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The Gross: The Hits, The Flops: The Summer That Ate Hollywood, by Peter Bart
Free Ebook The Gross: The Hits, The Flops: The Summer That Ate Hollywood, by Peter Bart
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The Gross is an all-access pass to the movers, shakers, and fakers who make Hollywood run. Tinseltown is an edgy place where risk-taking is a way of life—and the risks now run into the hundreds of millions of dollars. Summertime, when the studios unfurl their most expensive and effects-laden "tent-pole pictures," has become the only season in which Hollywood makes money, and so, as this book illustrates, the summer season provides an ideal microcosm for scrutinizing the mega-budget-driven revolution that has forever changed the movie business. Bart interviews all the key players, including studio executives, producers, directors, and stars, to show how creativity and commerce hang in a dangerous balance in the new Hollywood.
- Sales Rank: #966276 in eBooks
- Published on: 2000-02-21
- Released on: 2000-02-21
- Format: Kindle eBook
Amazon.com Review
In the summer of 1998, as far as Hollywood was concerned, nothing went the way it was supposed to. As Peter Bart recaps that season: A cheaply made gross-out comedy generated twice the revenues of a Steven Spielberg high-concept adventure; two pricey asteroid films collided, yet neither suffered damage; Jim Carrey made a hit movie that didn't offer a single laugh; Eddie Murphy buried his hard edge long enough to make two successful, warm-and-cuddly family films; Harrison Ford made a love story playing opposite a self-avowed lesbian; and finally, defying the mythology of the "youth demos," two stars in their sixties, Robert Redford and Warren Beatty, enjoyed yet another warm moment in the sun. Bart is a seasoned observer of the film industry both as studio executive (holding seats at Paramount and MGM/UA) and as the editor in chief of Variety and Daily Variety. His insider's perspective, and his ability to gain access to the major players in the business, serve him well here. The Gross is filled with juicy behind-the-scenes stories on how certain summer blockbusters got made and positioned for release--even though the book could strongly benefit from both an index, to make finding information on particular films easier, and information on its sources, to determine exactly how much of the story is Bart's original legwork and how much comes from the trades. Along the way, he sketches a grim portrait of an industry whose leaders have become increasingly frustrated with the high cost of filmmaking; even when they're making fun-filled romps like The Mask of Zorro and Armageddon, people at the studios don't seem to be enjoying themselves. Bart manages to cover almost every major summer release of '98 with enough detail to hold readers' interest, so while The Gross may not be the ultimate overview of the film business, it's a captivating snapshot of an industry in flux. --Ron Hogan
From Publishers Weekly
In 1969, William Goldman penned The Season, the quintessential insider's guide to the triumphs and failures of one Broadway season?but no author has since managed to do the same for Hollywood. Who better to attempt it than Bart, a former studio executive at Paramount, MGM/UA and Lorimar and currently editor-in-chief of Variety? Here Bart offers a savvy, gossipy, nuts-and-bolts look at the corporate machinations behind the summer films of 1998, a season of extravagant hype, box-office records and corporate disquiet that spotlighted what he calls the "dysfunctional economics of the movie industry." He divides his book into three sections: Genesis, a rundown of executives at the major studios and an outline of 11 hotly anticipated summer pictures, Armageddon to The X-Files; The Reckoning, a week-by-week listing of box office grosses for the 18 weeks of the summer season; and The Fallout, an assessment of why executives have grown increasingly wary of taking risks in a market dominated by blockbusters. Recounting how each film was put together and sold to the public, he relates chilling anecdotes of studio interference and moneymen making artistic decisions. As Bart shows little interest in the quality of these films, however, his book seems written primarily for the executives pulling the strings (for instance, the box office failure of Godzilla is largely attributed to a backlash against the mega-prerelease hype and rushed release date rather than the generic substance of the film). Whether or not the summer of 1998 marked a major turning point for Hollywood is debatable, but Bart has that rare bird's-eye view of the business that allows him to discern, even in this one fairly random crop of movies, the economic forces shaping American cinema.
Copyright 1999 Reed Business Information, Inc.
