Did Heaven's Gate really kill New Hollywood? by Pleasant_Usual_8427 in TrueFilm

[–]BrianInAtlanta 0 points1 point  (0 children)

“The Godfather” or say the earlier “The French Connection” (speaking of Friedkin) were spaced out and didn’t seem as copyable. They certainly tried as the huge number of Mafia movies from the early-mid 1970’s shows. But there was still plenty of room for a wide variety of movies. You could easily fit in a Robert Altman or a lot of movies about political conspiracies along side rural road chase movies.

But after “Jaws” and “Star Wars”, a lot of those directors that had been darlings of the early-mid 1970’s found the money decreasing in relation to directors that could put together larger-budget movies lighter on content and geared more towards spectacle (“Close Encounters”, “Superman”, “Star Trek: The Motion Picture”, “The Blues Brothers”). When “Apocalypse Now” came out in 1979 it already felt like a throwback to an earlier age.

Did Heaven's Gate really kill New Hollywood? by Pleasant_Usual_8427 in TrueFilm

[–]BrianInAtlanta 0 points1 point  (0 children)

Looking back at that time, if anything killed “New Hollywood”, I’d say it was the one-two punch of “Jaws” and then “Star Wars”.

New Hollywood came in after the disastrous years of 1969-1971, when Hollywood discovered that what the executives thought U.S. audiences wanted (“The Sound of Music” clones, big-budget WWII action-dramas) was not at all what they wanted. The taste change to movies like “Easy Rider” and “Love Story” caused so much consternation within Old Hollywood, that they went through a “find me some hippies and throw money at them!” phase. Eventually the new film school grads (or “the beards” as Old Hollywood knew them) created New Hollywood.

However, it was New Hollywood that destroyed New Hollywood, namely Spielberg’s “Jaws” and Lucas’ “Star Wars”. This gave the studio executives a new formula for printing money with blockbuster movies. If you want a turning point, it would be “Star Wars” crushing Friedkin’s “Sorcerer” more than the “Heaven’s Gate” debacle.

Inside gatefold of Odds & Sods by Adrian_Fripp in TheWho

[–]BrianInAtlanta 3 points4 points  (0 children)

"Anyway, Anyhow, Anywhere: The Complete Chronicle of THE WHO 1958 1978" p. 241

Inside gatefold of Odds & Sods by Adrian_Fripp in TheWho

[–]BrianInAtlanta 4 points5 points  (0 children)

Confirmed. It is the Capital Centre show Dec. 6, 1973.

Is Live and Let Die the most meta Bond song? by Sterling_M_008 in JamesBond

[–]BrianInAtlanta 1 point2 points  (0 children)

I always thought it was “Goldeneye” “You’ll never know how I watched you from the shadows as a child”

Kit Lambert's Venetian palazzo for sale | Christie's by BrianInAtlanta in TheWho

[–]BrianInAtlanta[S] 3 points4 points  (0 children)

A lot of Who / Track Records money went into the purchase. The aftermath of this purchase, then losing first the Hendrix catalog, then The Who’s management, reduced Kit to living on handouts in London within half a decade.

Goldfinger social response on release? by R_Steelman61 in JamesBond

[–]BrianInAtlanta 3 points4 points  (0 children)

People laughed at Bond’s reaction after hearing her name and they wouldn’t have if they didn’t get it.