Highbrow Magazine - David Mamet https://www.highbrowmagazine.com/david-mamet en ‘The Monuments Men,’ ‘About Last Night’ Arrive on Home Video https://www.highbrowmagazine.com/3993-monuments-men-about-last-night-arrive-home-video <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/film-tv" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Film &amp; TV</a></div></div></div><span class="submitted-by">Submitted by tara on Thu, 05/22/2014 - 09:50</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/monumentsmen.jpg?itok=gC4s8F0X"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/monumentsmen.jpg?itok=gC4s8F0X" width="480" height="254" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p>A number of high-profile theatrical releases are moving to the small-screen this week, and they range from a supernatural romance to a military drama. </p> <p> </p> <p> </p> <p><strong>The Monuments Men</strong></p> <p><strong>2½ stars (out of four)<br /> Rated PG-13 for some images of war violence and historical smoking<br /> Sony<br /> Available on: Blu-ray, DVD, digital download and on demand</strong></p> <p> </p> <p>Until the theatrical release of “The Monuments Men,” George Clooney’s work as a director was universally brilliant. With “Confessions of a Dangerous Mind,” “Good Night, and Good Luck,” “Leatherheads” and “Ides of March,” Clooney proved himself a self-assured leader with a distinct and engaging cinematic voice. Sadly, these qualities are missing in “The Monuments Men,” a standard-order World War II movie that is as forgettable as it is nostalgic.</p> <p> </p> <p>The film does, however, mean well, and it focuses on an underreported piece of history. Loosely based on Robert M. Edsel’s nonfiction book “The Monuments Men: Allied Heroes, Nazi Thieves and the Greatest Treasure Hunt in History,” it centers on the efforts of the Monuments, Fine Arts, and Archives program set up during the later stages of the war. The goal of the program was to preserve works of art as Allied forces marched toward victory. The program was also a recovery effort, as many masterpieces had been lost to Nazi plundering.</p> <p> </p> <p>Although several hundred people were involved in the actual preservation effort, Clooney’s film narrows the focus to seven men and acts as if they were the lone heroes. In fairness, this condensation was probably necessary for dramatic purposes.  </p> <p> </p> <p>Focusing on such a tight group of individuals allows viewers to form an emotional bond with the characters. It also allowed Clooney to assemble a sort of super-cast. He plays Frank Stokes, the leader of the team, and his supporting players include Matt Damon, Bill Murray, John Goodman, Jean Dujardin, Cate Blanchett, Hugh Bonneville and Bob Balaban. This is an impressive group of performers, but it doesn’t produce the fireworks one might expect.</p> <p> </p> <p>The main trouble is the pacing. Although Clooney – who penned the screenplay with Grant Heslov – focuses on just a few characters, he breaks them up and sends them on missions throughout Europe. Because of this, the film frequently cuts from one setting to another, and nobody receives the screen time or character development needed. Beyond that, much of what takes place is slow. Only a handful of sequences place the characters in serious peril and, while these are the best moments in the film, they are spaced too far apart to get the plot chugging. As a result, one must have a particularly strong interest in the subject matter to remain fully engaged.</p> <p> </p> <p>Clooney does a nice job with the visuals, and the film has a sweet, sentimental tone that is missing in many war dramas. Unfortunately, good intentions don’t produce a good movie.  </p> <p> </p> <p>Blu-ray and DVD extras include two behind-the-scenes features.</p> <p> </p> <p><img alt="" src="/sites/default/files/pompeii.jpg" style="height:375px; width:625px" /></p> <p> </p> <p><strong>Pompeii</strong></p> <p><strong>2 stars<br /> Rated PG-13 for intense battle sequences, disaster-related action and brief sexual content<br /> Sony<br /> Available on: Blu-ray, Blu-ray 3D, DVD, digital download and on demand</strong></p> <p> </p> <p>“Pompeii” may be named after the Roman town destroyed by the eruption of Mount Vesuvius in 79 A.D., but its star-crossed love story could have played in any location within the Roman Republic. Although the film takes pains to recreate Roman life, it is clear that director Paul W.S. Anderson and his cohorts are more interested in their characters than they are the history of Pompeii.