From Library Journal
In lively and instructive fashion, Variety's editor-in-chief examines a moviegoing season that seems like yesterdayAbecause it was. Via interviews with actors, directors, studio executives, producers, and writers, Bart traces the genesis, development, and marketing of, in particular, The Truman Show, Armageddon, Bulworth, Godzilla, There's Something About Mary, Lethal Weapon IV, The Mask of Zorro, Small Soldiers, Deep Impact, Saving Private Ryan, and Six Days, Seven Nights. We witness the success or failure of these and other films during 18 summer weeks and learn how special effects, star salaries, cooperative ventures, and merchandising deals compromise studio profits. Cinema students as well as casual moviegoers will question some of Bart's conclusionsAspecial effects movies are not a "distinct genre," and Anthony Hopkins and Antonio Banderas are major starsAand occasionally facts are wrong (e.g., Splendor in the Grass was released in 1961, not 1966). These caveats aside, The Gross is a fascinating inside look at filmmaking that leaves one wondering how anything cohesive is ever projected on the big screen. For public and academic libraries and performing arts collections.AKim Holston, American Institute for Chartered Property Casualty Underwriters, Malvern, PA
Copyright 1999 Reed Business Information, Inc.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Who better to attempt it than Bart
By Pageturner in NYC
In 1969, William Goldman penned The Season, the quintessential insider's guide to the triumphs and failures of one Broadway season?but no author has since managed to do the same for Hollywood. Who better to attempt it than Bart, a former studio executive at Paramount, MGM/UA and Lorimar and currently editor-in-chief of Variety? Here Bart offers a savvy, gossipy, nuts-and-bolts look at the corporate machinations behind the summer films of 1998, a season of extravagant hype, box-office records and corporate disquiet that spotlighted what he calls the "dysfunctional economics of the movie industry." He divides his book into three sections: Genesis, a rundown of executives at the major studios and an outline of 11 hotly anticipated summer pictures, Armageddon to The X-Files; The Reckoning, a week-by-week listing of box office grosses for the 18 weeks of the summer season; and The Fallout, an assessment of why executives have grown increasingly wary of taking risks in a market dominated by blockbusters. Recounting how each film was put together and sold to the public, he relates chilling anecdotes of studio interference and moneymen making artistic decisions. As Bart shows little interest in the quality of these films, however, his book seems written primarily for the executives pulling the strings (for instance, the box office failure of Godzilla is largely attributed to a backlash against the mega-prerelease hype and rushed release date rather than the generic substance of the film). Whether or not the summer of 1998 marked a major turning point for Hollywood is debatable, but Bart has that rare bird's-eye view of the business that allows him to discern, even in this one fairly random crop of movies, the economic forces shaping American cinema.
8 of 8 people found the following review helpful.
In bad need of work
By A Customer
Having read some of the other reviews, I tend to echo some of those sentiments. While this was a relatively quick read, there were a number of things that struck my attention. First of all, the book could have used a good editor. There were all kinds of spelling and grammatical errors.
Second, the book could have used a fact-checker. There are too many instances of incorrect information, some mentioned in the other reviews, but some that were downright blatant. The author confuses "Ghosts of Mississippi" with "Mississippi Burning", mentions actors as featured in movies they did not appear in, and sometimes seems to be confused as to who did what in a particular instance.
Third, I found it annoying and more than a bit hypocritical that an author who will take a filmmaker or actor to task for their ego will find it so completely necessary to feed his own ego by mentioning how intimate he was or is with several of the big names in Hollywood. It's fine if Mr. Bart, in his official capacity as editor of Variety, goes right to the source, but if he thinks that the reader cares, my guess is he's mistaken.
Fourth, the book could really have used an index. I wanted to refer to a previous chapter somewhere towards the middle of the book and had to thumb through the pages until I found it.
Lastly, to again echo some of the other reviews, it's more than a bit ironic that someone who feels that movies suffer from the manipulations of the studio executives in trying to make some films over into what they were not intended to be has (I would venture) published a book that is probably not what he intended it to be. I'm sure Mr. Bart could shrug it off as being emblematic of Hollywood, but I sure came away with a little of the glitter worn off.
1 of 1 people found the following review helpful.
Fun, enjoyable read but with two glaring omissions
By Skulk13
So as not to bore you with the same remarks regarding the finer points of the book, I agree with the previous two reviewers' assessments that Peter Bart's Gross is an eye-opening book about the studios preparation and releasing of its big summer hits. It was an immensely enjoyable book that makes you laugh out loud in some instances (Beatty's maneuvers with the studio) and shake your head in dismay at others (Godzilla).
My main complaint about this book is its lack of an index (a book with so much name dropping of the most powerful in the industry should have one!) and citations. I know that Peter Bart didnt find all this information on his own, yet he only seems to cite quotes from articles in respect to reviews and box office predictions in the summer movie previews of certain magazines. As a journalist, I am sure Mr. Bart knows the importance of citing and crediting source material.
Also, in spending a considerable amount of time on Godzilla, Mr.Bart talks about the massive media hype that took place before the film was released. Surprisingly enough, while throughtout the book he remarks upon his own personal experiences from his days as a studio exec. to his current position at Variety, he distances himself in the Godzilla sweepstakes, failing to even mention the glowing article he wrote about the Devlin/Emmerich team for, I believe, Esquire magazine. However, he deserves kudos for only bashing his perennial target James Cameron twice (judging from his Variety articles, he could have been more aggressive in his Titanic- aftermath assessment of Fox)
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