Five Great Books About Film

Kim Newman's ridiculously comprehensive examination of the horror film since the 1960's, Nightmare Movies, is a book that occasionally feels like a list of all the films the writer has ever seen.  Since starting to plough my way through it's dense breadth, I've realised that it probably works best as a reference book.  Dipping in and out of it using the index would be extremely useful for anyone researching or writing about the modern horror film. 

The scope of the book is just phenomenal.  Newman's knowledge of the genre is breathtaking.  He has either seen every film you can think of (and many, many more besides) or he knows about it and can write enough about it to mislead you into thinking he has seen it.  I have no doubt Newman has seen every one of the films mentioned in the book.  His monthly 'Video Dungeon' page in Empire Magazine and appearances in things like Jake West's 'Video Nasties' documentary attest to his absolute commitment to watching and writing about all horror films; no matter how trashy, low-budget, or downright despicable many might find them. 

Newman is a connoisseur and as a result his book can be tough going for anyone not as familar with the genre as he is.  Sometimes you can feel swamped by all the obscure titles that Newman is listing, though his chapters and analysis do help the reader to see where all these films fit into the broader picture.  His chapters take in all the genre's usual suspects; the living dead, Hammer, the devil, rednecks, auteurs, psychos, ghosts, cannibals, vampires and many more.  If you love horror, it's a must read.

That said, it's not the most entertaining film book I've had the pleasure of reading.  So what books would I recommend to film lovers interested in boadening their knowledge and just having a bloody good read?  Here's my top five:

5. Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock 'n' Roll Generation Saved Hollywood (Peter Biskind, 1998)

Full of great bits of gossipy tittle-tattle about the movie brats (who was doing the most drugs, who was screwing who), more importantly it also chronicles the production of some of the greatest and most influential films of all time.  It predominantly details the 1970s, one of the greatest decades of cinematic history, starting with Easy Rider and ending with Raging Bull and taking in many of the greatest films ever made along the way, including The Exorcist and Star Wars.  As the old studio dinosaurs began to relinquish power to young auteurs, Biskind argues the last Golden Age of Hollywood was born.  If you love Spielberg, Scorsese, Jack Nicholson or George Lucas, it's a fascinating read. 



4.  High Concept: Don Simpson and the Hollywood Culture of Excess (Charles Fleming, 1999)

Like Biskind's book, this one is also full of scandalous gossipy bits but this time in a less innocent, free-love, experimentation-y kind of way and more in a hoovering down obscene amounts of nose candy, waving guns around like a lunatic and abusing prostitutes kind of way.  Simpson comes across as a heinous individual; just the kind of mad-as-a-bag-of-spanners lunatic that frankly deserved an early death.  If Fleming's book speaks the truth, then Simpson's screen output as one half of producing partnership Simpson/Bruckheimer is the least interesting thing about the guy.  Though responsible for many over-bloated blockbusters, there's also some classics on the resume that can't be ignored and Simpson made some smart decisions.  But read this book really for the seedy stories of Simpson's sadistic, coke-fuelled shenanigans. 

3. Dark Eye: The Films of David Fincher (James Swallow, 2003)

Probably the first film book I read from cover to cover, I snapped this up the moment it came out.  I might be biased as a devoted Fincher-fan but this takes the reader through the director's career from early music videos and adverts through feature debut Alien 3, to underrated thriller Panic Room in a hugely informative and accessible read.  Detailing the production of each film meticulously (and the meticulousness of the productions) and with some limited input from Fincher himself, it is always interesting and has been a good reference when writing an article on the collaborations of Fincher and Brad Pitt.  It also has a final chapter, 'Fincher's future' that reveals possible projects the director was potentially going to tackle on completion of Panic Room.  Interestingly, none of Fincher's actual output of films since 2003 are mentioned, but some of the projects that are there are still mouth-watering prospects that I hope Fincher might get round to now he's (hopefully) done making pointless remakes of perfectly good foreign films.

2. Down and Dirty Pictures: Miramax, Sundance and the Rise of Independent Film (Peter Biskind, 2005)


Highly critical of Harvey Weinstein (who sounds like a slightly less demented, deranged and disturbed version of Don Simpson), this book combines details of Weinstein's monstrous behaviour (tantrums and tormenting) with an almost respectful account of how the Weinstein's commercialised independent film through their distribution company.  Brothers Bob and Harvey used festivals like Sundance to pick up and propel filmmakers like Kevin Smith and Quentin Tarantino to huge success, making independent film profitable and taking small films to Oscar glory.  From Redford's opening of the Sundance Film Festival through to 2002 and to be honest a bit of a non-ending, Biskind bemoans the commercialisation of the independent sector and picks away at Weinstein but nevertheless shows what an exciting time for cinema the period has been.

