May 16, 1967, Darryl F. Zanuck stepped out of an elevator on the eighteenth floor of the Waldorf-Astoria Hotel in New York. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
talent school, special props, presentation film, production chief Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Richard Zanuck, Los Angeles, Darryl Zanuck, Natalie Trundy, Arthur Jacobs, Julie Andrews, The Sweet Ride, Twentieth Century Fox, Rex Harrison, David Brown, Peyton Place, Stan Hough, Barbra Streisand, Harry Sokolov, Tom Swift, Richard Fleischer, San Francisco, Irene Sharaff, Tony Rome, Academy Award, Gertrude Lawrence, Mort Abrahams, New Talent Program, Bobby Darin New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | First Pages | Back Cover | Surprise Me!
Citations (learn more)
This book cites 25
books:
See all 25 books this book cites
- Latin America (Prentice Hall World Explorer) by Heidi Hayes Jacobs on page 156, and page 159
- The Love Machine (Jacqueline Susann) by Jacqueline Susann on page 129, and page 130
- After the Fall: A Play in Two Acts (Penguin Plays) by Arthur Miller on page 213
- The Boston Strangler by Gerald Frank on page 19
- Lost in Space (Thrillogy; 3 Science Fiction Stories) by Paul And Meredith Costain Collins on page 85
See all 25 books this book cites
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70% buy the item featured on this page: The Studio $11.20 |
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5% buy Final Cut : Art, Money, and Ego in the Making of Heaven's Gate, the Film That Sank United Artists $12.89 |
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5% buy Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock 'N' Roll Generation Saved Hollywood $14.04 |
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