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The Last Kings of Hollywood: Coppola, Lucas, Spielberg—and the Battle for the Soul of American Cinema
The untold, intimate story of how three young visionaries—Francis Ford Coppola, George Lucas, and Steven Spielberg—revolutionized American cinema, creating the most iconic films in history while risking everything, redefining friendship, and shaping Hollywood as we know it.
In the summer of 1967, as the old Hollywood studio system was dying, an intense, uncompromising young film school graduate named George Lucas walked onto the Warner Bros backlot for his first day working as an assistant to another up-and-coming, largely-unknown filmmaker, a boisterous father of two called Francis Ford Coppola. At the exact same time, across town on the Universal Studios lot, a film-obsessed twenty-year-old from a peripatetic Jewish family, Steven Spielberg, longed to break free from his apprenticeship for the struggling studio and become a film director in his own right.
Within a year, the three men would become friends. Spielberg, prioritizing security, got his seven-year contract directing television. Lucas and Coppola, hungry for independence, left Hollywood for San Francisco to found an alternative studio, American Zoetrope, and make films without answering to corporate capitalism.
Based on extensive research and hundreds of original interviews with the inner circle of these Hollywood icons, The Last Kings of Hollywood tells the thrilling, dramatic inside story of how, over the next fifteen years, the three filmmakers rivalled and supported each other, fell out and reconciled, and struggled to reinvent popular American cinema. Along the way, Coppola directed The Godfather, then the highest-grossing film of all-time, until Spielberg surpassed it with Jaws — whose record Lucas broke with Star Wars, which Spielberg surpassed again with E.T. By the early 1980s, they were the richest, best-known filmmakers in the world, each with an empire of their own. The Last Kings of Hollywood is an unprecedented chronicle of their rise, their dreams and demons, their triumphs and their failures — intimate, extraordinary, and supremely entertaining.
In the summer of 1967, as the old Hollywood studio system was dying, an intense, uncompromising young film school graduate named George Lucas walked onto the Warner Bros backlot for his first day working as an assistant to another up-and-coming, largely-unknown filmmaker, a boisterous father of two called Francis Ford Coppola. At the exact same time, across town on the Universal Studios lot, a film-obsessed twenty-year-old from a peripatetic Jewish family, Steven Spielberg, longed to break free from his apprenticeship for the struggling studio and become a film director in his own right.
Within a year, the three men would become friends. Spielberg, prioritizing security, got his seven-year contract directing television. Lucas and Coppola, hungry for independence, left Hollywood for San Francisco to found an alternative studio, American Zoetrope, and make films without answering to corporate capitalism.
Based on extensive research and hundreds of original interviews with the inner circle of these Hollywood icons, The Last Kings of Hollywood tells the thrilling, dramatic inside story of how, over the next fifteen years, the three filmmakers rivalled and supported each other, fell out and reconciled, and struggled to reinvent popular American cinema. Along the way, Coppola directed The Godfather, then the highest-grossing film of all-time, until Spielberg surpassed it with Jaws — whose record Lucas broke with Star Wars, which Spielberg surpassed again with E.T. By the early 1980s, they were the richest, best-known filmmakers in the world, each with an empire of their own. The Last Kings of Hollywood is an unprecedented chronicle of their rise, their dreams and demons, their triumphs and their failures — intimate, extraordinary, and supremely entertaining.
467 pages, Kindle Edition
First published February 10, 2026
233 people are currently reading
8882 people want to read
About the author
Paul Fischer
3 books90 followersPaul Fischer is the author of A Kim Jong-Il Production (2015), shortlisted for the Crime Writers’ Association Non-Fiction Dagger and chosen as an Amazon Best of the Year Nonfiction Selection, one of Library Journal’s Top Ten Books of the Year, one of Kirkus Reviews’ Best of 2015, and one of NPR’s Best Books of the Year, and The Man Who Invented Motion Pictures (2022), a New York Times Editor’s Choice and selected as one of the Times’s Best True Crime Books of the year. His writing has appeared in the New York Times, Los Angeles Times, The Independent, Bright Wall / Dark Room, and the Narwhal.
