Twenty years after shepherding the classic 1993 rom-com Sleepless in Seattle, producer Lynda Obst is sharing something called Sleepless in Hollywood. Her second book arrives Tuesday and, befitting a treatise that regularly references gargantuan tentpole productions, has a prominent main pillar of its own.
Obst’s thesis is capitalized in the sub-title and solidly contextualized in the first chapter. The author uses the short-form of Scene rather than Chapter; so, from Scene One: The New Abnormal:
How did this happen? How did it become easier for someone who knows no one to make a movie for $150,000 than for someone who knows everyone to make one for $20 million? Or for a guy who made a movie for $100,000 to make his next movie a superhero tentpole for $100 million? Nothing makes any sense…
Including, in a fortuitous bit of timing for Obst, this past weekend’s Hollywood box office, with big-name comedy The Internship domestically doubled by low-budget thriller The Purge. Obst pegs 2008 as the year Hollywood officially transitioned from the “Old Abnormal” to the “New Abnormal” and also includes a fascinating look back at that year’s Writers Strike, during which Nikki Finke rose to full Deadline Hollywood prominence.Amy Stuart]