Sleepless in Hollywood: Tales From the New Abnormal in the Movie Business (39 page)

as head of production,
134
–35

leaving Paramount,
137
,
139

and Paramount,
109
,
110
,
113
–17,
120
,
124
–26,
129
,
130
–31,
133
–37

Goldwyn, Samuel,
113

Gone with the Wind,
92
–94

Goodman, Adam,
160

Google,
233

Gordon, Howard,
196
–97,
205

Gordon, Larry,
146
,
148

Gossip Girl,
204
,
235

Graduate, The,
10

Grant, Hugh,
140

Great Contraction,
37
–38,
41
,
43
,
46
–47,
106
,
189

Greenblatt, Robert,
222

Greengrass, Paul,
146

Green Lantern,
5
,
82
,
149
,
244
,
249

Green Zone,
146

Grey, Brad:

and author’s contract,
193

and Berman,
148
,
150
,
158

and Brillstein-Grey,
143

and De Line,
138
,
147
–48

and Freston,
143
,
145
,
156

and Lesher,
159
–60

as Paramount chairman,
57
,
108
–9,
110
,
143
,
144
,
145

and Redstone,
111
,
154

in Russia,
57

and Spielberg,
160

Grey’s Anatomy,
183

Hangover, The,
11
,
16
–17,
58
,
69
,
82
,
85
,
100
,
249

Hanks, Tom,
3
,
88
,
153
,
198

Harry Potter,
3
,
5
,
12
,
80
,
129
,
130

Harry Potter
sequels,
11
,
33
,
245

Harwood, Sir Ronald,
153

Hasbro,
5
,
12
,
60
,
244

Hawthorne,
202

Hayes, Sean,
213
–14

HBO,
4
,
236
,
239

Hegel, Georg Wilhelm Friedrich,
248
,
251
,
262

Hello, He Lied
(Obst),
15
,
240

Help, The,
16
,
21
,
47
,
254
,
259

Hemsworth, Chris,
18

High Definition (HD),
43
–44

Hill, Debra,
60

Hill Street Blues,
220

Hipster (production exec),
120
,
131
,
133

history, dialectic-driven,
248

Hoffa, Jimmy,
174

Hoffman, Michael,
124

Hollywood Reporter,
9
,
146
–47

Holmes, Katie,
124

Homeland,
196
–97,
203
,
205
,
215
n,
235
,
236

Hong Kong, financial market in,
70

Hope Floats,
47
,
53
,
88

Hopper, Hedda,
169

hot-burning series,
233

Hot in Cleveland,
211
–12,
213
–14

House,
150
,
199
,
201

House of Cards,
203

Howard, Terrence,
145

How I Met Your Mother,
209

How to Lose a Guy in 10 Days,
2
–3,
4
,
88
,
99
,
101
,
124
–27,
210

Hudson, Kate,
2
–3,
8
,
125
–27,
131
–32,
140
–41,
153

Huffington Post,
28

Hulk, The,
102
,
103
,
138

Hulu,
209
,
233
,
262

Hunger Games,
5
,
28
,
62
,
89
,
130
,
242
,
244
–45

Hunnam, Charlie,
124

Hurt Locker, The,
7
,
47

Hurwitz, Mitch,
204

Hustle & Flow,
145

Huvane, Kevin,
152

IATSE (International Alliance of Theatrical Stage Employees),
180
–83

Ice Age,
76
–77

Ice Storm, The,
102

ICM,
126

Identity Thief,
34

Igby Goes Down,
125

I Love Lucy,
238

I Love You, Man,
149

IMAX,
57
,
67
–68,
71
,
74
,
76

Inception,
47
,
63
,
69
,
79
,
82
,
83
–85,
99

Indecent Proposal,
109
,
110

India:

Bollywood,
64
,
66

film market in,
56
,
59

Informant, The,
80
,
81

intellectual property, marketability of,
130

international market,
4
–5,
12
,
23
,
74

comedy not viable in,
58
–59

coproduction deals,
69
–74

distribution offices,
63
–66,
69

emergence of,
51
–56

and IMAX,
67
–68,
71
,
74
,
76

in New Abnormal,
7
,
32
,
39
,
50
,
51
–54

and Old Abnormal,
150
–51

and P&Ls,
40

and sequels,
76
–78

and 3D,
66
–68,
106

what doesn’t travel,
58
–61

women,
61
–63

Internet,
258
,
259
,
262
–63

alternative venues,
45
,
233
–34,
239

profit model,
233

and word of mouth,
99

and writers’ strike,
38
,
163
–64,
165
,
166
,
185

Invention of Lying, The,
46
,
80
,
81
,
190
,
206

iPad publishing,
234

iPhone apps,
5

IPs,
246
–48

Ipsos (OTX),
83

Iron Man,
5
,
70
,
88
,
110

Irons, Jeremy,
43
,
199

Italian Job, The,
138

It’s a Wonderful Life,
246

“It’s Hard Out Here for a Pimp,”
145

iTunes,
39

Jack and Jill,
103

Jackman, Hugh,
211

Jacobson, Nina,
245

Jaffe, Stanley,
109
,
112
,
116
,
130

Jane Eyre,
230

Japan, film market in,
56
,
59
,
62

Jesus of Nazareth,
250

Johansson, Scarlett,
133
n

John Carter,
14
,
244

Johnson, Dwayne “The Rock,”
8

Jolie, Angelina,
59
–60,
62
,
151
,
203
,
245
n

Jovovich, Milla,
62

Judd, Ashley,
211

Jules and Jim,
105
,
249

Julie & Julia,
88

Jumanji,
5

Just Shoot Me!,
214

Kaliningrad,
Titanic
shown in,
54
–56

Kalogridis, Laeta,
187

Karmazin, Mel,
127
–28

Katzenberg, Jeffrey,
174

Kavanaugh, Ryan,
69

Kavner, Julie,
252

Kelley, Mike,
229

Kelly, Tatiana,
43
,
252

Kessler, Glenn,
205

Kessler, Todd,
205

Keyser, Chris,
188
–89

Kid Stays in the Picture, The,
126
,
174

Kierkegaard, Søren,
250

Kilday, Gregg,
146
–47

King’s Speech, The,
254
,
259
,
261

Kinsella, Sophie,
131
,
152

Kirkpatrick, Nancy,
100
–101,
147

Kiss the Girls,
110

Klein, Marc,
171

Korshak, Sidney,
174

Kroll, Sue,
79
–81,
83
,
84
–85

K Street,
202

Kudrow, Lisa,
132

Kunis, Mila,
198

Kutcher, Ashton,
198
n,
212

Lange, Jessica,
199

Lansing, Sherry:

and De Line,
138
–39,
142
,
143
,
149
–50

foundation of,
136
,
142

and Goldwyn,
136
,
137

last days at Paramount,
142
–44

at Paramount,
2
–3,
4
,
108
–13,
117
,
120
–21,
124
–28,
130
,
133
–34,
145
,
150

and previews,
96

Lara Croft: Tomb Raider,
151

Last of the Mohicans,
229

Lautner, Taylor,
26

Law & Order,
18
,
220

LA Weekly,
209

Lawrence, Jennifer,
61
,
245
,
250

Lee, Ang,
6
,
47
,
102
,
138
,
254

Lee, Paul,
228

Leeves, Jane,
214

Legally Blonde,
15
,
88

Legendary Pictures,
69

Leno, Jay,
186

Lesher, John,
159
–60

Les Misérables,
254

Letterman, David,
186

Lewis, Damian,
196

Lewis and Clark,
202

Libatique, Matthew,
123

Life of Pi,
6
,
47
,
254

Lifetime TV,
87
,
239

“lightning in a bottle,”
17

Limato, Ed,
126

Lincoln,
6
,
254

Linney, Laura,
203

Lion King, The,
89
,
262

Lionsgate Studios,
69
,
100
–101,
242
,
245

Looper,
73
,
74
,
75

Lopez, George,
203

Lopez, Jennifer,
15

Lost,
156

Lost in Thailand,
73

Louis C.K.,
46

Lourd, Bryan,
133
,
137
–38,
175
–76,
186
,
193

Love Story,
126

Lucas, George,
11
,
44
,
108

Lucky Numbers,
132

Lynton, Michael,
255
–58

MacFarlane, Seth,
242
,
249

Machinima,
262

Mad About You,
209

Madagascar,
89
,
262

Mad Men,
196
,
205
,
232
,
236

Magic: The Gathering,
60

Malcolm in the Middle,
150
,
238

Malik, Wendie,
214

“Man” movies,
8
,
29

Marion, Frances,
174
,
190

marketing:

advertising and publicity,
81
,
98

and audience power,
103
–5

and commodity fetishism,
105

costs of,
44
,
243

creating buzz,
14
–15,
84
,
101
–2

Definite Interest Intensity (DII),
99
–100,
101
,
102

and the “everything” number,
95
–97

in-house,
82
–83

and playability,
103

and preawareness,
79
–81,
106