1. Blockbuster: How the Jaws and Jedi Generation Turned Hollywood into a Boom-town (Tom Shone, 2005)

Another utterly entertaining read that takes in all the greatest blockbusters since Jaws with interviews with all sorts of key people involved in their making.  Shone's writing is witty and well-informed with a fantastic argument and he is clearly more of a film lover than critic, analysing the success of these popular but often critically neglected films.  He acknowledges that blockbusters are sometimes out-of-control bloated messes (who could argue?) but ends the book with the optimism of the Oscar success of LOTR: Return of the King and a potentially positive future for the blockbuster.  It's easy to read and a brilliant tour through recent film history from the perspective of the box-office behemoths.  Their impact on the industry, like it or not, is undeniable and this book covers them with the respect they often deserve. 



But as always, that's just my list and after I finish Nightmare Movies (eventually!), I'll be looking for another film book to get stuck into.  I've already got my eye on Jason Zinoman's Shock Value but other than that, I'm open to suggestions!  Any recommendations? 

Why I love that Sundance Film Festival

It's just a week until the Sundance Film Festival 2012 opens its doors on 19th January.  Showcasing new work from independent filmmakers from all around the world, it's always a good place to start searching for the next big thing.

Documentaries, dramas, short films and features are all given their time to shine in the many venues of the festival, held annually in Park City, Utah.  Peter Biskind's brilliant book Down and Dirty Pictures: Miramax, Sundance and the Rise of Independent Film details the festivals humble origins through its rise to the largest independent film festival in the USA.  Biskind's book is highly critical of Harvey Weinstein and is less than complimentary about the success of Miramax through it's distribution of indie films often picked up at the Sundance Film Festival.  But the book does highlight why Sundance is such an influential and important fixture on any movie lover's calendar.

People might be wary of the commercialisation of the independent sector and film festivals like Sundance and Cannes that are becoming more and more about selling mainstream product masquerading as quirky indies but there is no doubting the importance of this festival and others like it to young, low budget drama and documentary filmmakers.  Incredibly popular films like Saw and Four Weddings and a Funeral got a huge boost from their screenings at Sundance before becoming box-office behemoths. 

Sundance has also kick-started the careers of some of the most excting directors of our generation.  Tarantino took Reservoir Dogs in 1992 and despite not winning anything in competition and a slow-start to the box-office success of the film, there is no doubt that its popularity is indebted to its start at Sundance.  And without Tarantino, we wouldn't have the masterpiece Pulp Fiction and one of the most exciting prospects for 2012, Django Unchained.  The same year, Robert Rodriguez took his $7000 action movie El Mariachi to the festival and the praise heaped on it kicked off his career that would take in kids movies (Spy Kids), Tarantino collaborations (Sin City, Grindhouse) and sequels/remakes (Desperado) to his original DIY creation. 

Similarly, Sundance can be thanked for the career launching of indie/mainstream straddlers Kevin Smith and Richard Linklater.  Clerks and Slacker, none more cheap, independent and inspiring were screened at the festival leading to interesting and diverse careers for both filmmakers.  Smith might misfire every time he tries to go mainstream (Jersey Girl, Cop Out) but his recent Red State suggests a return to form as well as a risky move away from letting the big corporations handle distribution.  Linklater has similarly flirted with the mainstream with the successful School of Rock but is probably best loved for his indie charmers Before Sunrise and Sunset.

Among other films that have benefitted from their showcasing at Sundance are Primer, Memento, Precious, Little Miss Sunshine, the phenomenon that became The Blair Witch Project and last year's Another Earth.  And that's without even mentioning some of the great documentaries that have been given an all-important push by their prize-winning turns at the festival; Hoop Dreams, When We Were Kings, Murderball, Supersize Me and Senna among many, many others.  It really is a breeding ground for young talent who have struggled to make interesting, independent films on small budgets.  And if they happen to get picked up by rich distributors ready to spread the word of these little gems in return for profits, then so be it. 

This year Quentin Dupieux brings his surreal-looking follow-up to Rubber to the festival.  Despite being titled Wrong, I hope it gets it head-fucking right.  The First Time sounds like a sweet bit of teen romance and The Imposter looks like one of the documentaries to keep an eye out for.  But after Aussie crime drama Animal Kingdom's success, perhaps new Aussie mystery Wish You Were Here (again starring Joel Edgerton) is the film that has the biggest chance of smashing through to the mainstream.  Only time will tell.  One thing I know for certain is that I wish I was at the Sundance Film Festival to find out.


The festival kicks off next Thursday and just in case you didn't know, unfortunately I won't be there.  Anyone reading this going?  Anyone heard of any other hot tips for this year?  Anyone think indie film is being ruined by the commercialisation of film festivals like Sundance?  I'd love to hear from you.