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Monster: Living Off the Big Screen, by John Gregory Dunne
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In Hollywood, screenwriters are a curse to be borne, and beating up on them is an industry blood sport. But in this ferociously funny and accurate account of life on the Hollywood food chain, it's a screenwriter who gets the last murderous laugh. That may be because the writer is John Gregory Dunne, who has written screenplays, along with novels and non-fiction, for thirty years. In 1988 Dunne and his wife, Joan Didion, were asked to write a screenplay about the dark and complicated life of the late TV anchorwoman Jessica Savitch. Eight years and twenty-seven drafts later, this script was made into the fairy tale "Up Close and Personal" starring Robert Redford and Michelle Pfeiffer. Detailing the meetings, rewrites, fights, firings, and distractions attendant to the making of a single picture, Monster illuminates the process with sagacity and raucous wit.
- Sales Rank: #183566 in Books
- Published on: 1998-03-17
- Released on: 1998-03-17
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .70" w x 5.10" l, .52 pounds
- Binding: Paperback
- 224 pages
Most helpful customer reviews
7 of 7 people found the following review helpful.
The Monster is the Studios Money...
By Marc Flanagan
At a lunch with a studio executive,screenwriter John Dunne was insisting on a story point in the script that he had written with his wife,Joan Didion, the excutive mimed reaching under the table and bringing out,"The Monster",their money, to win the argument. Seven or eight years they toiled on the script that became ,"Up Close and Personal",this is the chronicle of their experiences. Fascinating and sobering, when you realize how things can dissolve and then reappear in a completly different form. It is very well told and forshadows his health problems that cost him his life in 2003, that his wife wrote so exquisitly about in "The Year of Magical Thinking". If how movies get made is of any interest to you this and his other film making tale, "The Studio" will fascinate you.
5 of 8 people found the following review helpful.
Pathetic, Pointless Defense of a Pathetic 8 Year Effort
By A Customer
"Living Off the Big Screen" is a surprisingly apt sub-title for this book, which comes across as an attempt by the screenwriter to ingratiate himself with those who had paid him so lucratively for the drivel put together for "Up Close & Personal", and who he'd certainly like to have hire (and pay so exorbitantly) him and his wife once again.
I give this book a rating of 2 simply because: 1 point for the fact that it's an easy enough read -- no getting tied up in interesting plot convultions or character development or descriptive imagery or poetic prose here, and 1 point for the fact that Hollywood is an intrinsically and perhaps perversely interesting subject to read about. Otherwise, this book makes the unfortunate spectacle of itself by making the screenwriter author seem to epitomize the whining, sniveling, uncreative, self-absorbed, self-important, stenographic, faux au courant high-brow aesthete, money bloated hack stereotype that the industry seems so willing to attach to screenwriters. The writer spends most of the book whining about his health, whining that moviemakers don't seem to find his efforts of staggering artistic worth and merit, name-dropping about hanging out with industry figures, and blathering about exotic locales in which to vacation in between brief stints in other exotic locales in which he and his wife actually "work" on screenplays! He breaks one of Hollywood's most holy conventions by not making himself a sympathetic protagonist.
The one thing that this book SHOULD have done, that would certainly have been of interest, would be to shed some light on how he and his wife engage in the creative process together. Most aspiring writers or screenwriters are keenly curious on how the magic comes together for other, established writers, and expounding on how Dunne and his wife crank out the pages would have been an interesting and perhaps valuable service to the writing community. But, lo and behold, Dunne is either too paranoically insecure to reveal his secrets or was to superficially involved in his own writing to realize that readers might enjoy his insight on the writing process rather than his insight on taking meeting notes from producers and spitting venom at studio lawyers. Oh well. Maybe he'll hit these points in Monster 2, the sequel. Can't wait.
3 of 5 people found the following review helpful.
I'd rather eat lunch with Bill Goldman
By A Customer
This book is to beginning screenwriters what ISLAND OF THE BLUE DOLPHINS is to 4th graders: required reading that could have been fascinating but isn't. The problem isn't just that this man name-drops with amusing regularity; it isn't even the extremes he goes to get in as many names as he can (e.g., opening to a random page: "Michelle Pfieffers's partner...was a woman named Kate Guinzburg. We had known her father, the publisher Tom Guinzburg, for years when he was president of Viking Press in New York, and we also knew her mother, the actress Rita Gam, and had worked with Sydney Lumet, who was Rita Gam's first husband.") You can't write a book about getting a movie made with celebrities in it without dropping a few names and revealing some really outrageous behavior on The Suits' parts. But what's annoying about Dunne is the attitude with which he drops the names and makes the revelations: He seems to be saying, NOT "Look at how outrageously these people are behaving" but rather "Look at how outrageously these people are behaving TO ME and my wife - obviously two of the most important people on the planet." He seems to want to make damn sure that we all know just how important he is. I'd heard this book was a straightforward account of the unreasonable process that a studio demanded of 2 writers. That's not true; at least a third of the text has nothing at all to do with UP CLOSE AND PERSONAL, but is more about the life of two very privileged, self-important people. In that case, it is really more of a general Life-In-The-Biz writer's memoir... and if that's what you're after, William Goldman is a far more affable fellow to sit down with. If Goldman had written a book like this, more or less detailing the development of any one of his scripts (he has chapters that do that in both his memoirs, but no single complete book), it would render MONSTER redundant - in which case MONSTER would get no stars from me at all.
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