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Displaying 1 - 30 of 98 reviews
February 22, 2026
I will admit it- I am a sucker for books about films made from, oh, about 1965 to 1985. This begs the question, of course: Is this because I saw more movies then; is it because films, like music, that we experience when we are younger leave a more indelible mark on us than what we are exposed to later; or is it because a lot of really great movies were made during that time?
My guess is that it is a combination of all three of these elements. My enthusiasm for films of this era is not limited to those made by the principals of this book, nor am I a fan of their entire oeuvre. (Is that pretentious? Sorry, I struggled for the right word and that’s the one that came to mind. Somehow “body of work” sounded equally bad.)
Back to the book. It’s a detailed exploration of the efforts of Coppola and Lucas to make films outside the established studio system, and of the relationships among these two and Spielberg, who was less uncomfortable working within that system. They supported one another, shared ideas and projects, and, Coppola and Lucas especially, bickered frequently.
Along with these three, Fischer brings in other innovative directors of the day, most specifically Martin Scorcese and Brian Di Palma, as well as screenwriters like Robert Towne and Lawrence Kasdan
The book describes these directors’ efforts to work without interference from studios, and the ways in which their most successful films both helped and hindered their ambitions. Making enormous pots of money provided them with the opportunities to do what they wanted, but it also fueled their desires to pursue other endeavors related to film, enterprises that frequently ended up draining their pocketbooks. Coppola was by far the most susceptible to this problem.
The most intriguing parts of the book are the insights into the characters of the three men. Coppola’s flamboyant, operatic personality and connections to his deeply Italian family; Lucas’s introversion and feeling that he had survived a horrific car crash as a teenager because he was destined for greater things; and Spielberg’s feelings of always being on the outside looking in, stemming from a childhood living in anti-Semitic communities.
For whatever reason, I raced through the book. It wasn’t flawless, but I enjoyed the insights into movie-making and the changes from the iron-fisted studio control prevalent through much of the 60s, to the director/star driven films of the 70s, to the “high concept” studio films of the 80s. It certainly left me with a desire to revisit some of these movies. I can remember the first time I saw signature pieces by all three of these men: dumbstruck by The Godfather; impressed with how much better the movie Jaws was than the book (I also distinctly remember seeing the TV movie “Duel”, an early success by Spielberg that preceded Jaws), and laughing aloud and jumping up and down in my seat on first seeing Star Wars the weekend it was released. I was in my 20s, but it made me feel like a kid again.
It is interesting to me that although Spielberg was always a bit younger, a bit behind the others in achieving fame, his career has lasted the longest. Coppola more or less burned out after his son’s death and Lucas was happy to cash in on his successes and to not have to deal with people. But Spielberg continued to make outstanding movies far beyond the 80s.
By the way, for audio readers, the narrator was OK, but not great. He was occasionally given to lapses. The first few times he refers to the man who was the subject of Raging Bull, he calls him “Jack” LaMotta. Later, he seems to realize it’s “Jake”. And he pronounces Joan Didion’s husband’s name as John Gregory “Doon”, and her brother-in-law as Dominic “Doon”. But later in the book he gets it right when mentioning Dominic’s son, the actor Griffin “Dunne”. Maybe someone from “the studio” heard his mistake in “the dailies” but didn’t want to bother with a “retake”. (Sorry, it’s late…)
My guess is that it is a combination of all three of these elements. My enthusiasm for films of this era is not limited to those made by the principals of this book, nor am I a fan of their entire oeuvre. (Is that pretentious? Sorry, I struggled for the right word and that’s the one that came to mind. Somehow “body of work” sounded equally bad.)
Back to the book. It’s a detailed exploration of the efforts of Coppola and Lucas to make films outside the established studio system, and of the relationships among these two and Spielberg, who was less uncomfortable working within that system. They supported one another, shared ideas and projects, and, Coppola and Lucas especially, bickered frequently.
Along with these three, Fischer brings in other innovative directors of the day, most specifically Martin Scorcese and Brian Di Palma, as well as screenwriters like Robert Towne and Lawrence Kasdan
The book describes these directors’ efforts to work without interference from studios, and the ways in which their most successful films both helped and hindered their ambitions. Making enormous pots of money provided them with the opportunities to do what they wanted, but it also fueled their desires to pursue other endeavors related to film, enterprises that frequently ended up draining their pocketbooks. Coppola was by far the most susceptible to this problem.