</p> <p> </p> <p>James Cameron’s 1997 blockbuster “Titanic” also takes this approach to history, but “Pompeii” isn’t as refined as Cameron’s film. That’s mostly because the movie’s romantic center lacks the finesse and development Cameron gave “Titanic.” It’s also because “Pompeii” is trying desperately to play to both men and women. Because of this, the romantic angle is countered by lengthy action sequences.</p> <p> </p> <p>The action is possible because screenwriters Janet Scott Batchler, Lee Batchler and Michael Robert Johnson chose to center their story on Milo (Kit Harington), a young, Celtic horseman who watches as Romans brutally kill his parents. Alone and unsure, Milo is captured by slave traders and eventually turned into a gladiator.</p> <p> </p> <p>While Milo is being transported to Pompeii where he is to participate in gladiator games, his group has a chance meeting with Cassia (Emily Browning), daughter of the city’s ruler. Although Milo and Cassia speak only briefly, it is clear that they have a connection. When Milo arrives in Pompeii, their paths cross again, but a romance seems impossible because of Milo’s position as a gladiator.  </p> <p> </p> <p>Anderson uses this setup to place viewers in the arena with Milo and build hope that he may someday unite with Cassia. To this point, the film is a cross between “Gladiator” and “Romeo and Juliet.” Then the history kicks in.</p> <p> </p> <p>In a movie called “Pompeii,” viewers can reasonably expect Mount Vesuvius to erupt, and Anderson does not disappoint. As the volcano grumbles and spits fiery rocks toward the city, Milo and Cassia search for one another. The lovers must also attempt to overcome the treachery of an evil Roman politician played by Kiefer Sutherland. The story is predictable and trite, and one wonders what might happen if a director set a more compelling narrative in the doomed Roman city.</p> <p> </p> <p>Still, as weak as the plotting is, Anderson deserves accolades for his depiction of the eruption. It is loud, fiery and appropriately brutal. It is also an extremely impressive visual experience, particularly when viewed on Blu-ray 3D.</p> <p> </p> <p>One could argue that the Vesuvius eruption is worth the price of a rental on its own. It is difficult, however, to justify the 70 minutes that lead to this climax. Harington and Browning give respectable performances, and there is nothing inherently offensive about the love story. There is also nothing to set it apart from the countless film romances that have come before. Nothing, that is, except fireballs and lava flows.</p> <p> </p> <p>Blu-ray and DVD extras include two making-of features and a filmmakers’ commentary.</p> <p> </p> <p><img alt="" src="/sites/default/files/aboutlastnight.jpg" style="height:417px; width:625px" /></p> <p> </p> <p><strong>About Last Night</strong></p> <p><strong>2 stars<br /> Rated R for sexual content, language and brief drug use<br /> Sony<br /> Available on: Blu-ray, DVD, digital download and on demand</strong></p> <p> </p> <p>Edward Zwick’s 1986 version of “About Last Night” is an understated gem, making it a ripe candidate for remake. The question is why we need a new version of this story when the original is both good and readily available. The answer, of course, is we don’t.</p> <p> </p> <p>Little is new in the 2014 version, as both movies are based on the David Mamet play “Sexual Perversity in Chicago” and both focus on two couples undergoing relationship ups and downs during the course of a year. Michael Ealy stars as Danny, a straight-laced restaurant supply salesman who enjoys hanging out with his much-wilder pal Bernie (Kevin Hart). When Bernie begins dating the equally wild Joan (Regina Hall), Danny is introduced to her roommate, Debbie (Joy Bryant). This leads to a presumed one-night stand that becomes serious.</p> <p> </p> <p>The primary differences between the new and old versions of “About Last Night” are casting and a modernization of the setting and characters. These things may make the film more appealing to younger viewers, but they don’t add much for fans of the original.</p> <p> </p> <p>Hart is a likable actor, and his version of Bernie is charming, despite the fact that the character is overly mouthy. Ealy is a strong leading man, and his reading of Danny is appealing as well. Hall and Bryant handle the female roles capably, and all of the actors have reasonably good chemistry. </p> <p> </p> <p>Unfortunately, a fresh cast doesn’t change the fact that this movie was already made – and made quite well – some 28 years ago. This new version of “About Last Night” is passable, but it lacks sparkle. Because of that, most viewers will do well to shelve the new version in favor of the picture that inspired it.    </p> <p> </p> <p>Blu-ray and DVD extras include a featurette on the making of the film.</p> <p> </p> <p><img alt="" src="/sites/default/files/3daysfilm.jpg" style="height:383px; width:625px" /></p> <p> </p> <p><strong>3 Days to Kill </strong></p> <p><strong>1 star<br /> Rated PG-13 for intense sequences of violence and action, some sensuality and language<br /> 20<sup>th</sup> Century Fox<br /> Available on: Blu-ray, DVD, digital download and on demand</strong></p> <p> </p> <p>Throughout much of his career, director McG has mixed broad humor with fast-paced action, and only on occasion has he found the correct formula. His latest feature, “3 Days to Kill,” demonstrates how wrong things can go when the mixture is off.</p> <p> </p> <p>The movie centers on Ethan Renner (Kevin Costner), a veteran CIA operative who is remarkably good at killing people. During an important mission, Ethan collapses, awaking to learn that he is suffering from terminal brain cancer.</p> <p> </p> <p>With only months to live, Ethan decides to repair some of the damage his career inflicted on his personal life. So he reaches out to his ex-wife, Christine (Connie Nielsen), and their estranged daughter, Zooey (Hailee Steinfeld). Both women are reluctant to see him, but Christine softens when she learns that Ethan is dying. She even allows him to watch Zooey while she goes out of town on business.  </p> <p> </p> <p>In the meantime, a seductive CIA agent named Vivi Delay (Amber Heard) offers Ethan a drug that could extend his life, but only if he helps her with a critical mission. Seeing no other option, Ethan agrees. This leaves him juggling his responsibilities as a father and as a spy. Viewers are supposed to find humor in the dichotomy. Unfortunately, it’s not very funny.  </p> <p> </p> <p>McG plays his action sequences straight, and some are remarkably realistic. These never properly mesh with the script, which is peppered with quirky comic lines that feel like Quentin Tarantino throwaways.</p> <p> </p> <p>Costner isn’t particularly good at delivering the comic bits, and Heard, Steinfeld and Nielsen don’t help. The manic presentation leaves viewers wondering whether they’ve signed up for a thriller or a farce, and this makes it difficult to invest in both the characters and the situations they face.</p> <p> </p> <p>Blu-ray and DVD extras include an extended cut of the movie and a behind-the-scenes feature.</p> <p> </p> <p> </p> <p><strong>ALSO OUT THIS WEEK</strong></p> <p> </p> <p><strong>“Like Someone in Love”:</strong> This 2012 drama by Iranian director Abbas Kiarostami focuses on a part-time prostitute who forms a powerful connection with an elderly client. The movie was nominated for the Palme d’Or at the 2012 Cannes Film Festival, and the Criterion Collection is delivering a fine home video treatment complete with a 45-minute, making-of documentary. Presented in Japanese with English subtitles.</p> <p> </p> <p><strong>“In Secret”:</strong> Drama about a young, 19<sup>th</sup> century woman (Elizabeth Olsen) whose illicit affair leads to tragedy. Oscar Isaac, Tom Felton and Jessica Lange also star. Written and directed by Charlie Stratton. </p> <p> </p> <p><strong>“Grand Piano”:</strong> Story of a concert pianist (Elijah Wood) who returns to the stage despite a crippling case of stage fright. The already stressful situation is compounded when he discovers a note indicating that a sniper (John Cusack) will kill him if he plays a single note incorrectly. Directed by Eugenio Mira.   </p> <p> </p> <p><strong>Whoopi Goldberg Presents “Moms Mabley – The Original Queen of Comedy”: </strong>Goldberg makes her directorial debut with this documentary about Jackie “Moms” Mabley, a groundbreaking comedian who influenced a wide range of artists. The movie includes performance footage of Mabley and interviews with performers ranging from Eddie Murphy to Kathy Griffin.</p> <p> </p> <p><strong>“The First World War” – The Complete Series:</strong> All 10 parts of the 2003 documentary series shown on The Military Channel. The 523-minute work considers the most important moments of the Great War, and it includes archival footage.</p> <p> </p> <p><strong>“L.A. Law” – Season Two:</strong> Twenty episodes of the 1980s and ’90s TV drama about employees of a high-profile law office. Harry Hamlin, Susan Dey, Corbin Bernsen, Jill Eikenberry, Jimmy Smits and Blair Underwood star.