Down and Dirty Pictures: Miramax, Sundance, and the Rise of by Peter Biskind

By Peter Biskind

Down and soiled Pictures chronicles the increase of self reliant filmmakers and of the dual engines -- the Sundance movie pageant and Miramax motion pictures -- that experience powered them. As he did in his acclaimed Easy Riders, Raging Bulls, Peter Biskind profiles the folks who took the autonomous stream from obscurity to the Oscars, so much significantly Sundance founder Robert Redford and Harvey Weinstein, who together with his brother, Bob, made Miramax an indie powerhouse.
at the present time Sundance is an important movie pageant this aspect of Cannes, and Miramax has develop into an significant. Likewise, the administrators who emerged from the self reliant circulate, similar to Quentin Tarantino, Steven Soderbergh, and David O. Russell, at the moment are one of the best-known administrators in Hollywood. let alone the actors who emerged with them, like Matt Damon, Ben Affleck, Ethan Hawke, and Uma Thurman.
Candid, penetrating, and debatable, Down and soiled Pictures is a must-read for somebody attracted to the movie global and the place it's headed.

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Additional resources for Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Film

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T h e Soviet critic K a r a g a n o v in the first m a jo r b io g ra p h y of P u d o v k in 18 says th a t the th eory o f intellectual cinem a, in its time, was severely criticized as a b so lu te fo rm alism a n d com pletely foreign to Soviet c in e m a to g r a p h y , b u t th a t it does deserve a m o re historical, a m o re serious a ttitu d e , a n d he apologizes b o th for the attac ks a n d for the d e n ig ra tio n o f E is e n s te in ’s theory! B ut so m u c h d a m a g e h ad alre a d y been d o n e to the artists as well as to th eir ideas.

B u t his h e a rt was not in it. H is colleague D oller a n d o th e r scriptw riters ev entu a lly com p leted the film. B ut it was a failure. Pudovkin, experim ents and the poetic cinema T h e r e has recently com e to the Soviet P u b lish e rs List a i m p o r t a n t book entitled Vsevolod Pudovkin, by Dr. A. V. K a ra g a n o v , w hose d o c to ra te is in art, a lead ing critic a n d h isto rian o f th e a te r a n d cin e m a (henceforth referred to as K a r a g a n o v ) . H e re we have the first serious a n d sincere a t t e m p t to en c o m p a s s the life a n d w ork a n d significance of P udov kin.

T h e success o f a film is d e te r m in e d p rim arily by the a m o u n t o f m o ney it can collect a n d the e n te r ta in m e n t value w h ich the p etty bourgeois sp ec ta to rs will p ay for. B ut w ith us the u n in te r r u p te d g ro w th o f a c tu a l tasks d e m a n d s n ew er a n d new er re searchers in the sph ere o f m e th o d s of p re sen tatio n . In these conditions, to ex p e rim e n t is necessary in different directions. O f course, this is sheer hypocrisy, since all the p ro b lem s o f E isen ­ stein, P u d ovk in, D o v z h en k o a n d V e rto v arose w h e n they b e g a n to e x p e rim e n t after th eir first successful films.

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