Goetz’s book bounces between fascinating stories about blockbuster films and blatant advertising for his company’s services.
As any Oscar watcher knows, classic movies are the work of a significant team of talented professionals both behind and in front of the camera. This book makes the argument for the importance of one more team member: the film-testing audience researcher.
Goetz, who has worked in the movie research industry for 30 years and founded his own firm, Screen Engine/ASI, in 2010, has plenty of great stories to tell. He reveals how the memorable opening scene of La La Landdidn’t become part of the Oscar-winning movie until after screening audiences were confused by the musical’s original opening. He discusses how audience reaction led Steven Spielberg to reshoot scenes in Jaws, which “was graphic, gruesome, and disturbing, and to a 1975 audience…unlike anything they had ever seen before.” He also reveals how audiences were initially confused by Moonstruck, but once the filmmakers swapped out the opera in the opening montage for Dean Martin’s “That’s Amore,” everyone realized the Cher film was a comedy. Throughout, the author recounts well-told stories about angry directors and anxious studio executives at movie screenings, explaining that he is also passionate about what he does. “I’m also not about to just state the numbers that we collect on the surveys,” he writes. “I’m providing perspective from decades of experience, interpreting what those numbers mean.” However, Goetz doesn’t provide a thorough discussion of whether the audience screenings and collected data can hurt a film. He quotes director Ang Lee saying, “Picasso never audience-tested his paintings,” and then argues against it, without talking to Lee—or Quentin Tarantino or Clint Eastwood, other directors who generally don’t use screening research. The author’s belief in the importance of audience research is well supported, but without letting anyone argue the other side, it makes the book feel a little self-serving.
Goetz’s book bounces between fascinating stories about blockbuster films and blatant advertising for his company’s services.Pub Date: Nov. 23, 2021
ISBN: 978-1-982186-67-8
Page Count: 224
Publisher: Tiller Press/Simon & Schuster
Review Posted Online: Oct. 12, 2021
Kirkus Reviews Issue: Nov. 1, 2021
A blissfully vicarious, heartfelt glimpse into the life of a Manhattan burlesque dancer.
A former New York City dancer reflects on her zesty heyday in the 1970s.
Discovered on a Manhattan street in 2020 and introduced on Stanton’s Humans of New York Instagram page, Johnson, then 76, shares her dynamic history as a “fiercely independent” Black burlesque dancer who used the stage name Tanqueray and became a celebrated fixture in midtown adult theaters. “I was the only black girl making white girl money,” she boasts, telling a vibrant story about sex and struggle in a bygone era. Frank and unapologetic, Johnson vividly captures aspects of her former life as a stage seductress shimmying to blues tracks during 18-minute sets or sewing lingerie for plus-sized dancers. Though her work was far from the Broadway shows she dreamed about, it eventually became all about the nightly hustle to simply survive. Her anecdotes are humorous, heartfelt, and supremely captivating, recounted with the passion of a true survivor and the acerbic wit of a weathered, street-wise New Yorker. She shares stories of growing up in an abusive household in Albany in the 1940s, a teenage pregnancy, and prison time for robbery as nonchalantly as she recalls selling rhinestone G-strings to prostitutes to make them sparkle in the headlights of passing cars. Complemented by an array of revealing personal photographs, the narrative alternates between heartfelt nostalgia about the seedier side of Manhattan’s go-go scene and funny quips about her unconventional stage performances. Encounters with a variety of hardworking dancers, drag queens, and pimps, plus an account of the complexities of a first love with a drug-addled hustler, fill out the memoir with personality and candor. With a narrative assist from Stanton, the result is a consistently titillating and often moving story of human struggle as well as an insider glimpse into the days when Times Square was considered the Big Apple’s gloriously unpolished underbelly. The book also includes Yee’s lush watercolor illustrations.
A blissfully vicarious, heartfelt glimpse into the life of a Manhattan burlesque dancer.Pub Date: July 12, 2022
ISBN: 978-1-250-27827-2
Page Count: 192
Publisher: St. Martin's
Review Posted Online: July 27, 2022
A juicy story with some truly crazy moments, yet Anderson's good heart shines through.
The iconic model tells the story of her eventful life.
According to the acknowledgments, this memoir started as "a fifty-page poem and then grew into hundreds of pages of…more poetry." Readers will be glad that Anderson eventually turned to writing prose, since the well-told anecdotes and memorable character sketches are what make it a page-turner. The poetry (more accurately described as italicized notes-to-self with line breaks) remains strewn liberally through the pages, often summarizing the takeaway or the emotional impact of the events described: "I was / and still am / an exceptionally / easy target. / And, / I'm proud of that." This way of expressing herself is part of who she is, formed partly by her passion for Anaïs Nin and other writers; she is a serious maven of literature and the arts. The narrative gets off to a good start with Anderson’s nostalgic memories of her childhood in coastal Vancouver, raised by very young, very wild, and not very competent parents. Here and throughout the book, the author displays a remarkable lack of anger. She has faced abuse and mistreatment of many kinds over the decades, but she touches on the most appalling passages lightly—though not so lightly you don't feel the torment of the media attention on the events leading up to her divorce from Tommy Lee. Her trip to the pages of Playboy, which involved an escape from a violent fiance and sneaking across the border, is one of many jaw-dropping stories. In one interesting passage, Julian Assange's mother counsels Anderson to desexualize her image in order to be taken more seriously as an activist. She decided that “it was too late to turn back now”—that sexy is an inalienable part of who she is. Throughout her account of this kooky, messed-up, enviable, and often thrilling life, her humility (her sons "are true miracles, considering the gene pool") never fails her.
A juicy story with some truly crazy moments, yet Anderson's good heart shines through.Pub Date: Jan. 31, 2023
ISBN: 9780063226562
Page Count: 256
Publisher: Dey Street/HarperCollins
Review Posted Online: Dec. 5, 2022
Kirkus Reviews Issue: Jan. 1, 2023
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