</p> <p> </p> <p><strong>“Happy Days” – The Fifth Season:</strong> Twenty-six episodes of the classic TV sitcom focused on U.S. life during the 1950s and ’60s. Ron Howard, Henry Winkler, Tom Bosley, Marion Ross, Anson Williams, Donny Most, Scott Baio and Suzi Quatro star.</p> <p> </p> <p> </p> <p><strong>Author Bio:</strong></p> <p><em>Forrest Hartman, a</em> Highbrow Magazine <em>contributor,  is an independent film critic whose byline has appeared in some of the nation's largest publications. For more of his work visit <a href="http://www.ForrestHartman.com">www.ForrestHartman.com</a>. </em></p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/monuments-men" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">the monuments men</a></div><div class="field-item odd" rel="dc:subject"><a href="/about-last-night" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">about last night</a></div><div class="field-item even" rel="dc:subject"><a href="/david-mamet" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">David Mamet</a></div><div class="field-item odd" rel="dc:subject"><a href="/george-clooney" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">George Clooney</a></div><div class="field-item even" rel="dc:subject"><a href="/3-days-kill" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">3 days to kill</a></div><div class="field-item odd" rel="dc:subject"><a href="/pompeii" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">pompeii</a></div><div class="field-item even" rel="dc:subject"><a href="/films" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">films</a></div><div class="field-item odd" rel="dc:subject"><a href="/new-dvds" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">new dvds</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Forrest Hartman</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">Out Slider</div></div></div> Thu, 22 May 2014 13:50:05 +0000 tara 4732 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/3993-monuments-men-about-last-night-arrive-home-video#comments It Takes a Village (to Make a Hollywood Hit) https://www.highbrowmagazine.com/1072-it-takes-village-make-hollywood-hit <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/film-tv" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Film &amp; TV</a></div></div></div><span class="submitted-by">Submitted by tara on Thu, 03/29/2012 - 14:07</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/mediumhollywoodhit.jpg?itok=myaE8_UE"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/mediumhollywoodhit.jpg?itok=myaE8_UE" width="480" height="288" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p>  </p> <p> The red carpets have been rolled up and loaded onto trucks.  The fancy curtains have been steam-cleaned and sent back to storage.  The pedestrian stands have been returned to the rental company.  Yes, the Awards Season is over.  Hollywood’s hour to shine around the world and celebrate the year’s work has now come and gone and people have returned to the business and art of making movies again -- the beguiling and intense work of telling stories on film.</p> <p>  </p> <p> Often the glitz and glamour of Hollywood supersedes the real “work” of the movie, and certainly the awards season does nothing to bring recognition to the many people who contribute to the success of a movie.  Many of the fields that are recognized: technological, sound design, set design, etc., are done so in hotel luncheons and dinners far away from the camera, or by taking out a page-sized ad of congratulations in <em>Variety</em>.  In this respect, Hollywood itself contributes to the limited vision that people outside of Los Angeles have of the industry.  Industry implies groups of work and labor areas that create something synergistically.  When we think of a “hit” movie, very often what comes to mind is <em>the star or stars</em> whose names flash from the marquee.  This view is perpetuated by the media, glorifying the actors and actresses, allowing us to be part of their lives’ foibles, good and bad, and leading our focus like a swarm of locusts to a corn field.</p> <p>  </p> <p> The work of the actors and actresses involved in a given film project are indeed an important part of what draws the public to the box office, allowing producers to recoup the money they have put up to finance the film.  The film itself is part of a long and onerous process, involving a multitude of people who have to work collaboratively to achieve the final results.