In this compulsively readable and constantly surprising book, Peter Biskind, the author of the film classics Easy Riders, Raging Bulls and Down and Dirty Pictures, writes the most intimate, revealing, and balanced biography ever of Hollywood legend Warren Beatty. Famously a playboy, Beatty has also been one of the most ambitious and successful stars in Hollywood. Several Beatty films have passed the test of time, from Bonnie and Clyde (which confirmed for him the importance of controlling the projects he was involved in) to Shampoo, Heaven Can Wait, Reds (for which he won the best director Oscar), Bugsy, and Bulworth. Few filmgoers realize that along with Orson Welles, Beatty is the only person ever nominated for four Academy Awards for a single film -- and unlike Welles, Beatty did it twice, with Heaven Can Wait and Reds. Biskind shows how Beatty used star power, commercial success, savvy, and charm to bend Hollywood moguls to his will, establishing an unprecedented level of independence while still working within the studio system. Beatty's private life has been the subject of gossip for decades, and Star confirms his status as Hollywood's leading man in the bedroom, describing his affairs with Joan Collins, Natalie Wood, Leslie Caron, Julie Christie, Michelle Phillips, Diane Keaton, and Madonna, among many others. Throughout his career, Beatty has demonstrated a fascination for politics. He was influential in the 1984 and 1988 presidential campaigns of Gary Hart. It was said of Hart and Beatty that each wanted to be the other, and Biskind shows that there was considerable truth in that wry observation. As recently as a few years ago, Beatty was speaking out about California politics and contemplating a run for governor. Biskind explains how Beatty exercised unique control, often hiring screenwriters out of his own pocket (and frequently collaborating with them), producing, directing, and acting in his own films, becoming an auteur before anyone in Hollywood knew what the word meant. He was arguably one of the most successful and creative figures in Hollywood during the second half of the twentieth century, and in this fascinating biography, Warren Beatty comes to life -- complete with excesses and achievements -- as never before.
In this “dishy…superbly reported” (Entertainment Weekly) New York Times bestseller, Peter Biskind chronicles the rise of independent filmmakers who reinvented Hollywood—most notably Sundance founder Robert Redford and Harvey Weinstein, who with his brother, Bob, made Miramax Films an indie powerhouse. As he did in his acclaimed Easy Riders, Raging Bulls, Peter Biskind “takes on the movie industry of the 1990s and again gets the story” (The New York Times). Biskind charts in fascinating detail the meteoric rise of the controversial Harvey Weinstein, often described as the last mogul, who created an Oscar factory that became the envy of the studios, while leaving a trail of carnage in his wake. He follows Sundance as it grew from a regional film festival to the premier showcase of independent film, succeeding almost despite the mercurial Redford, whose visionary plans were nearly thwarted by his own quixotic personality. Likewise, the directors who emerged from the independent movement, such as Quentin Tarantino, Steven Soderbergh, and David O. Russell, are now among the best-known directors in Hollywood. Not to mention the actors who emerged with them, like Matt Damon, Ben Affleck, Ethan Hawke, and Uma Thurman. Candid, controversial, and “sensationally entertaining” (Los Angeles Times) Down and Dirty Pictures is a must-read for anyone interested in the film world.
