Youll Never What in This Town Again
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What I found was a memoir from an egotistical, cocky-indulgent woman who lacks humility and the capacity for self-analysis. I of those books where someone talks almost all the drugs they've done, all the sh*t they've been through, but never seems to actually examine the correlation betwixt the two. And if they do take responsibleness for where they are, they merely do information technology in tandem with i
Sigh. I'd ever heard I needed to read this book - it was a 'must read' for anyone in The Industry in Hollywood.What I found was a memoir from an egotistical, self-indulgent adult female who lacks humility and the capacity for self-analysis. 1 of those books where someone talks about all the drugs they've done, all the sh*t they've been through, but never seems to really examine the correlation between the ii. And if they do take responsibility for where they are, they merely do it in tandem with insisting that the globe is against them.
Sure, there were a lot of insights to the way things worked in Hollywood in the 70's and 80'due south...sure, there were a lot of drug stories about famous people (large whoop). But what did I exit of this (as well the moral that Julia is a 'my way or the highway'-kinda gal, and that if others don't agree with her, they're confronting her)? Not much.
Actions take consequences. So do behaviors. Grow up, Julia. Own your decisions, and recognize that your choices got you where you are.
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At 600 pages, this rant remains in dire need of an editor, but would benefit even more from a plot. Basically, our not-then-humble narrator gets lucky with The Sting in 1973, then it all turns to drugs, and then it all turns to shit. Her primary concern – beyond any pretence of fidelity to drug-dealers, family, colleagues and friends – appears to be keeping her table at a dining-pigsty in Hollywood where she tin can see and be seen, hence the tit
A long trawl through shallow waters - well, shallow people.At 600 pages, this rant remains in dire demand of an editor, but would benefit even more from a plot. Basically, our non-then-apprehensive narrator gets lucky with The Sting in 1973, then it all turns to drugs, then it all turns to shit. Her primary concern – beyond any pretence of allegiance to drug-dealers, family, colleagues and friends – appears to exist keeping her table at a dining-hole in Hollywood where she can see and be seen, hence the title.
The fact that Hollywood ability-brokers are not-artistic, cliquey, scandalously overpaid, vain, aggressive, addictive, obsessive, compulsive and above all treacherous parasites should come as no surprise to anyone who'south bothered to option upwards this book. What is surprising is that an operator with all of those traits and more could vomit upwardly a story from it and not suspension long enough to find any redemption whatsoever in herself or her surroundings.
Perhaps the saddest testament to this tragedy comes in reading information technology today, 15-years after publication. Names that once clattered when she dropped them now ring hollow as even the internet can't dredge up any trace of them. And as for those who remain 'names,' take a look at the bonus features disc of The Sting DVD – Redford, Newman et al looking back on their film in 2005 (a film that Phillips spends half the book telling us was her artistic genius) and the name 'Phillips' does non come upwards once in hours of recorded material. Who she?
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It would be easier to
Julia Phillips burned her bridges beyond recognition with this memoir of life in the fast lane of 1970s Hollywood. There are very few people who were big from the late 1960s to the early 1990s who aren't mentioned here, by and large unfavorably. The lady had adept reason to be angry; the machinations of getting a movie made are ludicrous enough to drive anyone over the border. She freely admits that she didn't help her own cause by spending near of her time looking for her side by side high.It would exist easier to be on her side - she was, subsequently all, the first female producer to win a All-time Picture Oscar, and was behind some seminal films (The Sting, Taxi Driver, Close Encounters of the Third Kind) if she didn't go out of her way to be so unlikeable. She has the redeeming feature of the dandy love she has for her daughter, Kate, who sounds like phenomenal person. Other than that, notwithstanding, she sounds like the classic egotist (and, ridiculously backward in her language). She is smarter (in her ain mind) than almost everyone she meets, she calls black people the N-word and gay people all manner of slurs. Her bigotry almost people who are overweight is downright repulsive.