The most intriguing parts of the book are the insights into the characters of the three men. Coppola’s flamboyant, operatic personality and connections to his deeply Italian family; Lucas’s introversion and feeling that he had survived a horrific car crash as a teenager because he was destined for greater things; and Spielberg’s feelings of always being on the outside looking in, stemming from a childhood living in anti-Semitic communities.
For whatever reason, I raced through the book. It wasn’t flawless, but I enjoyed the insights into movie-making and the changes from the iron-fisted studio control prevalent through much of the 60s, to the director/star driven films of the 70s, to the “high concept” studio films of the 80s. It certainly left me with a desire to revisit some of these movies. I can remember the first time I saw signature pieces by all three of these men: dumbstruck by The Godfather; impressed with how much better the movie Jaws was than the book (I also distinctly remember seeing the TV movie “Duel”, an early success by Spielberg that preceded Jaws), and laughing aloud and jumping up and down in my seat on first seeing Star Wars the weekend it was released. I was in my 20s, but it made me feel like a kid again.
It is interesting to me that although Spielberg was always a bit younger, a bit behind the others in achieving fame, his career has lasted the longest. Coppola more or less burned out after his son’s death and Lucas was happy to cash in on his successes and to not have to deal with people. But Spielberg continued to make outstanding movies far beyond the 80s.
By the way, for audio readers, the narrator was OK, but not great. He was occasionally given to lapses. The first few times he refers to the man who was the subject of Raging Bull, he calls him “Jack” LaMotta. Later, he seems to realize it’s “Jake”. And he pronounces Joan Didion’s husband’s name as John Gregory “Doon”, and her brother-in-law as Dominic “Doon”. But later in the book he gets it right when mentioning Dominic’s son, the actor Griffin “Dunne”. Maybe someone from “the studio” heard his mistake in “the dailies” but didn’t want to bother with a “retake”. (Sorry, it’s late…)
March 5, 2026
Zoetrope, Star Wars, and that Shark
Paul Fischer's captivating group biography, “The Last Kings of Hollywood,” chronicles the intense dynamic of rivalry, betrayal, and genius that forged the modern blockbuster. Focusing on Francis Ford Coppola, George Lucas, and Steven Spielberg, the book details their ascent during the turbulent and transformative New Hollywood era, which spanned from the late 1960s to the early 1980s.
The book explores how these three "brazenly confident" young filmmakers navigated a declining studio system, engaging in both cooperation and intense rivalry. Their efforts led to the creation of market-defining blockbusters such as “The Godfather,” “Jaws,” and “Star Wars,” which fundamentally altered the motion picture landscape and ushered in the age of the independent blockbuster.
The book effectively analyzes the distinct personalities of the three directors and their complicated interactions with the business of Hollywood. Francis Ford Coppola is depicted as the flamboyant and erratic artist whose extravagant lifestyle and lavish spending, particularly with his studio American Zoetrope, often led to financial difficulties. George Lucas, in contrast, is depicted as the practical, technical loner who transformed into a shrewd entrepreneur. He amassed his wealth by securing the rights to the “Star Wars” franchise—a decision some critics view as a letdown, given his initial leanings toward more artistic projects. The youngest and most temperamentally stable of the three, Steven Spielberg, is recognized for his mastery of the mainstream American sensibility and his skill in navigating the established studio system.
The dramatic core of the narrative centers on the tumultuous, love-hate dynamic between Coppola and Lucas. Despite their successful joint ventures, the two frequently found themselves at odds, particularly concerning financial matters. Coppola notably backed Lucas's hit “American Graffiti” by lending his name as producer, yet he opted not to finance the project—a decision that cost him a share of the profits from the $700,000 film that eventually grossed $200 million. A deeper rift formed when Coppola subsequently took over a long-developing Lucas project, which ultimately became “Apocalypse Now,” an action Lucas perceived as a betrayal that created a wedge between them for years.