In 1969, a low-budget biker movie, Easy Rider, shocked Hollywood with its stunning success. An unabashed celebration of sex, drugs, and rock 'n' roll (onscreen and off), Easy Rider heralded a heady decade in which a rebellious wave of talented young filmmakers invigorated the movie industry. In Easy Riders, Raging Bulls, Peter Biskind takes us on the wild ride that was Hollywood in the '70s, an era that produced such modern classics as The Godfather, Chinatown, Shampoo, Nashville, Taxi Driver, and Jaws. Easy Riders, Raging Bulls vividly chronicles the exuberance and excess of the times: the startling success of Easy Rider and the equally alarming circumstances under which it was made, with drugs, booze, and violent rivalry between costars Dennis Hopper and Peter Fonda dominating the set; how a small production company named BBS became the guiding spirit of the youth rebellion in Hollywood and how, along the way, some of its executives helped smuggle Huey Newton out of the country; how director Hal Ashby was busted for drugs and thrown in jail in Toronto; why Martin Scorsese attended the Academy Awards with an FBI escort when Taxi Driver was nominated; how George Lucas, gripped by anxiety, compulsively cut off his own hair while writing Star Wars, how a modest house on Nicholas Beach occupied by actresses Margot Kidder and Jennifer Salt became the unofficial headquarters for the New Hollywood; how Billy Friedkin tried to humiliate Paramount boss Barry Diller; and how screenwriter/director Paul Schrader played Russian roulette in his hot tub. It was a time when an "anything goes" experimentation prevailed both on the screen and off. After the success of Easy Rider, young film-school graduates suddenly found themselves in demand, and directors such as Francis Coppola, Peter Bogdanovich, George Lucas, and Martin Scorsese became powerful figures. Even the new generation of film stars -- Nicholson, De Niro, Hoffman, Pacino, and Dunaway -- seemed a breed apart from the traditional Hollywood actors. Ironically, the renaissance would come to an end with Jaws and Star Wars, hugely successful films that would create a blockbuster mentality and crush innovation. Based on hundreds of interviews with the directors themselves, producers, stars, agents, writers, studio executives, spouses, and ex-spouses, this is the full, candid story of Hollywood's last golden age. Never before have so many celebrities talked so frankly about one another and about the drugs, sex, and money that made so many of them crash and burn. By turns hilarious and shocking, Easy Riders, Raging Bulls is the ultimate behind-the-scenes account of Hollywood at work and play.
Seeing is Believing is a provocative, shrewd, witty look at the Hollywood fifties movies we all love-or love to hate-and the thousand subtle ways they reflect the political tensions of the decade. Peter Biskind, former executive editor of Premiere, is one of our most astute cultural critics. Here he concentrates on the films everybody saw but nobody really looked at--classics like Giant, On the Waterfront, Rebel Without a Cause, and Invasion of the Body Snatchers--and shows us how movies that appear to be politically innocent in fact carry an ideological burden. As we see organization men and rugged individualists, housewives and career women, cops and doctors, teen angels and teenage werewolves fight it out across the screen from suburbia to the farthest reaches of the cosmos, we understand that we have been watching one long dispute about how to be a man, a woman, an American--the conflicts of the period in action. A work of brilliant analysis and meticulous conception, Seeing Is Believing offers fascinating insights into how to read films of any era.
Here is Hollywood over the last three decades - the superfreaks, lowlifes, charlatans, and the occasional geniuses who have left their bite marks on American culture, as refracted through the trajectory of Peter Biskind's career. Biskind began as a radical journalist and film critic. Now he can legitimately describe himself - as he does in the autobiographical introduction to this book - as a 'recovering celebrity journalist'. At the heart of the book are the likes of Martin Scorsese, Robert Redford, Terrence Malick, Sue Mengers, and über-producer Don Simpson, all of whom Biskind portrays in great Dickensian detail, charting how they have had a simultaneously strangulating and liberating effect on the industry.