You'll Never Eat Lunch In This Town Again is full of aliases in society to avoid lawsuits, I suspect, but I too suspect that Hollywood insiders knew exactly which people Phillips was referring to when she changed a name. Even so, she is fine with naming and shaming Spielberg, Geffen, Erica Jong and numerous others. David Geffen was then furious with the release of this book that he dumped her from the negotiations they were in the heart of for Interview with the Vampire. And, as it turned out, she didn't have dejeuner in some of the nigh important places in that town again. She got banned from Morton'due south where, for many years, she had her own table.
I would have liked the volume meliorate (I do love dish, so it would ordinarily be tailor-made for me) if (1) it had been proofed for grammer (for someone who is supposedly then intelligent, she should know how to use the words "I" and "me" in a sentence); and (2) if it had been shorter (a good editor could have shown her how to tighten it up and dump the extraneous, existential meandering). I'm very glad I read information technology; I just wish I'd liked it, and her, a bit more.
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Merely this is i volume written by a celebrity that is most definitely not ghost-written.... and maybe information technology should have been. It's hideously self-indulgent and seems similar it was never edited or revised. I am a fast reader and it took me several hours to become through 100 pages of this book.
By all means this should be a fascinating, juicy Hollywood tell-all. I was thrilled to spot it in a secondhand store and grabbed it, primarily because of the excellent encompass design on the vintage version I'd found.But this is i book written by a celebrity that is most definitely non ghost-written.... and maybe information technology should take been. It'southward hideously self-indulgent and seems like it was never edited or revised. I am a fast reader and it took me several hours to get through 100 pages of this book. I could non finish it.
This COULD have been great. And for a book that trash-talks so many of Julia Phillips' peers at the time, it should at to the lowest degree be well-written to be worth burning all those bridges. But information technology'south non.
It reads exactly like how someone on coke talks, which is to say, rambly, breathless, and irritating.
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A behind-the-scenes tell-all of my favorite UFO moving picture, written past a drug addicted movie producer who happens to be the get-go female moving-picture show producer to win an Oscar for best picture? Sounded irresistible so I picked up a copy of Julia Phillips' best-selling Hollywood chronicle. OK, there was far less almost "Close Encounters of The Tertiary Kind" than I had hoped for. "You'll Never East Lunch in This Town Over again" is really the autobiography of Julia Phillips. Truthfully, I had never heard of Julia Phil
A backside-the-scenes tell-all of my favorite UFO flick, written by a drug addicted movie producer who happens to be the first female flick producer to win an Oscar for best flick? Sounded irresistible so I picked upward a copy of Julia Phillips' acknowledged Hollywood relate. OK, there was far less nearly "Close Encounters of The 3rd Kind" than I had hoped for. "You'll Never Due east Tiffin in This Town Over again" is really the autobiography of Julia Phillips. Truthfully, I had never heard of Julia Phillips who died in 2002 - ten years earlier I discovered her somehow, via my wayward web surfing.
Phillips begins by chronicling her childhood in Brooklyn during the 1940'southward. From at that place she makes her way through higher, and then onto her marriage to fellow producer Michael Phillips. After nigh a 100 pages, she begins detailing her ascension through the movie manufacture. Strangely, bated from the chapters on Close Encounters, Phillips discusses many more pre-product situations well-nigh money, hiring, etc. - than she does the actual work on the sets of her films. Sometimes, specially during the offset half of the book, Phillips phases out of present tense, and holds flashback sessions in which she refers to herself in the third person. While reading, this technique seemed a tad disruptive and unnecessary. Aside from that, Phillips' obvious talent as a writer demonstrates why she enjoyed such a successful moving picture producer - for a while, at to the lowest degree.
After reading "You'll Never Consume ...." hither in 2012, I found that information technology does not live up to advanced billing as a "shocking tell-all." Maybe I feel this way because I've get desensitized from 2 decades of glory tell-all books published since the initial release of Phillips' book in 1991. All the same, I should acknowledge that Phillips raised the bar for books of this nature when "Yous'll Never Swallow …" offset came out.