</p> <p>  </p> <p> Let’s paint a picture of the filmmaking process: We have a writer (or writers) who have written a screenplay.   The script may be perfect, or it may need a “script doctor” to look it over. Once the script is in good shape, it moves through a whole array of hands, from one friend to another, to friends who are in the business who know people who are in the business, to the business people themselves.  The writer(s) may pitch the story/film to studio executives.  Or perhaps they submit their script to a contest for the potential to get produced.  Perhaps an actor or actress has a look-see, and if a writer or director (sometimes one works as both writer and director) can get a hot talent aboard the project, it makes it easier to finder a producer, and in turn, for that producer to raise money. </p> <p>  </p> <p> On the surface, this process appears rather straightforward. However, the people who handle the initial steps of a single script to this point alone, are myriad: writer, director, copy places who copy the script, actors who read the script, messengers who carry the script from one location to another, restaurants that serve the lunch meetings where these people meet, and car services that get them there, and so on. </p> <p> <img alt="" src="/sites/default/files/2mediumhollywoodhit.jpg" style="width: 500px; height: 372px; " /></p> <p> Now, let’s say we have a director/writer with a script which some Hollywood insiders are interested in producing. These people then have to search and find other people who are willing to put up money on the venture. In their book <em>From Script to Screen: The Collaborative Art of Filmmaking,</em> Linda Seger and Edward Whitemore note that their research turned up one significant characteristic amongst all their interviewees: the ability for “magnificent risk-taking.” The idea that people would invest several years of their lives on a gamble such as a movie, often suffering frequent rejection and reproof along the way, and are able to surmount the hurdles and bring the project to fruition can indeed be considered an act of “magnificent risk taking.”</p> <p>  </p> <p> In a 1975 interview with <em>Playboy</em>, Francis Ford Coppola said that he had “…been taking small chances all along.  I’ve always been a good gambler and I’ve never been afraid to take a chance.  I don’t think the risks I’ve taken have been that dramatic, but even so, there have been times when I’ve stuck my neck out and almost had my head chopped off.” The risks are high.  It’s not just the money, it’s your career, it’s your future, and the future of those whose lives you bring into the project as well.  There has to be an overwhelming passion and deep commitment to a project if it is to make the distance. </p> <p> <img alt="" src="/sites/default/files/3mediumhollywoodhit.jpg" style="width: 500px; height: 377px; " /></p> <p> According to the authors of <em>The Film Studio: Film Production in a Global Economy</em>, that distance includes inspiring and encouraging an army of people to contribute their artistic,  business and professional talents: actors, actresses, agents, attorneys, set designers, set decorators, costume designers, seamstresses, hairstylists, make-up artists, lighting designers, photographers, stunt athletes, carpenters, electricians, grips, sound mixers, boom operators, script supervisors, animal trainers, accountants, marketing people, graphic artists, musicians, trailer houses, licensing houses, researchers, special effects creators, studios, location scouts, editors,  production assistants, truck drivers, craft services, to name just a few.</p> <p>  </p> <p> Of course, for any of this beehive of activity to take place, the project has to generate enough faith and enthusiasm to raise the money to survive all these workers in a real sense.  It’s a well-known fact that the film industry literally supports the Los Angeles basin. What the auto industry once was to Detroit, or the fashion industry and Wall Street are to New York, films are to Los Angeles.  The fact that Hollywood (a small neighborhood within L.A.) has become synonymous with filmmaking is an interesting footnote to a city that touts a population of nearly 4 million.</p> <p>  </p> <p> Once the project is complete, the army reassembles in an abbreviated form to get the film submitted to film festivals and hope the movie will be seen by the right people to find distribution to theaters, both in the States and abroad.  This is all before the most important collaborators on the film have even seen it -- the public.  