A NEW YORKER BEST BOOKS OF 2023 SELECTION “Biskind’s saga about the rise and fall of prestige television explains, in punchy, propulsive prose, how we went from Tony Soprano to Ted Lasso.” —New Yorker Bestselling author of Easy Riders, Raging Bulls and Down and Dirty Pictures, cultural critic Peter Biskind turns his eye toward the new golden age of television, sparked by the fall of play-it-safe network TV and the rise of boundary-busting cable, followed by streaming, which overturned both—based on exclusive, candid, and colorful interviews with executives, writers, showrunners, directors, and actors We are now lucky enough to be living through the era of so-called Peak TV, in which television, in its various guises and formats, has seized the entertainment mantle from movies and dominates our leisure time. How and why this happened is the subject of this book. Instead of focusing on one service, like HBO, Pandora’s Box asks, “What did HBO do, besides give us The Sopranos?” The answer: It gave us a revolution. Biskind bites off a big chunk of entertainment history, following HBO from its birth into maturity, moving on to the basic cablers like FX and AMC, and ending up with the streamers and their wars, pitting Netflix against Amazon Prime Video, Max, and the killer pluses—Disney, Apple TV, and Paramount. Since the creative and business sides of TV are thoroughly entwined, Biskind examines both, and the interplay between them. Through frank and shockingly intimate interviews with creators and executives, Pandora’s Box investigates the dynamic interplay of commerce and art through the lens the game-changing shows they aired—not only old warhorses like The Sopranos, but recent shows like The White Lotus, Succession, and Yellow- (both -stone and -jackets)—as windows into the byzantine practices of the players as they use money and guile to destroy their competitors. In the end, this book crystal-balls the future in light of the success and failures of the streamers that, after apparently clearing the board, now face life-threatening problems, some self-created, some not. With its long view and short takes—riveting snapshots of behind-the-scenes mischief—Pandora’s Box is the only book you’ll need to read to understand what’s on your small screen and how it got there.
A Sunday Times (London), Best Book of 2018 “A thoughtful, entertaining, and occasionally profound critical study of the texts that entertain, move and, sometimes, shape us.” —The Spectator (London) “A bold, witty, and brilliantly argued analysis of the role pop culture has played in the rise of American extremism.” —Ruth Reichl “You’ll never look at your favorite movies and TV shows the same way again. And you shouldn’t.” —Steven Soderbergh A bestselling cultural journalist shows how pop culture prepared Americans to embrace extreme politics Almost everything has been invoked to account for Trump’s victory and the rise of the alt-right, from job loss to racism to demography—everything, that is, except popular culture. In The Sky Is Falling bestselling cultural journalist Peter Biskind dives headlong into two decades of popular culture—from superhero franchises such as the Dark Knight, X-Men, and the Avengers and series like The Walking Dead and Game of Thrones to thrillers like Homeland and 24—and emerges to argue that these shows are saturated with the values that are currently animating our extreme politics. Where once centrist institutions and their agents—cops and docs, soldiers and scientists, as well as educators, politicians, and “experts” of every stripe—were glorified by mainstream Hollywood, the heroes of today’s movies and TV, whether far right or far left, have overthrown this quaint ideological consensus. Many of our shows dramatize extreme circumstances—an apocalypse of one sort or another—that require extreme behavior to deal with, behavior such as revenge, torture, lying, and even the vigilante violence traditionally discouraged in mainstream entertainment. In this bold, provocative, and witty investigation, Biskind shows how extreme culture now calls the shots. It has become, in effect, the new mainstream.
Peter Biskind authored two of the most talked about and read books of the last decade—Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock-'n'-Roll Generation Saved Hollywood and its bestselling sequel Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Film. Gods and Monsters chronicles the cause and courses of Hollywood over the last three decades—the super freaks, lowlifes, charlatans and occasional geniuses who have left their bite mark on American culture, as refracted through the trajectory of Peter Biskind's career. The ghosts of McCarthyism and the blacklist haunt Gods and Monsters as do the casualties of the counterculture and the New Hollywood—the story of Sue Menges, the '70s "super-agent" whose career went mysteriously south, is extraordinarily poignant, as is the example of Terence Malick, whose light shone so brightly in the same period but then disappeared until 1997's The Thin Red Line. But at the heart of the book are the likes of Warren Beatty, Oliver Stone, Martin Scorsese, Robert Redford and Quentin Tarantino and uber-producers Don Simpson and Harvey Weinstein and their excess lifestyles, all of whom Biskind portrays in great Dickensian detail, charting how they have had a simultaneously strangulating and liberating effect on the industry.