A lot the hubbub surrounding this book must have centered on her the countless derisive comments and personality critiques Phillips makes nearly influential Hollywood characters of the belatedly 70's and 1980's. Just bated from a couple notorious observations about Goldie Hawn, the dirt is usually express to character assassinations of her business and picture manufacture contemporaries. And sometimes, she'southward even a bit evasive nigh the identity of her targets by skipping the name and merely alluding to whom the person might exist. This usually happens when she's discusses the drug apply of other Hollywood figures. Non very over-the-top. And if you're besides young (similar yours truly) to be familiar with the moving picture moguls and big names of the 1970's you may non have an idea of who she'southward describing/disparaging anyway.
Toward the very end of the book, Phillips recounts a shut meet (pun intended) with a adequately modern glory:
"Paula Abdul, who has choreographed several of Mary'due south videos, comes over to say hello, and we invite her to sit down. Within a minute, she is pouring her center out to Mary most the lousy handling she's received from Janet Jackson, who has non best-selling Paula'southward contribution to her videos or her stardom. She must have been truly hurt to be then open in front of a complete stranger. The one-time Hollywood boogie...... A twelvemonth subsequently Abdul's album would have 4 hitting singles and soar to number one. Had she become a star considering some other star rejected her? A example of 'fuck me? no fuck you' .......No doubt."
Phillips' machine-bio is replete with great observations like this one (above). In a manner, Phillips was holding a mirror upward to the ugly, selfish and greedy side of the entertainment industry - the side that most never encounter. Phillips' witty, and often mischievous writing style, combined with her very judgmental and sometimes spitfire attitude carried me though all 615 pages. In other words, "Y'all'll Never East Lunch in This Town Over again" remains an engaging read - because that it is a somewhat dated business relationship of the flick industry in the tardily 70's and lxxx's.
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Until I read this book, I had no thought what a producer might actually contribute to a moving-picture show. Equally described by Phillips, a producer pretty much does everything that no i else has washed——and chronicles this
This was such an entertaining volume to read——very witty, very dishy, so very Hollywood. Julia Phillips won an Oscar for producing one of the finest films in history, Close Encounters of the Third Kind, and she was involved in the product of other fine films such as Taxi Driver and the Sting.Until I read this book, I had no idea what a producer might actually contribute to a moving-picture show. Every bit described past Phillips, a producer pretty much does everything that no one else has done——and chronicles this in the context of a downward personal spiral fueled past drugs du jour, mostly cocaine, the "breakfast of champions." Reminiscent of the equally witty musings of Carrie Fisher but Phillips names names.
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Julia is a sharp wi
This is a Hollywood book that makes me glad my fantasies of becoming a feature filmmaker never came truthful. Julia Phillips was a successful female person (one of the first) film producer in the latter part of the 20th Century with credits such as "The Sting," "Close Encounters...," "Taxi Driver," and others that accept left their mark upon us all. As a result, she looks at the film business from the top down, the POV of the money people and conclusion makers that manipulate anybody else.Julia is a sharp witted, abrupt tongued niggler who manages to find fault with everyone she e'er met, friends, business associates, lovers, her ex-husband, and herself. Regarding Goldie Hawn: "She is an okay broad. The best thing nigh her is The Laugh. The worst is that she is borderline dirty, with stringy hair - all the fourth dimension."
This about a political party at Jane Fonda'southward firm loaded with meridian film talent: "...these social gatherings that Hollywood people invent for themselves, usually to raise money for the cause of the week, bring out my shyness. Maybe snobbery, too, because it's pretty funny, all this posturing, from a bunch of people who are predominately street hustlers, most of whom oasis't gone to college, let alone graduated from loftier school. They read moving their lips and they take horrible table manners."
Something else that Julia reveals is the biggy amount of drugs consumed by the Hollywood elite. "To exist perfectly fair though, I accept been partaking from a panoply of mood enhancers, stimulants and depressants all solar day. Every once in awhile, I would strike upon the perfect chemic combination: for Oscar night it's been a diet pill, a small amount of coke, two joints, six halves of Valium, which makes three, and a glass and a half of wine. So far, I have a warm and comfortable feeling of well-being."
Say what?