The public offers the final critique of the film and decides whether it will either live or be retired into DVD archives.</p> <p> <img alt="" src="/sites/default/files/mediumcoppola.jpg" style="width: 400px; height: 500px; " /></p> <p> This may seem an arduous, if not overwhelming task, were it not for one very important contributing factor that is often belied by stories of ego-driven episodes or drug-induced failures exploited in the press.  As director-writer David Mamet explained in a 1995<em> </em>interview, “I’ve heard all the stories about big egos, but I have never encountered them myself.  Maybe if I stay in the business long enough, I will.  But I think it might be a bum rap.  I’ve found movie sets the most hardworking people I’ve ever seen.  There is an ethic of help out, pitch in, get the job done, keep quiet about how hard it is to do.  It is a kind of modern equivalent of a cattle drive.”</p> <p>  </p> <p> Therefore, if the collaborative effort of albeit thousands of workers can find a wise investment, make it across the river without drowning, be prepared for inclement weather, survive attacks from would-be thieves, manage their resources successfully, and care for each other along the way, they might make it to the wholesale mart where local ranchers can divide up the herd and bring a few home to help work their land.  </p> <p>  </p> <p> This is the basic process of the making of a “hit” film, one that hopefully touches the lives of the viewing public.  As Susan Gair states in her work on empathy, people “…gain great strength and healing from unity in shared experience.” Whether it is the story we are sharing on the screen, or the story we are sharing with the people with whom we are sitting in the movie theater, there is a connective power to the experience. </p> <p>  </p> <p> The next time you see a “hit” film, give a shout-out to the 75-year-old messenger who first delivered the script to a potential producer, the father-husband-truck driver who moved the props to that forest location, the teenage production assistant who kept the crew’s coffee cups filled through a night of stormy filming, the brave electrician who worked all night to give the action a look of wonder, and the inspired musician who raised your heart just a notch when the right person first walked through that door on screen.  </p> <p>  </p> <p> <strong>Author Bio:</strong></p> <p> Kat Kambes, a contributing writer at <em>Highbrow Magazine</em>, is a freelance writer, poet, and playwright in the Los Angeles area.  Her work has appeared in the <em>Citron Review</em>, <em>Deadlier Than Thou: The 2010 Anthology, Skive Magazine (Americana Issue), Short, Fast &amp; Deadly</em>, <em>Best Poems &amp; Poets of 2005</em>, <em>The Color of Life</em>, <em>Harvest Literary Journal</em>, <em>Melt Magazine</em>, and others.  </p> <p>  </p> <p> <em><strong>Photo of Francis Ford Coppola: Filmbug.com</strong></em></p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/hollywood" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Hollywood</a></div><div class="field-item odd" rel="dc:subject"><a href="/filmmaking" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">filmmaking</a></div><div class="field-item even" rel="dc:subject"><a href="/movie-making" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">movie making</a></div><div class="field-item odd" rel="dc:subject"><a href="/actors" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">actors</a></div><div class="field-item even" rel="dc:subject"><a href="/directors" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">directors</a></div><div class="field-item odd" rel="dc:subject"><a href="/screenwriters" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">screenwriters</a></div><div class="field-item even" rel="dc:subject"><a href="/working-hollywood" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">working in Hollywood</a></div><div class="field-item odd" rel="dc:subject"><a href="/david-mamet" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">David Mamet</a></div><div class="field-item even" rel="dc:subject"><a href="/francis-ford-coppola" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Francis Ford Coppola</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Kat Kambes</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">Out Slider</div></div></div> Thu, 29 Mar 2012 18:07:14 +0000 tara 708 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/1072-it-takes-village-make-hollywood-hit#comments