While Steven Spielberg's stories in the book are fascinating and entertaining, his narrative is less dramatically compelling than those of the other two "Last Kings." Despite the immense success of his pictures, his story simply doesn't carry the same dramatic weight. The book also provides insights into other notable young directors like Martin Scorsese, Brian De Palma, and Peter Bogdanovich, and Spielberg's prominence seems to fall somewhere in between the core subjects and these other directors.
Despite being billed as the "untold, intimate story," the book suffers a huge loss by not including interviews with Coppola, Lucas, or Spielberg. Nevertheless, "The Last Kings of Hollywood" is an informative and enjoyable read for anyone interested in New Hollywood and film history. It provides an excellent study of the personalities and economics that launched the modern blockbuster, offering a fresh perspective on how these three men fought for independent freedom and, in doing so, redefined American cinema for generations.
Thank you to Celadon Books and NetGalley for providing an advance reader copy in exchange for an honest review. #TheLastKingsOfHollywood #NetGalley
Paul Fischer's captivating group biography, “The Last Kings of Hollywood,” chronicles the intense dynamic of rivalry, betrayal, and genius that forged the modern blockbuster. Focusing on Francis Ford Coppola, George Lucas, and Steven Spielberg, the book details their ascent during the turbulent and transformative New Hollywood era, which spanned from the late 1960s to the early 1980s.
The book explores how these three "brazenly confident" young filmmakers navigated a declining studio system, engaging in both cooperation and intense rivalry. Their efforts led to the creation of market-defining blockbusters such as “The Godfather,” “Jaws,” and “Star Wars,” which fundamentally altered the motion picture landscape and ushered in the age of the independent blockbuster.
The book effectively analyzes the distinct personalities of the three directors and their complicated interactions with the business of Hollywood. Francis Ford Coppola is depicted as the flamboyant and erratic artist whose extravagant lifestyle and lavish spending, particularly with his studio American Zoetrope, often led to financial difficulties. George Lucas, in contrast, is depicted as the practical, technical loner who transformed into a shrewd entrepreneur. He amassed his wealth by securing the rights to the “Star Wars” franchise—a decision some critics view as a letdown, given his initial leanings toward more artistic projects. The youngest and most temperamentally stable of the three, Steven Spielberg, is recognized for his mastery of the mainstream American sensibility and his skill in navigating the established studio system.
The dramatic core of the narrative centers on the tumultuous, love-hate dynamic between Coppola and Lucas. Despite their successful joint ventures, the two frequently found themselves at odds, particularly concerning financial matters. Coppola notably backed Lucas's hit “American Graffiti” by lending his name as producer, yet he opted not to finance the project—a decision that cost him a share of the profits from the $700,000 film that eventually grossed $200 million. A deeper rift formed when Coppola subsequently took over a long-developing Lucas project, which ultimately became “Apocalypse Now,” an action Lucas perceived as a betrayal that created a wedge between them for years.
While Steven Spielberg's stories in the book are fascinating and entertaining, his narrative is less dramatically compelling than those of the other two "Last Kings." Despite the immense success of his pictures, his story simply doesn't carry the same dramatic weight. The book also provides insights into other notable young directors like Martin Scorsese, Brian De Palma, and Peter Bogdanovich, and Spielberg's prominence seems to fall somewhere in between the core subjects and these other directors.
Despite being billed as the "untold, intimate story," the book suffers a huge loss by not including interviews with Coppola, Lucas, or Spielberg. Nevertheless, "The Last Kings of Hollywood" is an informative and enjoyable read for anyone interested in New Hollywood and film history. It provides an excellent study of the personalities and economics that launched the modern blockbuster, offering a fresh perspective on how these three men fought for independent freedom and, in doing so, redefined American cinema for generations.
Thank you to Celadon Books and NetGalley for providing an advance reader copy in exchange for an honest review. #TheLastKingsOfHollywood #NetGalley
March 7, 2026
This Nonfiction/Biography explores a time in film history that was a bit before my time. Yet it still had a strong sense of nostalgia because of who they are, as well as what movies put them on the map. They are all in a class of their own. Their vision, tenacity, and determination to see these initial movies through stood out the most, especially during the times when the work felt overwhelming.
While I don't think anyone should be defined by one type of accomplisment in life, this still looks incredibly impressive on their resumes decades later.