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While Phillip's account was compelling, a few thoughts nagged at me. Where was her married man all this time? She describes him like a piece of furntiture leading a seperate life. How could she hold a job? Is Hollyowood really that forgiving? Can y'all put all those drugs on your expense account? And what kind of parent was she to her young girl? Phillips spends a lot of time fierce downwardly other Hollywodo types (and may take been crossed off a few A lists), but the volume actually paints a very disturbing portrait of its author. ...more
But, oh, that first affiliate. Phillips tells ALL about the night she won an Oscar, every bit a producer, for The Sting, and it'southward exhilarating to peek into the excess and ennui of the night. That first chapter I'll never forget.
I can't believe I've never read this, being an (abashed) Hollywoodphile. Turns out, I couldn't become through most of it. It was a box-office bummer, truly as miserable every bit it was juicy.But, oh, that showtime chapter. Phillips tells ALL about the dark she won an Oscar, every bit a producer, for The Sting, and information technology'southward exhilarating to peek into the excess and ennui of the night. That first chapter I'll never forget.
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To follow her wheelings and dealings is really fun. She always has a quick quip or snappy putdown, but she also works actually hard and has enough of expert reasons for her artistic choices. Her personal ones: less so. She likes handsome men, DRUGS, and spending money on furs, jewels, and travel. I'd love to hear what her daughter has to say about all of this: many of the incidents described in her home are HORRIBLE for children, from seeing her
This is frenetic and weird and funny and inappropriate.To follow her wheelings and dealings is really fun. She ever has a quick quip or snappy putdown, only she likewise works really hard and has plenty of good reasons for her creative choices. Her personal ones: less so. She likes handsome men, DRUGS, and spending money on furs, jewels, and travel. I'd beloved to hear what her girl has to say about all of this: many of the incidents described in her home are HORRIBLE for children, from seeing her mom cook upwardly freebase to having mom's boyfriend shoot up the house. She presents this equally absurd and funny, which it is, but as well: a child without control of her own life and surroundings had to get through this.
She provides a lot of details in some places and non so many in others. She can tell y'all what she wore and where she sat on a particular night, but the whole explosion that sent her out of Hollywood gets remarkably few pages. I reread that section a few times to see what I missed--was it throwing the drugs on the table of an of import meeting? Was it the open secret of drugs in general? Was it the cowardice or weaseling of the people around her looking to push her out? There'due south a bit of foreshadowing about betrayal, simply it'due south non clear to me how/why that exactly all went down. She has the tone of someone being completely honest with you--most her honey/hate relationship with drugs, well-nigh her triumphs and frustrations with the moving picture biz, well-nigh her body and crumbling, about people she worked with, but underneath that there'south a lot that goes implied. The denouement of Close Encounters being a example in point.
Her comeback is fascinating too. The fact that she's a woman is all over this, running with the men, trying to get them to take her seriously, trying to play their game with their aggression and large egos, and succeeding for the near part, oft to be reminded that she's a woman and therefore will never really count as much. The transition to the "suits" of the 1980s and the coin grubbing and greed and ridiculous pictures later on the "creative" period of the 1970s is dramatic. She, as an individual, as a person, as a unique snowflake, obviously made her own choices. But in that location's the larger story of her fighting the world and using drugs as a creative enhancer as well equally to handle the stress of Hollywood but as well Hollywood as a woman. I recollect she does a skillful task of pointing out how she acted merely also the context in which she acted. And she never blames anyone else for the drugs--she liked them, she did them. But information technology's easy to meet the environment in which she did them.
I enjoyed the writing. Sometimes, her puns were a trivial much for me (Ball JOKES ARE HILARIOUS, EVEN BALL JOKES WE'VE HEARD Earlier). Simply in full general, I found her style fresh and vibrant, and this was written 20-odd years agone. I didn't always become the transition from outset to third person or her movie script pieces. I remember the third person is supposed to give her more a chance to reverberate on what she felt (every bit a heart-aged woman) coming through all of this, as her standard kickoff-person autobiography narrates the events of life. These different sections become almost indistinguishable both in content and format as her autobiography catches upwardly with her present. And the movie scenes aren't a coherent movie (perchance that'south the point?) because they aren't used consistently enough or to tell a complete picture plot. But, as she says, what movie doesn't have its gimmicks? What life?