AN ECONOMIST BOOK OF THE YEAR From The Sopranos to streaming: the scandalous behind-the-screens story of the TV revolution by the author of the cult film classic Easy Riders, Raging Bulls. The revolution has been televized. From The Sopranos to Stranger Things, the shows we watch - and the ways we watch them - have been transformed over the past fifty years. Out of the bland wasteland of 'play-it-safe' broadcasting came astonishing stories of sex, violence, and corruption shown first on cable, and then by way of streaming. Today, the power of viewers to select what they want and when they want it is greater than ever before. In short, we are living in a new golden age of television, but golden ages don't last forever. Revolutions have a habit of eating their own, and the era of 'peak TV' may have an unhappy ending. Pandora's Box is a major new account of the small screen from cultural critic Peter Biskind. Through exclusive, candid and colourful interviews with writers, showrunners, directors and actors, Biskind brings us face to face with the people whose creations we encounter every day on our sofas, and reveals the dynamic interplay of art, commerce and technology. We follow executives down the corridors of power and see how their money and guile cultivate, then crush creativity; we witness the making - and unmaking - of TVs biggest hits. There has never been a more exciting time in entertainment history, and Peter Biskind, the ideal insider guide, captures it all.
In this compulsively readable and constantly surprising book, Peter Biskind, the author of the film classics Easy Riders, Raging Bulls and Down and Dirty Pictures, writes the most intimate, revealing, and balanced biography ever of Hollywood legend Warren Beatty. Famously a playboy, Beatty has also been one of the most ambitious and successful stars in Hollywood. Several Beatty films have passed the test of time, from Bonnie and Clyde to Shampoo, Heaven Can Wait, Reds (for which he won the best director Oscar), Bugsy, and Bulworth. Few filmgoers realize that along with Orson Welles, Beatty is the only person ever nominated for four Academy Awards for a single film -- and unlike Welles, Beatty did it twice. Biskind shows how Beatty used star power, commercial success, savvy, and charm to bend Hollywood moguls to his will. Beatty's private life has been the subject of gossip for decades, and Star confirms his status as Hollywood's leading man in the bedroom, describing his affairs with Joan Collins, Natalie Wood, Leslie Caron and Madonna, among many others. Biskind explains how Beatty exercised unique control, often hiring screenwriters out of his own pocket, producing, directing, and acting in his own films. He was arguably one of the most successful and creative figures in Hollywood during the second half of the twentieth century, and in this fascinating biography, Warren Beatty comes to life -- complete with excesses and achievements -- as never before.
Based on hundreds of interviews with directors such as Coppola, Scorsese, Hopper and Spielberg, as well as producers, stars, studio executives, writers, spouses, ex-spouses, and girlfriends, this is the story of the crazy world that the directors ruled. Originally published in 1998.
In The Eve of Destruction Peter Biskind reveals the ideological battles behind the violent and seemingly mindless escapism of 21st century popular culture Wondering why we're constantly inundated with zombies, vampires, witches, aliens from outer space, extras from the Book of Revelation, and a Pandora's box of other supernatural creatures? Drawing on shows like The Walking Dead and Game of Thrones, films like Avatar and World War Z, and various other dystopian, and supernatural fantasies, cultural critic Peter Biskind explains why these formerly disreputable subjects have suddenly become mainstream, minting money and creating a vast fan base. Rather than dismissing these fictions as the worst that mass culture has to offer Biskind reveals them as battlefields on which clashing ideologies struggle for advantage. Right assails left, left bashes right, and both gang up on the center. Biskind shows how the grand, bipartisan accord that defined post-war society broke down over successive decades, hammered first from the left by the civil rights movement, the Vietnam War, and Watergate, and then from the right by the Reagan Revolution, 9/11, and later the Tea Party. Where once we had consensus, we now have polarization. Extremism, which used to be a vice, has become a virtue-and a hallmark of our popular culture, even as it tears our political system to shreds.
Terrence Malick's stunning film The Tree of Life is a modern Job story, an exploration of suffering and glory, an honest look at strife within a Texas family in the 1950s. In Shining Glory, Peter J. Leithart examines the biblical and theological motifs of the film and illuminates how Malick exploited the visual poetry of film to produce one of the most spiritually challenging and theologically sophisticated films ever made.
