{"id":9,"date":"2003-06-26T14:15:30","date_gmt":"2003-06-26T18:15:30","guid":{"rendered":"http:\/\/www.sheilaomalley.com\/?p=9"},"modified":"2015-05-12T12:22:20","modified_gmt":"2015-05-12T16:22:20","slug":"robert-evans","status":"publish","type":"post","link":"https:\/\/www.sheilaomalley.com\/?p=9","title":{"rendered":"Robert Evans"},"content":{"rendered":"

The Kid Stays in the Picture<\/a>\"\"<\/i>, written by maverick film-producer Robert Evans, the man responsible for Harold and Maude<\/i>, Love Story<\/i>, The Godfather<\/i>, Rosemary’s Baby<\/i>, is absolute sheer liquid pleasure. I am tearing through it.<\/p>\n

The writing style of the book is hysterical.<\/p>\n

Here’s an excerpt:<\/p>\n

<\/p>\n

Let’s get down to facts — like agents, managers, lawyers, money. Writing about where it’s at is easy pocket money; about how it feels, that’s different. Not only does it take talent, which most of these penholders don’t have, but writing about feelings takes a helluva lot more time. We’re in the business of deals, not excellence. The ten percenters know their clients can write three concept scripts a year. To write texture takes time; time is money and money is what pays their light bills.<\/p><\/blockquote>\n

See what I mean? I love it. He’s such a tough guy. He also knows everybody, has had lunch with everybody, has slept with everybody, and has lived to tell the tale. It’s the kind of book where he was supposed to be hanging out with Sharon Tate at the Polanski house the night everyone was butchered by a bunch of wild lunatics. Sharon had called Evans and invited him over, and he said something along the lines of, “Listen, baby, I gotta work.”<\/p>\n

It’s all: “Lemme tell ya somethin’, baby…”<\/p>\n

I love it.<\/p>\n

And the stories are priceless. Let me dig some up and share them here. There’s a lot to learn from his tale.<\/p>\n

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