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High Concept (Englisch) Gebundene Ausgabe – 1. April 1998


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Gebundene Ausgabe, 1. April 1998
EUR 57,07 EUR 2,48
3 neu ab EUR 57,07 11 gebraucht ab EUR 2,48 1 Sammlerstück ab EUR 15,66
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Produktinformation

  • Gebundene Ausgabe: 304 Seiten
  • Verlag: Doubleday (1. April 1998)
  • Sprache: Englisch
  • ISBN-10: 0385486944
  • ISBN-13: 978-0385486941
  • Größe und/oder Gewicht: 1,3 x 15,9 x 24,8 cm
  • Durchschnittliche Kundenbewertung: 3.2 von 5 Sternen  Alle Rezensionen anzeigen (21 Kundenrezensionen)
  • Amazon Bestseller-Rang: Nr. 728.426 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
  • Komplettes Inhaltsverzeichnis ansehen

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Produktbeschreibungen

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Veteran show-biz news hound Charles Fleming argues that the short, insanely foolish life of producer Don Simpson (Flashdance, Top Gun, Bad Boys) stands as a larger indictment of Hollywood, and it's hard to argue with him. For one thing, Simpson helped create Tom Cruise, Richard Gere, Will Smith, and Eddie Murphy, and his loud, high-concept, low-IQ school of filmmaking helped launch Arnold Schwarzenegger, Mel Gibson, and Bruce Willis to new heights (or depths). Others may have been responsible for 14 Top Ten pop tunes and 10 Oscar nominations, but nobody had thought to combine pop music and movies in a synergistic way.

While Fleming concentrates on Simpson's own antics--car wrecks, career crackups, whacked-out drug and sex orgies, whimsical overspending on brain-dead blockbusters--he does make an excellent case that the entertainment industry as a whole is nutty and slutty. Even the more levelheaded stars who turn up in High Concept turn out to be appalling: Fleming documents the behavior that earned Demi Moore the Hollywood nickname "Gimme More."

Despite his $60,000-a-month drug habit, Simpson actually did come up with smart ideas, according to many witnesses, and he was sharp enough to know how dumb so many of his colleagues were. Sylvester Stallone, for instance, almost starred in Beverly Hills Cop, and had he not left the project in favor of his notorious stink bomb Rhinestone, viewers would have been stuck with Stallone's rewrite of Cop, from which the star had removed every trace of humor--the very concept that made an ordinary action film, in Murphy's talented hands, a smash hit. In his detailed account of Simpson's bizarre life, Fleming demonstrates why modern movies are the way they are.

He also proves what a strangely tiny town Hollywood is. Simpson was mixed up with Heidi Fleiss, whose indicted dad was Madonna's pediatrician; his doctors had treated Kurt Cobain and Margaux Hemingway (and one had helped design Miss Piggy); Don Simpson's drug dealer claims he sold drugs to O.J. Simpson the day Nicole Brown Simpson died. The most shocking thing about the book is the Pulp Fiction-like combination of decadent horror and slapstick comedy that constituted everyday life for Don Simpson's cronies. The high life, as described in Fleming's addictively readable book, exemplifies Carrie Fisher's Hollywood mantra: "Good anecdote--bad reality." --Tim Appelo

Pressestimmen

"Hollywood didn't want this book to be written, but I'm happy Charles Fleming wrote it.  His account is accurate and he is not afraid to tell tough truths.  Don Simpson would have liked it."
--Joe Eszterhas


"This is a cautionary tale of moral failure in the midst of astronomical success -- not just the moral failure of poor dead Don Simpson but the moral failure of the industry he worshipped.  Charles Fleming knows the Hollywood turf backwards, forwards, and sideways."
--Dominick Dunne

