Word: hollywoodizations
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Dates: during 1990-1999
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...story of Charles Yah Lin Trie might once have taxed the imagination of a Hollywood movie producer: A Taiwan-born man arrives in America empty of pocket but full of ambition. After working as a busboy in Washington, he opens a restaurant in Little Rock, Arkansas, befriends a future President of the U. S. and expands his business empire to the Far East. He becomes a top fund raiser for his old friend's party and then taps into a far-flung network of Buddhists for quick cash when the President gets into legal trouble. Eventually, he returns to Washington...
...literally rolling out the red carpet for a key element of its strategy to rule tomorrow's Tinseltown. Last Thursday marked the unveiling of the CAA/Intel Media Lab, CAA's bid for a thick slice of the growing PC-software pie and the strongest indicator to date that Hollywood and Silicon Valley's marriage of convenience might turn into true love after all. "We are all, like it or not, surfers on that growing [high-tech] wave," CAA president Richard Lovett told a crowd of bold-faced names like Jennifer Aniston and Michael Crichton. "Some of you in this room...
Lovett thinks it's high time Hollywood dove on in. Geek-laden companies such as Pixar, Industrial Light & Magic and Digital Domain (effects houses for Toy Story, Jurassic Park and Terminator II, respectively) have been turning digital technology into blockbuster grosses for years. And more recently, as Websites flacking for the likes of 101 Dalmatians and ID4 score multimillion "hit counts," the studios have come to value the Internet's impressive promotional clout...
...wildly, he seeks moral traction in an icy-slick world, aided by his one remaining client (a testy Cuba Gooding Jr.) and his sole employee (Renee Zellweger, fierce and mousy). Blending romance and realism, writer-director Cameron Crowe achieves the kind of confident, endearing comedy you would've sworn Hollywood had lost the knack of making...
...Bring in 'Da Noise, Bring in 'Da Funk. The black experience in America as interpreted by the tapping, stomping feet of Savion Glover and company. The sketches--on how hard it is to hail a cab in Manhattan, or be a black dancing star in 1930s Hollywood--are satirically on target, and the dancers perform with demon drive. What a year for musicals...