Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2
➤ Gửi thông báo lỗi ⚠️ Báo cáo tài liệu vi phạmNội dung chi tiết: Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2
Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2
Part IIINEW HOLLYWOOD, 1975-2009Origins of Hollywood DividedỈ/ỈỴ the mid-1970s, the production side of Hollywood’s business was dominated by agents an Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 nd the agencies where they worked, independent producers with connections to the traditional studio system, and a range of entrepreneurs from various backgrounds. Movies were being financed and made on a one-by-one basis, as if starting a new business over again each time. Distribution was still in Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 the hands of the major studios and. interestingly, was the safest and most profitable sector of the movie industry. The major studio names still carriEbook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2
ed a great deal of weight in the motion picture industry', and frequently a major studio had some financial investment in a movie production, but rarePart IIINEW HOLLYWOOD, 1975-2009Origins of Hollywood DividedỈ/ỈỴ the mid-1970s, the production side of Hollywood’s business was dominated by agents an Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 in shopping centers and nearly always in suburban locations. Audiences saw movies in these movie theaters or, occasionally, on network television, which was limited to ABC, CBS. and NBC. The technologies of videotape. DVD. and even cable and satellite television did not yet exist.//d U .S AND HOLLYW Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 OOD men CONCH* II or the last quarter of the twentieth century, I lollywood continued to make a great many movies that were like its traditional ones.Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2
Alongside these movies, however, two distinct film types emerged that marked the founding of a “New" Hollywood. The production and release of Jaws inPart IIINEW HOLLYWOOD, 1975-2009Origins of Hollywood DividedỈ/ỈỴ the mid-1970s, the production side of Hollywood’s business was dominated by agents an Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 e familiar to the general public as the “big-budget blockbuster."217218 Chapter ỉ 2In 1973, two independent producers, Richard Zanuck (the son of Darryl F. Zanuck, who was one of the most prominent producers of Hollywood’s studio era) and David Brown, purchased the rights to adapt Peter Benchley’s n Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 ovel Jaws to film for $150,000 before it had even been put into print. Steven Spielberg directed Jaws, which took rhe world of cinema by storm in rheEbook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2
summer of 1975, grossed half a billion dollars worldwide, and was the number-one Hollywood box office champ of all time until two years later when GeoPart IIINEW HOLLYWOOD, 1975-2009Origins of Hollywood DividedỈ/ỈỴ the mid-1970s, the production side of Hollywood’s business was dominated by agents an Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 and into movie theaters. . . . Steven Spielberg, the obviously talented director of Sugarlattd Express, has put together a scare machine that works with computer-like precision. . . . But, perhaps I am making too much of too little, Jaws is only meant to raise the hair on your forearm, not disturb Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 your summer with thoughts.Judith Crist wrote in her New York review: “Everyone involved in Jaws deserves the highest praise for an exhilarating adventEbook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2
ure entertainment of the highest order. . . . Spielberg has chosen complexity of character." And Vincent Canby, writing in the Neu/ York Times, said:IPart IIINEW HOLLYWOOD, 1975-2009Origins of Hollywood DividedỈ/ỈỴ the mid-1970s, the production side of Hollywood’s business was dominated by agents an Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 m shock impact. Jaws is, at heart, the old standby, a science-fiction film. It opens according to time-honored tradition with a happy-go-lucky innocent being suddenly ravaged by the mad monster, which in Jaws comes from the depths of innerspace—the sea as well as man’s nightmares. Thereafter. Jaws f Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 ollows the formula with fidelity.Bill Butler was the director of photography for the film. Butler sought to create a brightly lit and summery look forEbook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2
Jaws, which was a far cry from his cinematography on Francis Ford Coppola’s The Conversation (1974). JanV was edited by Verna Fields. Many years latePart IIINEW HOLLYWOOD, 1975-2009Origins of Hollywood DividedỈ/ỈỴ the mid-1970s, the production side of Hollywood’s business was dominated by agents an Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 later admitted that at rhe rime he made those comments he didn’t understand filmmaking. The film finally cost more than $9 million to make, and Spielberg presumably lived in constant fear of being fired before the movie was completed.Stanley Kauíììnann wrote in the New Republic.The ads show a gaping Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 shark's mouth. If sharks can yawn, that’s presumably what this one is doing. It’s certainly what I was doing all through thisOrigins of Hollywood DivEbook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2
