By Pablo F. Fenjves
Hollywood's survivors proportion their secrets and techniques to luck -- the place, they got here from, how they made it, and the way it's also possible to In a heyday of truth tv and in a single day stardom, it is simple to put out of your mind that the majority avid gamers needed to work flat out to make it colossal. How I Broke into Hollywood brings jointly dozens of Tinseltown's maximum luck tales, from legends Sydney Pollack and Lalo Schifrin to emerging starlet Erika Christensen to ?ber-producer Gavin Polone. Icons in their -- writers, actors, administrators, designers, cinematographers, executives and extra -- they have been as soon as outsiders themselves, and their beginnings have all of the grit and glamour of the easiest Hollywood movies. one of the figures profiled: comic Bernie Mac, whose earliest stand-up exhibits have been on subway vehicles and at funeral events. Actor Charles Dutton, who was once convicted of manslaughter at age seventeen, then went directly to the Yale college of Drama and a super occupation on degree, display, and tv. Actor Peter Gallagher, who suffered a crippling bout of degree fright moments sooner than jumping onstage as Snoopy -- yet whose jitters moved him to a functionality that introduced the viewers to its toes and introduced his occupation. Superagent Jay Kanter, who began as a mailroom man -- earlier than nabbing Marlon Brando as his first superstar buyer. manufacturer Caryn Mandabach, whose first task used to be making beer runs for the creation men on the Olympic Auditorium -- yet who paid consciousness and shortly used to be constructing such hits because the Cosby exhibit, Roseanne, and That '70s express. Director John Landis, who hunted down his first task as a construction assistant by way of purchasing a one-way price ticket to London, then hitchhiking and hopping trains the entire technique to the set . . . in Yugoslavia. How I Broke into Hollywood stocks the voices of approximately fifty Hollywood survivors as they revisit the highs and lows in their careers of their personal phrases, dishing airborne dirt and dust and providing the knowledge they received alongside the best way. We research what drew them to the and what made them remain, what encouraged and appalled them, and what secrets and techniques propelled them to specialist stardom. (Hint: a great perspective -- and an unflappable ego -- do not hurt.) the line to good fortune is a bumpy, angst-ridden, star-studded thrill trip -- yet for those insiders, no less than, it used to be worthy each pitfall and lesson discovered. frequently hilarious, continuously instructive, How I Broke into Hollywood is an impossible to resist learn for somebody fascinated about these who have made it giant . . . and for individuals far and wide hoping to make it vast themselves.
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Additional info for How I Broke into Hollywood: Success Stories from the Trenches
I started making short, 8-millimeter movies in Cleveland, when I was in the eighth and ninth grade, with my friend Dwight Little. He’s the one that got me interested in movies, but not because he thought I had talent. My father had a station wagon and a stepladder, and Dwight knew that they would come in handy. 46 H O W I B R O K E I N T O H O L LY W O O D The ﬁrst ﬁlm we made was a Civil War movie called The Last Soldier. It was a sixteen minute, Super 8, black-and-white movie about a Union soldier in the Civil War who saves and befriends a wounded, southern rebel.
While I was still in ﬁlm school, I met Randal Kleiser, the director. This was years before he made a name for himself with Grease, The Blue Lagoon, White Fang, and more than a dozen other features. When we met, he had just ﬁnished working on a short ﬁlm called Peege. It starred Bruce Davison, Barbara Rush, and Jeanette Nolan. Jeanette played the title character, a grandmother struggling with Alzheimer’s. My own grandmother had just been diagnosed with Alzheimer’s, and when I saw the ﬁlm, I was so overcome that I decided I would follow Randal anywhere.
So I told him I didn’t think I could do this anymore. He said I should go back to New York and produce two TV specials that he had sold to NBC TV with David Frost, the British television personality. The ﬁrst was a 90minute special on the Bee Gees. The second was a live concert at the United 36 H O W I B R O K E I N T O H O L LY W O O D Nations, starring the top musical acts of the day, and all of the proceeds were going to go to UNICEF. I felt like I was a big part of putting the show together, and when I was done I decided it was time for me to return to Hollywood to become a movie producer.