In 1969, a low-budget biker movie, Easy Rider, shocked Hollywood with its stunning success. An unabashed celebration of sex, drugs, and rock 'n' roll (onscreen and off), Easy Rider heralded a heady decade in which a rebellious wave of talented young filmmakers invigorated the movie industry. In Easy Riders, Raging Bulls, Peter Biskind takes us on the wild ride that was Hollywood in the '70s, an era that produced such modern classics as The Godfather, Chinatown, Shampoo, Nashville, Taxi Driver, and Jaws. Easy Riders, Raging Bulls vividly chronicles the exuberance and excess of the times: the startling success of Easy Rider and the equally alarming circumstances under which it was made, with drugs, booze, and violent rivalry between costars Dennis Hopper and Peter Fonda dominating the set; how a small production company named BBS became the guiding spirit of the youth rebellion in Hollywood and how, along the way, some of its executives helped smuggle Huey Newton out of the country; how director Hal Ashby was busted for drugs and thrown in jail in Toronto; why Martin Scorsese attended the Academy Awards with an FBI escort when Taxi Driver was nominated; how George Lucas, gripped by anxiety, compulsively cut off his own hair while writing Star Wars, how a modest house on Nicholas Beach occupied by actresses Margot Kidder and Jennifer Salt became the unofficial headquarters for the New Hollywood; how Billy Friedkin tried to humiliate Paramount boss Barry Diller; and how screenwriter/director Paul Schrader played Russian roulette in his hot tub. It was a time when an "anything goes" experimentation prevailed both on the screen and off. After the success of Easy Rider, young film-school graduates suddenly found themselves in demand, and directors such as Francis Coppola, Peter Bogdanovich, George Lucas, and Martin Scorsese became powerful figures. Even the new generation of film stars -- Nicholson, De Niro, Hoffman, Pacino, and Dunaway -- seemed a breed apart from the traditional Hollywood actors. Ironically, the renaissance would come to an end with Jaws and Star Wars, hugely successful films that would create a blockbuster mentality and crush innovation. Based on hundreds of interviews with the directors themselves, producers, stars, agents, writers, studio executives, spouses, and ex-spouses, this is the full, candid story of Hollywood's last golden age. Never before have so many celebrities talked so frankly about one another and about the drugs, sex, and money that made so many of them crash and burn. By turns hilarious and shocking, Easy Riders, Raging Bulls is the ultimate behind-the-scenes account of Hollywood at work and play.
Seeing is Believing is a provocative, shrewd, witty look at the Hollywood fifties movies we all love-or love to hate-and the thousand subtle ways they reflect the political tensions of the decade. Peter Biskind, former executive editor of Premiere, is one of our most astute cultural critics. Here he concentrates on the films everybody saw but nobody really looked at--classics like Giant, On the Waterfront, Rebel Without a Cause, and Invasion of the Body Snatchers--and shows us how movies that appear to be politically innocent in fact carry an ideological burden. As we see organization men and rugged individualists, housewives and career women, cops and doctors, teen angels and teenage werewolves fight it out across the screen from suburbia to the farthest reaches of the cosmos, we understand that we have been watching one long dispute about how to be a man, a woman, an American--the conflicts of the period in action. A work of brilliant analysis and meticulous conception, Seeing Is Believing offers fascinating insights into how to read films of any era.
In this “dishy…superbly reported” (Entertainment Weekly) New York Times bestseller, Peter Biskind chronicles the rise of independent filmmakers who reinvented Hollywood—most notably Sundance founder Robert Redford and Harvey Weinstein, who with his brother, Bob, made Miramax Films an indie powerhouse. As he did in his acclaimed Easy Riders, Raging Bulls, Peter Biskind “takes on the movie industry of the 1990s and again gets the story” (The New York Times). Biskind charts in fascinating detail the meteoric rise of the controversial Harvey Weinstein, often described as the last mogul, who created an Oscar factory that became the envy of the studios, while leaving a trail of carnage in his wake. He follows Sundance as it grew from a regional film festival to the premier showcase of independent film, succeeding almost despite the mercurial Redford, whose visionary plans were nearly thwarted by his own quixotic personality. Likewise, the directors who emerged from the independent movement, such as Quentin Tarantino, Steven Soderbergh, and David O. Russell, are now among the best-known directors in Hollywood. Not to mention the actors who emerged with them, like Matt Damon, Ben Affleck, Ethan Hawke, and Uma Thurman. Candid, controversial, and “sensationally entertaining” (Los Angeles Times) Down and Dirty Pictures is a must-read for anyone interested in the film world.
