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The veteran producer and author of the bestseller Hello, He Lied takes a witty and critical look at the new Hollywood.
Over the past decade, producer Lynda Obst gradually realized she was working in a Hollywood that was undergoing a drastic transformation. The industry where everything had once been familiar to her was suddenly disturbingly strange.
Combining her own industry experience and interviews with the brightest minds in the business, Obst explains what has stalled the vast moviemaking machine. The calamitous DVD collapse helped usher in what she calls the New Abnormal (because Hollywood was never normal to begin with), where studios are now heavily dependent on foreign markets for profit, a situation which directly impacts the kind of entertainment we get to see. Can comedy survive if they don’t get our jokes in Seoul or allow them in China? Why are studios making fewer movies than ever—and why are they bigger, more expensive and nearly always sequels or recycled ideas?
Obst writes with affection, regret, humor and hope, and her behind-the-scenes vantage point allows her to explore what has changed in Hollywood like no one else has. This candid, insightful account explains what has happened to the movie business and explores whether it’ll ever return to making the movies we love—the classics that make us laugh or cry, or that we just can’t stop talking about.
- Sales Rank: #368455 in eBooks
- Published on: 2013-06-11
- Released on: 2013-06-11
- Format: Kindle eBook
From Booklist
Obst’s Hello, He Lied (1996) was both a survivor’s guide to Hollywood and a memoir; her latest outing mixes her firsthand account of navigating the changing movie- and television-making business with the perspectives of other industry bigwigs. The producer of hit movies such as Sleepless in Seattle and Contact, Obst left a deal at Fox to work at Paramount in the late 1990s, just before a decade of upheaval hit the studio. As DVD revenues began to disappear, thanks to the rise of digital streaming and piracy, the studios saw their profit margins cut drastically and looked to other forms of revenue, such as international box-office numbers. Obst weathered the storm at Paramount for a decade, making the hit How to Lose a Guy in 10 Days, before losing her deal and moving over to Sony, where she ventured into television, which she found to be overtaking features in terms of quality and star power. Written in warm, conversational prose, Obst’s tales from the movie front together offer an engrossing look at the state of the entertainment industry today. --Kristine Huntley
Review
"[A] fascinating memoir-primer on the movie industry….A great read that illuminates what is really shaping today's movie business.” (The Wall Street Journal)
"[A] witty and wise new primer" (The Washington Post)
“[A] must-read on the ever-evolving movie industry…accessible and entertaining…Obst pulls back the curtain on an industry built on lies and illusion, allowing readers to get in on the ongoing joke.” (Publishers Weekly)
“From her unique perch as a maker of real movies—not sequels, prequels, or reboots—Lynda Obst explains why the movies we all loved growing up don't get made anymore. With her sharp wit, she gives an inside account of how the industry has changed but also offers hope that Hollywood will meet the challenges of the digital age and the global marketplace. If you love movies, this is a must read.” (Arianna Huffington )
"A useful primer if you haven't quite figured out why so many blockbusters take place in China these days.” (Forbes)
"A real pro—Lynda Obst—has written a realistic book about making film into reality in these days of extremes....She describes what might, may, will happen...A wonderful text book full of mysteries, loss and longing. I just couldn't stop reading it, even though I have never had movie-making impulses." (Liz Smith, Huffington Post )
“If you find yourself reaching for any excuse not to walk into a movie theater these days, here's producer Lynda Obst to explain why in her wildly readable X-ray of contemporary Hollywood. A must read for anyone wondering what happened to the movies we used to love.” (Peter Biskind, author of Easy Riders, Raging Bulls )
“Written in warm, conversational prose, Obst’s tales from the movie front together offer an engrossing look at the state of the entertainment industry today.” (Booklist)
“Obst...casts a sharp eye over recent developments in Tinseltown. Depth of detail and shrewd illustrative examples make this a must-read for anyone interested in the movie business.” (Kirkus Reviews)
About the Author
Lynda Obst, author of the bestseller Hello, He Lied, was an editor for The New York Times Magazine before entering the film industry. She has produced more than sixteen feature films, including How to Lose a Guy in 10 Days, Contact, The Fisher King, Adventures in Babysitting, Hope Floats, and two films with Nora Ephron, Sleepless in Seattle and This Is My Life. She is now producing television as well.
Most helpful customer reviews
22 of 24 people found the following review helpful.