"Fearless reporting filled with gripping detail.  Wow!"
--Maureen Orth

Kundenrezensionen

Die hilfreichsten Kundenrezensionen

Von S. Haldar am 28. März 2000
Format: Taschenbuch
There are numerous stories about Hollywood's excesses; the players who control the movie industry, their lifestyles, their fame and fortunes, and how they shape and re-shape the industry, and how most of Hollywood's famous and powerful men are 'bad boys'. Fleming's book draws an honest portrait of a man who was no different. Simpson has given us many blockbuster hits over the years, and he was no doubt a brilliant producer. But, he was also a man who was very insecured, and had many complexes. He would never come in accord with those complexes, and which ultimately brought him down. He was a compulsive sex- and-drug-addict, but he was also an extremely selfish man. He had used and abused numerous fellow human beings and perhaps had lost his conscience over the years as he was suffering more and more from his various complexes. Fleming's book takes readers through such a man's life, where money gives access to every imaginable bad things. It is scary to read page after page of self-abuse and abuse of other people, and gives an inside peek into the life of a man 'haunted' by insecurity and more talented people around. Simpson was no different than an average man, except that he had more talent. And, he had the guts to carry out his fantasies in real life. And in order to do that, one has to have very little morals. But, in this world, talent perhaps conquers almost everything in life, except life itself. Extreme success comes from talent and hard work, which Don Simpson had definitely found, and abusing good things will ultimately bring one down, as it did to Simpson. Fleming's book is definitely a good read, not just for an insight into Hollywood's bad practices, but also how morals are shattered by constant use and practice of excessively bad things.
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Von Ein Kunde am 20. April 1998
Format: Gebundene Ausgabe
HIGH CONCEPT is the perfect example of what's wrong with Hollywood, but it is also a very good example of what's wrong with book publishing. In its rush to get the book out (for who knows what reason--there isn't a pressing news hook that I know of) Doubleday seems to have totally neglected to edit Fleming's hastily cobbled together draft. Stories and details are repeated within pages of each other; characters are introduced and reintroduced; particular phrases crop up again and again; there are huge narrative gaps; digressions are so clearly shoehorned into the narrative that they undermine the point they wish to serve; etc., etc. The best sections of the book are those Fleming lifted, word-for-word, from his magazine stories on Simpson (at least those pieces had an editor!). But even then, major aspects of the story are glossed over. You can see just how cribbed the manuscript is in the way Fleming describes DAY OF THUNDER or TOP GUN--in depth and revealing--versus CRIMSON TIDE (the movie that really "rescued" Simpson-Bruckheimer from oblivion), which is mentioned several times in passing without a real discussion of how much it meant (let alone its production, bar one throwaway comment about casting). That 1995-1996 was in many ways the most successful period of Simpson-Bruckheimer, but Fleming says almost nothing of the films they made then (DANGEROUS MINDS, etc.). I finished this book depressed and amazed at Hollywood's culture of excess, but just as depressed at publishing's culture of editorial laziness. Why did Doubleday feel such a need to crash this book? An editor could have done wonders with just a weekend of work. But it is more than that.Lesen Sie weiter... ›
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Von Ein Kunde am 6. April 1998
Format: Gebundene Ausgabe
Author Fleming creates the oldest of old-fashioned products in this 290-page potboiler. High Concept" is a tabloiders Hollywood where every single character is one the reader is cued to hate. There is no suspense. From the outset, we know the bad guys will get what's coming to them.This populist version swirls breathlessly around events in the life of a legendary the legendary Don Simpson.One of the fellows in the Bruckheimer-Simpson team that dealt in high concept movies, ( the names are listed as producers of "Top Gun", " Beverly Hills Cop" and other bubblegum),Simpson said he was from Alaska,which made him odd man out from his beginning.A fellow who desperately wanted to become a movie star,( he had his face reconstructed ten times )Simpson instead dabbled in movie production and scientology. A man of devouring energies,he consumed unbelievable quantities of drugs and booze,tried hormone injections,became obese,used vrrbal abuse as a management tool,regularly visited fat farms ands bordellos, became a great pal and customer of madam Heidi Fleiss and,finally, swollen to blimp-size by junk-food and out of ideas, Simpson died sitting on a toilet.(" I've been waiting for this for 20 years," said his friend Disney CEO Mike Eisner.The real day to-day working of the world's greatest fantasy factory is a non-issue in this effort .Fleming's job is to present Hollywood from a worm's eye point of view--just the sort of stuff you get on the Larry King Show or in grocery-store tabloids.For $23.95 what you get in Fleming's book is a morality play in a noxious little village populated by booze-swilling, overpaid ,bored,drug-addicted ,sex-obsessed rotters.But,now that movie-producing firms such as Disney and Time-Warner are among the world's top investment vehicles,with immense stock-market value, the worm's eye view of Hollywood's part in the infotainment industry seems especially off-target.
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