Film moves audiences like no other medium; both documentaries and feature films are especially remarkable for their ability to influence viewers. Best-selling author James Brady remarked that he joined the Marines to fight in Korea after seeing a John Wayne film, demonstrating how a motion picture can change the course of a human life—in this case, launching the career of a major historian and novelist. In Why We Fought: America's Wars in Film and History, editors Peter C. Rollins and John E. O'Connor explore the complexities of war films, describing the ways in which such productions interpret history and illuminate American values, politics, and culture. This comprehensive volume covers representations of war in film from the American Revolution in the 18th century to today's global War on Terror. The contributors examine iconic battle films such as The Big Parade (1925), All Quiet on the Western Front (1930), From Here to Eternity (1953), and Platoon (1986), considering them as historical artifacts. The authors explain how film shapes our cultural understanding of military conflicts, analyzing how war is depicted on television programs, through news media outlets, and in fictional and factual texts. With several essays examining the events of September 11, 2001, and their aftermath, the book has a timely relevance concerning the country's current military conflicts. Jeff Chown examines controversial documentary films about the Iraq War, while Stacy Takacs considers Jessica Lynch and American gender issues in a post-9/11 world, and James Kendrick explores the political messages and aesthetic implications of United 93. From filmmakers who reshaped our understanding of the history of the Alamo, to Ken Burns's popular series on the Civil War, to the uses of film and media in understanding the Vietnam conflict, Why We Fought offers a balanced outlook— one of the book's editors was a combat officer in the United States Marines, the other an antiwar activist—on the conflicts that have become touchstones of American history. As Air Force veteran and film scholar Robert Fyne notes in the foreword, American war films mirror a nation's past and offer tangible evidence of the ways millions of Americans have become devoted, as was General MacArthur, to "Duty, honor, and country." Why We Fought chronicles how, for more than half a century, war films have shaped our nation's consciousness.
Taking the subject chronologically from the 1890s to when the book was initially published in 1989, this book analyses those films specifically concerned with working-class conditions and struggle, and discusses them within the context of the debate on the social significance of the feature film. It concentrates on films which depict labour organizations and political activists, as well as life in working-class communities and actors with working-class identities such as James Cagney. Reviews of the original edition: ‘...fills a gap in film studies...the study of social and labour history, and the development of popular culture in Britain and the United States.’
This book is the most sustained and comprehensive examination to date of one of cinema's most challenging and lauded auteur. It proposes new ways of seeing Gilliam and his films that go beyond reductive readings of him as a gifted but manic fantasist. It analyses Gilliam's work over nearly four decades, from Monty Python, to Brazil and Tideland.
Peter Hutchings’s Hammer and beyond remains a landmark work in British film criticism. This new, illustrated edition brings the book back into print for the first time in two decades. Featuring Hutchings’s socially charged analyses of genre classics from Dead of Night (1945) and The Curse of Frankenstein (1957) to The Sorcerers (1967) and beyond, it also includes several of Hutchings’s later essays on British horror, as well as a new critical introduction penned by film historian Johnny Walker and an afterword by Russ Hunter. Hammer and beyond deserves a spot on the bookshelf of anyone with a serious interest in the development of Britain’s contribution to the horror genre.
Gene Hackman (b. 1930) has been described as the best actor of his generation. During almost half a century as an American film, television and stage actor, film producer and author, he was nominated for five Academy Awards, winning the Best Actor for The French Connection (1971) and the Best Supporting Actor for Unforgiven (1992), as well as three Golden Globes and two BAFTAs. This study examines his film work in detail, with a filmography/videography included.
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