Kid Stays in the Picture FROM OUR EDITORS
Hailed by Variety as "one of the best Hollywood memoirs ever published," this account of the industry's movies, stars, & machinations is written by the man who steered Paramount to such blockbusters as Rosemary's Baby & The Godfather. B&W illus.
ANNOTATION
Love Story . . . The Godfather . . . Chinatown . . .No one had a hotter string of hits--or a more scandalous fall--than movie mogul and power player Robert Evans. From the top of the Paramount mountain to the bottom of the barrel and back, Evans omits nothing in the hottest tell-all since Julia Phillips. Serial rights to Premiere and New York. Photo insert.
FROM THE PUBLISHER
Far more expansive than You'll Never Eat Lunch in This Town Again, The Kid Stays in the Picture by Hollywood giant and legendary "bad boy" Robert Evans is an intimate and fascinating account of his rise, fall, and rise again in show business that makes for a harrowing read. From his early days in radio to popularizing "women in pants" as part of Evan-Picone, to being "discovered" by Norma Shearer and Darryl Zanuck, to, bizarrely enough, becoming the first actor to ever run a motion picture studio, this is a page-turning autobiography more gripping than fiction at its best. Under Evans's aegis, Paramount Pictures went from the cellar to the penthouse, with such movies as The Odd Couple, Rosemary's Baby, Love Story, The Godfather, and Chinatown. An extraordinary raconteur, Evans spares no one, least of all himself. From Errol Flynn, Ava Gardner, and Jimmy Cagney to Jack Nicholson, Warren Beatty, and Sharon Stone, here is Hollywood, revealed as never before. Gambling with Mike Todd; fighting Francis Coppola; cajoling Mia Farrow and Faye Dunaway; on the hot seat with Charles Bluhdorn and Stanley Jaffe, Robert Evans, the producer's producer, has seen and done it all. Laced throughout this roller-coaster read are his fascinating liaisons with some of the world's most beautiful women, including his marriage and divorce to Ali MacGraw and Phyllis George. The Kid Stays in the Picture not only chronicles Hollywood's last half century, but its second golden age as well. This is a man whose life journey unfolds far more adventurously than any of the films he's produced. His candor is shocking: the lurid dark years of the '80s; his cocaine arrest; his implication in what were dubbed the "Cotton Club Murders"; his thoughts of suicide; his self-committal and escape from a mental institution. And lastly, the impossible! Being back in the catbird seat of power, once again sending shock waves through Hollywood and the world.
FROM THE CRITICS
Publishers Weekly
Major movie producer Evans, self-described ``bad boy of Hollywood,'' sums up his lifelong personal style succinctly in his memoir's last line: ``Resolve: Fuck 'em, fuck 'em all...'' Chronicling his high-drama life, Evans paints a riveting, self-promoting picture of his 30-year career in the film industry, from his 1956 debut in Man of a Thousand Faces to his lengthy stint, beginning in 1967, as the head of Paramount Pictures, where he oversaw the production of such cinematic hits as Barefoot in the Park; The Odd Couple; Goodbye, Columbus; Harold and Maude; Rosemary's Baby; The Godfather; Love Story; and Chinatown. In a predictably confident, often feisty tone, Evans describes his rise, fall and what he calls his recent return to the upper echelons of Tinseltown power, as he recalls personal encounters with, and memories of, such show-biz brand names as Errol Flynn, James Cagney, Jack Nicolson, Mia Farrow, Mike Todd, Francis Ford Coppola and two of his wives, Ali MacGraw and Phyllis George. Offering a real insider's view of Hollywood, Evans's memoir is easily worth the price of admission. (Sept.)
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