A fun read. Somewhen I just let the names slide over me and enjoyed the crazy ride.
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Beware of Warren Beatty.
A footling dated, circa 1992, just still relevant if y'all want to figure out the Hollywood movie subculture. Lunch is autobiographical and equally much a cautionary tale of drug addiction as insider info. I had a brief run-in with Hollywood when my novel Dejection Deluxe was published in the mid '90s; had my very own Hollywood Agent for a while, but nothing ever came of it, and B.D. is at present out of print. Looking dorsum on it now, my experience was a chip of a Catch 22: she snapped me up, on the chance that my bo
A petty dated, circa 1992, only still relevant if you lot want to figure out the Hollywood flick subculture. Dejeuner is autobiographical and equally much a cautionary tale of drug addiction as insider info. I had a brief run-in with Hollywood when my novel Blues Palatial was published in the mid '90s; had my very own Hollywood Agent for a while, but nix ever came of it, and B.D. is now out of print. Looking back on it at present, my feel was a bit of a Take hold of 22: she snapped me up, on the adventure that my volume might hit the all-time seller lists, when she would then exist positioned to make a deal; I was trying to practise information technology backwards, past finagling a movie deal to hype book sales.
Anyway, Luncheon is a lot of fun to read; the gal is a hell of a author. Julia makes herself look so bad that information technology'southward hard non to believe every word of her story. For sheer fun, this book is hard to beat, and y'all may learn a thing or two about Hollywood while you are smiling and laughing. And then groaning at how a once powerful adult female could get herself into such a mess.
WHAT DO You lot SAY WHEN WARREN BEATTY SUGGESTS A THREESOME WITH You AND YOUR TEENAGED Girl? Julia: "We're both likewise quondam for you."
I likewise enjoyed James Bacon'due south HOLLYWOOD IS A FOUR LETTER TOWN, but that'due south even more dated, at ©1976, about a supporting actor who mingled with a lot of "the greats." It has Steve McQueen, Jackie Gleason, Red Skelton, Stan Laurel, Bing Crosby, Bob Hope, Zsa Zsa, Groucho, Sinatra, etc.
Another awesome book on the Hollywood power structure, besides from 1992, is THE Club RULES by Paul Rosenfield. Very literary, and perceptive; Rosenfield fabricated me cease reading often to retrieve about the implications of what he was writing.
I haven't kept upward on the latest Hollywood Exposé books. Merely the cardinal Hollywood truth won't change no affair how the tiny details adjust.
Nobody In Hollywood Wants To Hear Virtually Anyone They Haven't Already Heard About.
You won't "suspension in," they will hear about yous and then they will come for you (with every intention of robbing you blind); so get three independent experts to sextuple-cheque whatsoever deal you are thinking of signing.
I have a shelf of books on how to break into Hollywood and how to write screenplays, stuff similar that. Reading most of them was a waste product of time. (Except that I'm a "carrot" not a "stick" kind of guy, so perchance I needed to read lots of crap to "keep the dream alive" so I would keep moving forward.)
David Chasman's thin book of aphorisms, EVERYTHING I NEEDED TO KNOW ABOUT SUCCEEDING IN HOLLYWOOD I LEARNED FROM MY PIT-Balderdash, circa 1995 nonetheless kicks ass in 2013.
THE DEVIL'S GUIDE TO HOLLYWOOD past Joe Eszterhas ©2006 is the nigh up-to-date Hollywood book I've read, merely, while I
practise recommend this book, it mostly expands on the info in PIT-Bull.In the mid Ninties I wanted to write a screenplay of my novel BLUES DELUXE. My vague idea was that this would somehow aid me to "Break Into Hollywood." The actual screenplay format is a unproblematic structure; even so, I knew I didn't dare bound right in and write the Blues Deluxe screenplay. I needed a learning experience. So, I wrote an original action adventure screenplay outset. Information technology's actually not too bad. (Needs work.) But I learned a lot, by actually writing a screenplay: then that is my advice to other writers who want to larn how to write a screenplay. Write 1! Then write the i you lot really want to write.
