Best possible place worst possible time
true stories from a career in Hollywood
Best possible place worst possible time
true stories from a career in Hollywood
Book - 2024
"Best possible place, worst possible time" is a collection of sometimes baffling, often enlightening, and always funny anecdotes from Barry Sonnenfeld's extensive career in film and television. From fighting with studio executives to creative problem-solving on set, Sonnenfeld provides a glimpse into what it takes to make commercial art in the face of constant human foibles.
محفوظ في:
Holdings -
South Hill
| Barcode | Status | Material Type | CallNumber |
|---|---|---|---|
| 37413322358864 | متاح | Non-fiction | B SONNENFELD SONNENF |
| المؤلف الرئيسي: | |
|---|---|
| التنسيق: | كتاب |
| اللغة: | English |
| منشور في: |
New York :
Hachette Books,
2024.
|
| الطبعة: | First edition. |
| الموضوعات: |
MARC
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| 020 | |a 9780306832277 |q (hardcover) | ||
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| 100 | 1 | |a Sonnenfeld, Barry, |e author. |1 https://id.oclc.org/worldcat/entity/E39PBJxRxdRRmChfRfb4TvQQbd |0 http://id.loc.gov/authorities/names/no96027997 | |
| 245 | 1 | 0 | |a Best possible place, worst possible time : |b true stories from a career in Hollywood / |c Barry Sonnenfeld. |
| 250 | |a First edition. | ||
| 264 | 1 | |a New York : |b Hachette Books, |c 2024. | |
| 264 | 4 | |c ©2024 | |
| 300 | |a xiv, 332 pages : |b illustrations ; |c 24 cm | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 336 | |a still image |b sti |2 rdacontent | ||
| 337 | |a unmediated |b n |2 rdamedia | ||
| 338 | |a volume |b nc |2 rdacarrier | ||
| 505 | 0 | 0 | |t The metaphorical cat -- |t Resume -- |t A note to the reader -- |t Especially dazzling -- |t Compost -- |t A live action cartoon -- |t The baby pit -- |t Throw momma -- |t It's in the delivery -- |t When Barry met Rob -- |t Make it about them -- |t I'll have what she's having -- |t Men in hats -- |t Crawl to the loogie -- |t Misery's misery -- |t Not a manly man -- |t The key light clause -- |t Grazer vs. the Coens -- |t Danny DeVito owns Little Italy -- |t Only then, can the healing begin -- |t Shut us down, Sherry -- |t What's a close-up? -- |t The psychotic nanny -- |t Never tell the studio -- |t Michael Jackson -- |t The mix -- |t S we stay. L we go. -- |t Donald Trump -- |t A broomstick up his ass -- |t Wool shirt -- |t Farina's fear -- |t The trouble with words -- |t No fucking clue -- |t Additional Get Shorty fun facts -- |t The anti-christ -- |t Commercials -- |t The single most asked question of a director -- |t Smoke and mirrors -- |t Tender lovin' jones -- |t The rancher and the farter -- |t The Michael Bay encyclical -- |t Rip torn -- |t Sugar water -- |t How last-minute subtitles saved MIB -- |t The problem with aliens -- |t Why are we here Mel? part 1 -- |t A wild mistake -- |t The first time -- |t Will Smith thinks he needs to save my life -- |t Sparkle creek -- |t On not directing Ali -- |t The hits keep comin' -- |t The superpowerless superhero -- |t Bad timing for a good movie -- |t The villain should sell ice cream -- |t Michael Jackson twelve years later -- |t Tommy waxes philosophically -- |t The little shit -- |t On not directing Jim Carrey, Part 1 -- |t On not directing Jim Carrey, Part 2 -- |t The kosher cowboy -- |t Proof of concept -- |t Faster. flatter. Part 1. -- |t Table reads -- |t The experts -- |t The unbearable slog of massive stupidity -- |t What a director needs -- |t Weird Technique -- |t Faster. flatter. part 2 -- |t She's greek -- |t The wrong city -- |t Old school -- |t Chocolate milk -- |t Why are we here Mel? part 2 --Mein Fuhrer. I can walk. -- |t Banned -- |t The end -- |t The cat whisperer -- |t A series of fortunate events -- |t Who are you and why are you here? -- |t Conscious narcissistic rage -- |t On how I almost got fired before I even started directing my first musical -- |t Magic hour. |
| 520 | |a "Best possible place, worst possible time" is a collection of sometimes baffling, often enlightening, and always funny anecdotes from Barry Sonnenfeld's extensive career in film and television. From fighting with studio executives to creative problem-solving on set, Sonnenfeld provides a glimpse into what it takes to make commercial art in the face of constant human foibles. | ||
| 600 | 1 | 0 | |a Sonnenfeld, Barry. |0 http://id.loc.gov/authorities/names/no96027997 |
| 600 | 1 | 0 | |a Sonnenfeld, Barry |x Friends and associates. |
| 650 | 0 | |a Motion picture producers and directors |z United States |v Anecdotes. | |
| 650 | 0 | |a Cinematographers |z United States |v Anecdotes. | |
| 655 | 7 | |a Autobiographies. |2 lcgft |0 http://id.loc.gov/authorities/genreForms/gf2014026047 | |
| 655 | 7 | |a Anecdotes. |2 lcgft |0 http://id.loc.gov/authorities/genreForms/gf2014026044 | |
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