I appreciated the depth of research, the look into their careers, and the movie highlights througout the book. This was 4.5 stars but I don't mind rounding up. I was glued to this one.
While I don't think anyone should be defined by one type of accomplisment in life, this still looks incredibly impressive on their resumes decades later.
I appreciated the depth of research, the look into their careers, and the movie highlights througout the book. This was 4.5 stars but I don't mind rounding up. I was glued to this one.
October 14, 2025
This book was so informative! I have long been a fan of these men and their movies (Coppola’s The Godfather, Lucas’s Star Wars and Spielberg’s Jaws) but to read about how these men got their start and how they crossed paths was really interesting. I learned for the first time of Coppola’s personal struggles, how Spielberg was bullied in school, and how Lucas was in a serious car accident. Even though they got their start before my time, I grew up in the 90s fully entertained by their work and I still enjoy it today. The title is so perfect for this book! I received an advance review copy for free, and I am leaving this review voluntarily.
Review of advance copy received from Edelweiss+
Had a great time reading this one, even already knowing some of the stories told within. My only real gripe is that the focus seems to shift between wanting to cover all of the Film School Brats (De Palma and Scorsese included), or just the pictured trio (Spielberg/Coppola/Lucas), or sometimes even just honing in on American Zoetrope. I kind of wish it was twice as long and covered all five in their entirety. That said, I think wanting a book to be longer is a good complaint to have.
March 3, 2026
Really enjoyed this book, especially living in Marin. I’ve seen GL around a few times, mostly alone, not wanting to be disturbed. Funny how the biggest blockbusters made in the 70s and 80s, whether comfort or uncomfortable films were so interconnected with these guys. Making their films wasn’t always a labor of love. Quite a ride learning about their history and behind the scenes lives and experiences, both professional and personal. They were so different but in their own competitive way, joined at the hip, for better or worse. Steven comes out on top as the nice guy IMO and yet somehow is worth over $7B today. Francis and George come off as toxic. George only ever wanted to be a cameraman but it seems being around the older Francis when he was an intern at WB whipped him into a game of this grandiose art form. Marty Scorsese and Brian De Palma are in the mix and everyone knew and partied with everyone. Super interesting learning more about the young actors, including Al Pacino, Robert De Niro, Harrison Ford and others. As soon as Eisner and Katzenberg show up, the future starts to come into view with the endless formulas and sequels, and coming digital revolution. It felt rushed at the end, but still worthy of 4.5 stars.
February 17, 2026
WARNING: If you’re a film lover, you may be tempted to curate classics such as The Godfather, Apocalypse Now, Star Wars, Jaws, Close Encounters, American Graffiti, and so on as you read this in depth, behind the scenes look at the origins of Coppola, Lucas, Scorsese, and Spielberg.
I really couldn’t get enough. The art student in me was reminded of my college days surrounded by young and eager filmmakers as I read about these boys paving their way. All the same, it’s intriguing to see how quickly money and fame can eat away at anyone’s soul. I didn’t expect to read so much philandering, although - Hollywood, baby!
Drugs, adultery, greed, drama, violence. Life imitating art, I suppose. I do love the rags to riches theme, though. They really worked their way up one way or another and produced some American film classics as well as Hollywood stars along the way.
I really couldn’t get enough. The art student in me was reminded of my college days surrounded by young and eager filmmakers as I read about these boys paving their way. All the same, it’s intriguing to see how quickly money and fame can eat away at anyone’s soul. I didn’t expect to read so much philandering, although - Hollywood, baby!
Drugs, adultery, greed, drama, violence. Life imitating art, I suppose. I do love the rags to riches theme, though. They really worked their way up one way or another and produced some American film classics as well as Hollywood stars along the way.
February 24, 2026
On the one hand, what I was sold wasn’t completely what I got. I thought this would focus solely on Spielberg-Lucas-Coppola and it did but the author would sprinkle Scorsese in there too but not as much. But books like these live or die on anecdotal details and this slaps on that score. There is the usual bad behavior and inspiring stories all mixed together. If you liked Easy Riders & Raging Bulls, think of this as a tighter cut that’s been remastered. Tons of fun.
