Word: simonal
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Stories like this rarely make the sunny spots on Entertainment Tonight, but they fill practically every page of Down and Dirty Pictures (Simon & Schuster; 544 pages), an expose of the independent-film business by longtime show-biz journalist Peter Biskind. The book is being released just in time for the Sundance Film Festival, that hotbed of indie-film deals that starts in snowy Park City, Utah, this week. Biskind--whose last book, Easy Riders, Raging Bulls, chronicled how the sex-drugs-and-rock generation revolutionized 1970s cinema--has done some exploratory surgery on the underbelly of the indie-film scene...
...rock shrine. Make your own Sgt. Pepper for about $2,580 a day. Tokyo: The ultra-stylish, Marc Newson-designed Syn Studio (pictured) has been used by Janet Jackson and the late Robert Palmer; it can style your sound for $277 an hour. Muscle Shoals: Bob Dylan, Paul Simon and the Rolling Stones have all visited this small town in Alabama to record at Muscle Shoals Sound, where for about $100 an hour "we treat everybody the same," says manager Suzanne Harris. Chicago: Considered one of the best in the American Midwest, Chicago Recording Co. has hosted Coldplay...
...showier stars (Anthony Quinn in Zorba the Greek, Lynn Redgrave in Georgy Girl, Bette Midler in The Rose) to Oscar nominations; he was the solid ground they danced on. The stage allowed him to dominate. He radiated silky malevolence in Harold Pinter's The Caretaker, a tonic cynicism in Simon Gray's Butley, a charming naivete in Turgenev's Fortune's Fool. Bates' brilliance was too often taken for granted. His absence leaves a profound hole in our theater and film life...
...Muscle Shoals: Bob Dylan, Paul Simon and the Rolling Stones have all visited this small town in Alabama to record at Muscle Shoals Sound, where for about $100 an hour "we treat everybody the same," says manager Suzanne Harris...
...showier stars (Anthony Quinn in Zorba the Greek; Lynn Redgrave in Georgy Girl; Bette Midler in The Rose) to Oscar nominations; he was the solid ground they danced on. The stage allowed him to dominate. He radiated silky malevolence in Harold Pinter's The Caretaker, a tonic cynicism in Simon Gray's Butley, a charming naiveté in Ivan Turgenev's Fortune's Fool. Bates' brilliance was too often taken for granted. His absence leaves a profound hole, an ache, in our theater and film life. -By Richard Corliss...