Written by Sharon Waxman

I’ve never really been a fan of Quentin Tarantino. I was never impressed with his direction on any of the films I’ve seen but I do give him credit for having a knack for consumer culture, courage to be so outspoken and creating witty dialogue. After reading about the genesis of where his first couple films came from, specifically getting ideas from his then friend Roger Avary, it’s no surprise that he has been unable to make another film that carries the industry impact that PULP FICTION had. This book tells about how Tarantino dumped all those who helped him on his rise to fame and fortune, which is something that you wonder will come back to haunt him.

Waxman’s details on Steven Soderbergh paints him as a filmmaker who struggled with moving from the independent film world to full fledged Hollywood filmmaker. I guess that might be difficult for anyone. Waxman states that Soderbergh did keep his roots to the people and the environment he grew up with in Baton Rouge, Louisiana. Waxman tells how difficult it was go get TRAFFIC made and the industry response to that film. I found Soderbergh’s comment very telling when he said he probably will never again reach the creative height he attained during the three-year succession of OUT OF SIGHT, THE LIMEY, ERIN BROCHOVICH and TRAFFIC.

Waxman recounts where David Fincher came from and how he developed into the filmmaker he is today. Starting working at with special effects at Industrial Light and Magic (ILM), moving up to directing music videos and finally directing features. My favorite Fincher moment in this book is when he said when he was doing special effects at ILM, he couldn’t wait to get out of special effects. When he was directing music videos, he couldn’t wait to get out of music videos. I laughed at the brutal honesty of his passion to be a feature length filmmaker.

Paul Thomas Anderson certainly seems like an egoistical perfectionist. I can certainly appreciate a filmmaker having vision and belief in his or herself but Anderson seems to take it to another level. Waxman tells the story of how BOOGIE NIGHTS and MAGNOLIA were made and the battles that ensued between the filmmaker and New Line Cinema.

Speaking of egoistical perfectionists, David 0. Russell’s story, especially when he made THREE KINGS, is a tale of a filmmaker who has his sights set only what is in his mind. It’s kind of sad that anyone would not have compassion for other crewmembers health and safety when making a movie. I certainly believe whole-heartedly going after as much cinematic greatness as possible on any project, but not at the risk of someone’s well being. David O. Russell is without question an uncompromising gutsy filmmaker but the approach O. Russell takes when making films make you wonder is it worth it?