March 6, 2026
I grew up on the films of Francis Ford Coppola, George Lucas, and Steven Spielberg. I’m not sure if I would have referred to them as the last kings of Hollywood prior to reading this book. Directors such as Martin Scorsese and Brian DePalma were part of this group of filmmakers who came to prominence at the same time. I wanted to like this book more than I did. I felt that at some times, it really dragged and took me longer to finish than might have been the case. Even though there have been many books written about many of the films made by these directors, I would have liked more details about the films and less about more gossipy items such as personal lives. I listened to the audiobook. The narrator’s mispronunciation of several names (particular of famous writers) was annoying to me.
October 19, 2025
This is a very informative and entertaining history of Steven Spielberg, France’s Ford Coppola, and George Lucas. You learn about them individually and how their lives were so connected. From discussing their starts through their successes and failures, both business and personal, I learned a lot about their movies, motivations, and struggles. I highly recommend this book to anyone looking to learn about Hollywood in the 70s and 80s, these directors, or just want to read an entertaining biography.
I received an advanced copy for free, but the review is solely my opinion.
I received an advanced copy for free, but the review is solely my opinion.
February 10, 2026
Very well done.
My interview with the author is linked below:
https://www.nobhillgazette.com/arts_a...
My interview with the author is linked below:
https://www.nobhillgazette.com/arts_a...
January 31, 2026
Review of advance copy received from Publisher
I really enjoyed this! It's a well-paced and witty look at the careers of and friendships between Francis Ford Coppola, George Lucas, and Steven Spielberg as they navigate trying to establish themselves in Hollywood (with a healthy dose of Martin Scorsese thrown in for good measure). Full of entertaining anecdotes and excellent writing, and good insights into what Hollywood is versus what it might have been.
I really enjoyed this! It's a well-paced and witty look at the careers of and friendships between Francis Ford Coppola, George Lucas, and Steven Spielberg as they navigate trying to establish themselves in Hollywood (with a healthy dose of Martin Scorsese thrown in for good measure). Full of entertaining anecdotes and excellent writing, and good insights into what Hollywood is versus what it might have been.
February 28, 2026
The geniuses that gave this world so much are documented excellently here. A great read.
If only the film industry still operated like this.
If only the film industry still operated like this.
Review of advance copy received from Publisher
Paul Fischer’s The Last Kings of Hollywood is a deep, entertaining study of Francis Ford Coppola, George Lucas, and Steven Spielberg and their friendship that shaped and redefined Hollywood. This book is a great read if you want to get a ringside seat to toxic masculinity and also find yourself on a weeklong (or more) movie binder. The book focuses on the often-friendly competition between them and their films. For Coppola, the focus is rightly on The Godfather, but also on Apocalypse Now, which turns out to be one of the things that causes a rift in the friendship between him and Lucas. Spielberg’s story is hinged on Jaws and then Close Encounters of the Third Kind and E.T. the Extra-Terrestrial. George Lucas, as he always is and always will be, is defined by Star Wars. In rapid succession, each director finds massive success and breaks each other’s record achievement. First comes The Godfather’s record-breaking run, then Jaws shatters that, and next Star Wars does the same.
Writing only four hundred pages on Coppola, Spielberg, and Lucas had to have been a daunting task, but Fischer is also able to weave an entertaining cast of iconic secondary characters into the book. Never has Martin Scorsese been a minor character, but he comes in and out of the narrative throughout these pages as a tragic figure he is often joined by his constant collaborator, Robert DeNiro, who steps in to encourage and refocus Scorsese after a near death experience. Walter Murch, who was, according to Mike Kitchens, “the biggest mensch,” features heavily and is by the side of both Lucas and Coppola from the beginning. Robert Evans, the epitome of a greasy Hollywood producer, steps into the story to help get The Godfather made after loaning Mario Puzo to get the story written in the first place. Evans, a constant champion for the movie, bristled Coppola and found himself frozen out of the production of the sequel and locked out of the story from that point on, only to reappear at the end again with Mario Puzo to work with Coppola again on The Cotton Club, another failure in a string of failures that rocked Coppola’s life throughout the 80s. The cast of characters in this book is a who’s who of Hollywood from the 60s, 70s, and 80s and even has surprise cameos from the likes of David Lynch, Toshiro Mifune, Akira Kurosawa, Agnes Varda, and John Cassavetes. Running across these names is a real treat when it happens.