Good, not great
By talktobrent
The first third or so of the book is pretty much a nice explanation of the new international economics of big budget movie making. The rest for the most part is a personal narrative, with, as other reviewers have noted, way too much name dropping and gushing endorsements of her allies to keep track of. A more accurate title might be: The crony capitalism of the old Hollywood versus the data driven marketing machine of the new Hollywood. The book is done in a somewhat gossipy fashion, with name dropping and mentions of lunches and meetings at trendy LA spots. Probably more entertaining if you are truly fascinated by the egos and politics that run, or at least used to run Hollywood. In the end the author comes to the proper conclusion that change is inevitable, but throughout the book, I wasn't so sure she would realize that. Her warm reminiscence of the good ol' days, (the 80s and 90s, when insiders like herself got together and pitched movies to their allies among catered lunches and upscale hotels) comes off as disconnected... The studio system has never been good at churning out "good" movies, it's just that now rather than throwing a lot of darts at the board and hoping for a bullseye, they spend a lot of money ensuring the few darts they throw hit the bullseye... In the end, the studio system, the agents, all the other over-paid middle men of dubious value will likely be filtered out in the new economics of filmmaking, which is why "Hollywood" only really makes giant blockbusters now, because the scale of such movies is the only mechanism that really finds all these players relevant anymore.
14 of 14 people found the following review helpful.
She was a writer first, you can tell, then a producer
By MickeyMcLane
Excellent writer, out of the New York Times. Media-speak in L A is hard to escape (example: some reviews have that tone of advertising). Refreshingly, mercifully, Obst writes in creative-speak. There's an entertaining scholarship in her writing that goes beyond the subject. This book's about business and art and society and culture and relationships, all humorously, elegantly, eloquently observed. I had a list of fun parts but it's too long. The very wording is a charm. The story about Titanic's opening in Russia is a lesson in the American character. Thanks, Ms. Obst.
27 of 31 people found the following review helpful.
The sad truth about Hollywood's decline from an insider
By Todd Bartholomew
Lynda Obst has pretty impressive credentials, from starting out a in development with Geffen going on to produce some very notable films from the 1980s up to fairly recently. She now serves as the Executive Producer on "Hot in Cleveland" and that show's sensibilities about Hollywood give some knowing nods as to how Obst feels about the entertainment industry. With "Sleepless in Hollywood" she provides a concise synopsis of what's going wrong in Hollywood, a change she saw unfolding over the past decade, and how those changes are fundamentally altering the entertainment business. As online and streaming video have gained a greater share of the market, along with piracy and file sharing, the DVD market has collapsed just as it did with CDs for the music industry. As the studios lost this stable and predictable revenue stream it created huge problems for them. As a result studios opted to be more cautious, skewing towards known quantities: remakes, sequels, prequels, rehashing television shows as movies, reboots, origin stories, and the like. And since a significant portion of revenue now comes from overseas ticket sales films had to be dumbed down and the humor made more broad so as to appeal to a broader swath of viewers in different societies. Smart, witty, urbane comedies are out, relegated to the realm of independent outlets, the big studios started making fewer films, and the pressure was on to make sure every film was a hit through relentless marketing, tie-ins, and product placement. The result is we don't get great original movies like we used to years ago and the industry is starting to slowly commit suicide on an endless repetitive cycle or rehashing old ideas. Obst lays bare why this is a path to oblivion and irrelevancy, some of which is obvious (most of these almost never make as much money as the originals), some not so obvious (marketing costs for these go up exponentially even though they're pulling in less box office), and something unexpected (much of the creative talent is drifting off to other ventures, leaving the less talented behind). Obst herself is a great example of that last one. Ground down by Hollywood's relentless desire to rehash the past she opted to move to television instead. And sure, studios did produce some really good movies last year like Lincoln and Argo (2012), but if you look at the Top 10 grossing movies it was almost entirely sequels, the only notable exception being The Hunger Games [HD] which itself is start of a series. You can certainly argue about the relative artistic merits of those Top 10 films but I only bothered to see three of them because I was sick of having seeing certain "franchises" being rehashed to death. After a certain point there's very little "new" that you can bring to these sequels/reboots except perhaps a new generation that wouldn't be impressed by decade old (or older) special effects. Movies have become disposable where once they were daring, provocative, glimpses into the human character, thought provoking, or inspirational. It may not be long before studios opt for "Casablanca II: Victor Laszlo's Revenge" just to make a buck. Obst points out what may come to pass for the studios if they don't move away from this pattern. But from my perspective Hollywood is crying all the way to the bank making crap I don't care to see, but which a lot of folks in the lucrative 18 to 35 demographic DO want to see. So long as there are a few quality films out there for me I'm fine. Once consumers vote with their wallets and their feet Hollywood will respond...they always do. People's tastes change as they mature in both senses of the word and that's likely what led Obst away from Hollywood to other fields. And honestly, when I view some of the movies I loved as a kid and a young man, some of them just make me cringe as they look and sound really dated now. Sure, I may get a warm feeling, but then again, maybe movies really are a disposable commodity after all. Obst's prose and conversational style of writing is what sold me on the book and it is a lively, thought provoking, and timely read!
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