Wired: The Short Life & Fast Times of John Belushi

Wired: The Short Life & Fast Times of John Belushi

Language: English

Pages: 480

ISBN: 1451655592

Format: PDF / Kindle (mobi) / ePub

This reissue of Bob Woodword’s classic book about John Belushi—one of the most interesting performers and personalities in show business history—“is told with the same narrative style that Woodward employed so effectively in All the President’s Men and The Final Days” (Chicago Tribune).

John Belushi was found dead of a drug overdose March 5, 1982, in a seedy hotel bungalow off Sunset Boulevard in Hollywood. Belushi’s death was the beginning of a trail that led Washington Post reporter Bob Woodward on an investigation that examines the dark side of American show business—TV, rock and roll, and the movie industry. From on-the-record interviews with 217 people, including Belushi's widow, his former partner Dan Aykroyd, Belushi’s movie directors including Jack Nicholson and Steven Spielberg, actors Chevy Chase, Robin Williams, and Carrie Fisher, the movie executives, the agents, Belushi’s drug dealers, and those who live in the show business underground, the author has written a close portrait of a great American comic talent, and of his struggle to succeed and to survive that ended in tragedy.

Using diaries, accountants’ records, phone bills, travel records, medical records, and interviews with firsthand witnesses, Woodward has followed Belushi’s life from childhood in a small town outside Chicago to his meteoric rise to fame.

Bob Woodward has written a spellbinding account of rise and fall, a cautionary tale for our times, and a poignant and gentle portrait of a young man who had so much, gave so much, and lost so much.

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had to sound the same as in the rest of the movie or it could be a catastrophe. John and Aykroyd, working through Zanuck and Brown, had convinced Avildsen to let them make some dialogue changes on their own. It was highly unusual, but Avildsen said he would consider what they wanted changed. The looping was scheduled for 2 P.M. Thursday, September 24, John’s third day in L.A. and his third day on the binge. Before the session, Brillstein took him to see Dr. Robert J. Feder, a Los Angeles ear,

there. She broke into hysterical tears. At twelve thirty-six two paramedics came in and went to the back bedroom with Wallace. Briskin was pounding the walls in the living room and crying. “Let’s get him on the floor,” one said. They lifted John’s naked body and rested it on the floor to examine it. Wallace urged them to try defibrillation to see if they could start his heart. It was useless, they said. At twelve forty-five John was formally pronounced dead. One of the paramedics took a sheet

minutes Ovitz called Eisner. “Belushi’s dead,” Ovitz said. Eisner had figured the Belushi deal was dead, given Brillstein’s call. Somebody, another studio or producer, had moved in. It was only one deal out of hundreds, and they would worry about the next movie. “Well,” Eisner responded, “let’s go on to the next thing.” “No, no, no,” Ovitz said. “He is really dead!” Not the deal, the man. “You must be kidding?” Eisner said. “What are you talking about?” “A drug overdose,” Ovitz said, “No, no,

Blues Brothers in two stories about recent films—including Spielberg’s 1941—headlined: THE GOLDEN AGE OF JUNK, and WHY HOLLYWOOD BREEDS SELF-INDULGENCE. Landis was instantly defensive, claiming the bad reviews were an attack on the $27-million cost, $11 million over the original budget. Later on, he admitted that the movie didn’t have enough plot or character; it was a quirky idea that had not been well executed. Other times he thought, really, it was a fine movie with a stark realism that

fights. Louis Malle, the famous French film director, enjoyed testing the boundaries, pushing into new territory, not only for artistic value but for shock value. Malle always tried to work out of curiosity, and that meant exploring. How much daring was possible? America continually tested itself in this way. The search for national identity was as strong today as in de Tocqueville’s time, but American movies did not have this pioneer spirit. They were now too often resorting to the cliché

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