ided 219picture, even in those moments when I was frightened. There's no great trick to frightening a person. . . . The direction is by Steven SpielbePart IIINEW HOLLYWOOD, 1975-2009Origins of Hollywood DividedỈ/ỈỴ the mid-1970s, the production side of Hollywood’s business was dominated by agents an Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 ck director of the 1930s.In sum, the mechanical shark didn't work as expected, and Spielberg was thrown back to simpler film conventions to tell his story. Fate forced him to discover earlier than he otherwise might have what the essence of making movies is about.With Jail'S, I lollywood discovered Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 something deeper and more important, however, and that was the high-concept film, of which Jail'S was definitive. Film scholar Justin Wyatt provides aEbook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2
summary of the essential elements of high concept:1.An easily marketed story, idea, or image. This was best understood by reference to the promotionaPart IIINEW HOLLYWOOD, 1975-2009Origins of Hollywood DividedỈ/ỈỴ the mid-1970s, the production side of Hollywood’s business was dominated by agents an Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 g female figure is swimming.2.The New Hollywood practice of saturation booking, meaning that a movie opened on a set date, like an event, on hundreds or thousands of screens across the United States and Canada. Jaws pioneered this practice, which was in direct contrast to distribution by Classic Hol Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 lywood. whereby movies opened in New York City, Chicago, and a few other large markets, only sometime later to be disseminated across the United StateEbook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2
s.3.A massive marketing campaign to promote the movie to potential viewers, focusing on television advertising and television talk shows. Such marketiPart IIINEW HOLLYWOOD, 1975-2009Origins of Hollywood DividedỈ/ỈỴ the mid-1970s, the production side of Hollywood’s business was dominated by agents an Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 ovie theaters, and the coming attractions to promote movies.4.rhe creation, solely from the movie, of its own merchandising industry, with control over franchising. Hence. Jaws beach towels (with over 100,000 sold), thermos bottles, plastic tumblers for cool summer drinks (over two million sold), an Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 d picnic baskets for the beach, along with Jaws lunch boxes and three-ring binders for kids returning to school after the summer, were all marketed frEbook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2
om the movie, rhe laws T-shirt sold 500.000 units in eight weeks. The Jaws Log by Carl Gottlieb, the cowriter on the screenplay, sold a million copiesPart IIINEW HOLLYWOOD, 1975-2009Origins of Hollywood DividedỈ/ỈỴ the mid-1970s, the production side of Hollywood’s business was dominated by agents an Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 John Williams, flew off the shelves al record stores nationwide. Previously, Hollywood had dabbled in tie-ins, and it was understood that a style worn by a star in a movie might become popular in department stores and women's apparel shops. Il was also common since the early 1960s lo produce recordi Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 ngs of songs from movies and their soundtracks, but Jaws transformed these marginal enterprises of the past into central business tenets of big-budgetEbook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2
movies and their marketing for I lollywood's high-concept future.AN EDGY ADAPTATIONThe other side of the New Hollywood equation that became apparent Part IIINEW HOLLYWOOD, 1975-2009Origins of Hollywood DividedỈ/ỈỴ the mid-1970s, the production side of Hollywood’s business was dominated by agents an Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 with the American counterculture during the late 1960s—One Flew over the Cuckoo’s Nest. Milos Forman, a European art film director who had fled Communist Czechoslovakia, directed this screen adaptation. It won the Hollywood establishment's endorsement by receiving the 1975 Oscar for Best Picture.Ac Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 tor Kirk Douglas, who had played McMurphy in the 1963 Broadway stage version of Cuckoo’s Nest, had purchased the rights for a screen adaptation with tEbook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2
he intention of producing the movie and starring in it himself. By the early 1970s, however, he decided that he was too old for the lead role, so he tPart IIINEW HOLLYWOOD, 1975-2009Origins of Hollywood DividedỈ/ỈỴ the mid-1970s, the production side of Hollywood’s business was dominated by agents an Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 s Nest, coming up with the movie’s $4.4 million budget. Credited as a Fantasy Films Production in United Artists release, it was Michael Douglas's first attempt al producing and Zaenlz’s second (after Payday). One Flew over the Cuckoo’s Nest became United Artists’ most profitable release ever up unt Ebook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2 il that time. The worldwide grosses for the movie were reported al $320 million. (In 1987, the Internal Revenue Service implicated Zaenlz in a schemeEbook A history of American movies: A film-by-film look at the art, craft, and business of cinema - Part 2
that diverted $38 million in Cuckoo profits offshore in order to avoid taxes in the United States.) Ils box office returns in North America were wellGọi ngay
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