I am somewhat disappointed that I actually prefer the Blues DELUXE screenplay I wrote to my original novel. The screenplay is actually meliorate, in my opinion. [insert sad-face icon] Now go read YOU'LL NEVER Consume LUNCH IN THIS TOWN Again. @hg47
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Considering Ms. Phillips, while being a "woman pioneer in a male dominated manufacture" also shows that actualy she gets somellace in it because she is an asshole like the remainder of them, the men she hates for the particulars she ever remembers. She hates herself, too, incredibly so, for the kinds of men she gets downward with turn out to be the very sort "proto-feminists" like her accept complained about for years. But hey this is Hollywood! Nobody will love you for who you lot are, and they will hate y'all for what they think you are.
She becomes a first-grade scissure addict pretty quick as before long equally the first freebase torch shows up. All these Hollywood-sorts can ignore the drug laws- they far are higher up existence mere mortals anyway. They get their dope messengered-in past courier. They can blow off court appearances, post bail, get fined a slap on the wrist and exist dorsum in action next week. They tin can fly around the world with a stash in their sock, sneak coke into rehab, and exercise all fashion of things that y'all and I, mere picayune people, have to realize are across our ain boundaries to attempt.
Now that I know this was all a nifty portrait of 80's-90's excess, in many ways information technology is a very good motion picture of a dysfunctional careerist in a business I don't think I would want much to do with (and so why did I study picture in higher anyway, if what might have happened was, I'd accept ended upward as a tertiary string grip working for assholes similar Ms. Phillips! Perish the thought.)
So she gets two stars, mainly for being a train wreck, and why the hell I ought to care about a cleft freak only because she made a big name for herself being as much an asshole equally the men she felt the need to destroy (along with the usual cattiness against sister movie-people) past writing this.
"I did information technology my way." Oh, simply didn't you. ...more
Parts are hilarious. Parts (like dealing with Scorcese on the Taxi Driver editing and Truffaut and Dreyfuss and the intricacies of the marketing on CETK) are incredibly compelling. I enjoyed her babyhood and adolescence stuff likewise Julia Phillips was a trail-blazer. Brilliant, driven. An amazingly achieved person. Many of her feats in the movie manufacture might exist deemed inspirational. She is as well a fantastic writer...sort of. Unfortunately...she'south doesn't deliver a fantastic autobiography here.
Parts are hilarious. Parts (like dealing with Scorcese on the Taxi Commuter editing and Truffaut and Dreyfuss and the intricacies of the marketing on CETK) are incredibly compelling. I enjoyed her babyhood and boyhood stuff too. The prose is often evocative and sometimes poetic. Yet...when Julia hits the 80s, the attraction of this book falls apart as quickly equally her life did back then. Her writing in the get-go half isn't gentle, information technology's barbed and acerbic, and she takes no prisoners, only in the second half is an enraged stomp over almost everyone she encounters. It's also, early 80s onwards, incredibly depressing, with her self-indulgent and self-destructive slide (jump!) into drug-utilise and bridge-burning. She sorta comes back to life and work in the late 80s, just she is a mere shadow of what she in one case was.
Julia Phillips was an enormous bowwow - if this book is any indication. She slams every single person she mentions (except her daughter) mercilessly, seeking out the negatives far more consistently than the positives. Yet - credit to her - she doesn't hibernate her own character. Warts and all, she comes across equally almost every bit despicable as the people she encounters on her sorry slingshot through life.
A talented writer - although the book has nearly iv times as many ancedotes as it needs (there'south some juicy bits, merely far too much repetition about drugs and people we don't care about, specially in the 2d one-half). A talented, brilliant person - but this is buried underneath a priviledged, racist, narrow-minded, rich bowwow sensibility.
Julia Phillips had many facets - and accomplishments - that I admire. Yet this volume let me with a colossal corporeality of pity for her.
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