- Gebundene Ausgabe: 246 Seiten
- Verlag: Little Brown & Co (T); Auflage: First Edition First Printing (September 1996)
- Sprache: Englisch
- ISBN-10: 0316622117
- ISBN-13: 978-0316622110
- Größe und/oder Gewicht: 2,5 x 17,1 x 24,8 cm
- Durchschnittliche Kundenbewertung: 12 Kundenrezensionen
- Amazon Bestseller-Rang: Nr. 774.157 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
Hello, He Lied: And Other Truths from the Hollywood Trenches (Englisch) Gebundene Ausgabe – September 1996
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Hollywood producer Lynda Obst (Flashdance, Sleepless in Seattle) recounts her own battles in Hollywood's trenches--from her beginnings as a journalist to her current role as the maker and breaker of careers. Like other "classic" Hollywood books--Hollywood Babylon by Kenneth Anger and You'll Never Eat Lunch in This Town Again by Julia Phillips--Hello, He Lied is saturated with sleaze and proves, once again, that most of Tinseltown's stars are seriously lacking in the upstairs department.
Offers an insider's view of a major film studio, describing the wrangling among stars, directors, agents, and executives that goes into making a movie. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.Alle Produktbeschreibungen
Obst apparently never heard the phrase "check your egos at the door". Every episode is written to show her in the best possible light.
Obst is particularly duplicitous when she whines about the mistreatment of women in Hollywood. Give me a break! I should have it so tough. After all, both she and Nora Ephron glided right into Hollywood because of their connections, as did Lili Fini Zanuck, Wendy Finerman, etc. All these women were married to prominent men in the entertainment industry, or had family in other aspects of the business. Only Dawn Steel had to break in on her own. What Obst really resents is that Hollywood didn't roll out the red carpet for her, and hold a coronation ceremony. Grow up!
Obst excuses her ruthless conduct by advancing the old saw that when a woman acts in an aggressive fashion, she's called a b**ch, but when a man acts similarly, he's called decisive. She needs to be reminded that there is a distinction between assertive behavior, which is appropriate, and aggressive behavior, which is inappropriate. The fact is, that many women managers are unfamiliar with the turf, and so attempt to overcompensate for their perceived lack of status by bellicosity and political intrigue.
In a perverse way, Obst has done all would-be filmmakers a service by putting them on notice of her intentions. Whether they heed the warning or not is their affair. If I wrote a screenplay, Obst would be the last producer in Hollywood I would show it to.
Obst, producer of such drek as "Bad Girls" and "One Fine Day", purports to give us an insider's glimpse of a producer's life. But everything is filtered in such a way to display herself in the best possible light, rendering the rest of what she has to say of questionable value.
For example, whenever Obst describes firing somebody, an inevitable occurrence for a producer, she will shift responsibility onto that person, saying "So-and-so had to be let go because he wasn't lighting the picture properly". (I'm sure So-and-So thought he was doing just fine!) She can't take responsibility by saying "I fired So-and-So because I thought he was doing a lousy job"
As a producer who has never produced an exceptional picture, never ventured off the well-trod path, Obst, whose sole criteria is expediency, can't even begin to conceive of the courage of a Saul Zaentz, who could tell Twentieth Century Fox to take a flying leap rather than cast Demi Moore in "The English Patient". Zaentz's courage forced him to close down production - and won him an Oscar!
When Obst whines about how women are mistreated in Hollywood, it's important to remember that whereas it is true that women in general have historically been mistreated, Obst herself enjoyed preferential treatment owing to the connections of her (much older) literary-agent husband. Many an aspiring player would kill to receive the kind of access that she enjoyed owing to her connection.
For a far better book on what it's like to be a working producer, read Art Linson's "A Pound of Flesh"
You'd be far better off reading one of the many excellent (recent) bios of such greats as Billy Wilder, William Wyler, John Ford, David Lean and others. They give you a greater sense of why filmmaking is such an important force at the end of the millenium.
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