Two other secondary characters are writers Paul Schrader and Lucas’ USC classmate John Milius who feature heavily and are seen equally as geniuses and pariahs. About Milius and Schrader, Fischer writes, “Great men make things happen and didn’t stick around to sort out the rubble, but so did small fucked-up men. Milius and Schrader both had the propensity to think of themselves as the former, even when the acted like the latter.” I feel like this passage applies to many characters in this book and each man proves Fischer’s theory right more times than not.
The book follows the three filmmakers throughout their professional lives, but the focus is from 1968 through 1982. Fischer introduces each director with a succinct background of their upbringing and what inspired them to become filmmakers then moving to their starts in Hollywood and first big opportunities. Coppola is presented as the one who paved the way for both Lucas and Spielberg and Fischer rightly points out that Coppola is responsible for a lot of the early opportunities that Lucas received and like any good Godfather, Coppola does remember these favors, and they do come up again throughout the book.
Fischer does an excellent job of not only celebrating the great accomplishments of these men but also showing their weaknesses. Each one had flaws and personality issues that would lead to dark periods and struggles. Coppola’s is a need to be the most important man in the room. He is plagued by having to perform for people at all times and his extra-marital affairs eventually lead to his divorce from his wife, Ellie, but, in the end, he does not get the girl, his former babysitter Missy Mathison, she ends up with Harrison Ford and steps out of Coppola’s shadow to write E.T. with Spielberg. Lucas is plagued by doubts and the feeling of inferiority and always being in Coppola’s shadow. Even at a point in their lives where Lucas is clearly on top of the world and Coppola is down and out, he struggles with stepping out of the almost little brother role in the relationship. He even sees himself as inferior to Spielberg when he first meets him because Steven had already directed something and Lucas had not.
Coppola’s film studio, American Zoetrope, plays a significant role in the book. On a trip to Europe, Coppola meets filmmaker Mogens Skot Hansen who was the owner of the independent production company, Laterna Films. Hansen gifted Coppola a Zoetrope explaining that the meaning of the word was “wheel of life,” “movement of life,” or, Coppola’s favorite translation -- “life revolution,” Just as the studio is one of the defining issues in Coppola’s life I feel like the concept of the revolutions of life is just as important to all three men’s stories. The revolutions of life in this story is seen in the ebbs and flows of their careers, their love lives and in the cycles of jealousy and resentment they, mostly George and Francis, have for each other.
Each director wanted to break from the Hollywood studio system and be independent. Coppola fiercely wanted to be able to make personal films and throughout the book Fischer writes about ways Coppola continually had to settle or take jobs he did not want to just to fund his projects. People around Coppola thought that The Godfather an example of Francis selling out with Caleb Deschanel saying that he and others knew “Francis was selling out.” The inability to keep Zoetrope financially viable and do his personal projects led to disappointments in Coppola’s life. Fischer writes that “both resounding failure and overwhelming success lay character bare” and I think that is really what this book is about. Each director is faced with both extremes and handle those revolutions of life in vastly different ways.
Another example of these life revolutions in the books is the cycle that Fischer shows Hollywood itself go through from the mid-60s up until the mid-80s. The book begins with George Lucas coming into Hollywood as Jack Warner is leaving. Throughout the book the specter of the old Hollywood studios and Warner himself haunts the narrative. By the time Lucas and Spielberg are at the height of their powers the system they abhorred has found its way back in thanks to a consumer and greed is good culture led by Jack Warner’s informant during the McCarthy years who had then become president, Ronald Reagan. I think it is acceptable to quote movies in a review on a book about movies and one of my favorite lines is from Aaron Eckhart’s Harvey Dent in The Dark Knight where he says, “You either die a hero, or you live long enough to become the villain.” The three directors came together with a vision to be independent of the studio pictures and overreaching producers and executives that they had grown to despise but in the end both Coppola and Lucas struggled with becoming just that and Fischer presents the argument critics made at the time that the massive success of Spielberg and Lucas led to a rebirth of the kind of movies that they wanted to move away from. Michael Eisner, Barry Diller, and others are presented at about the halfway point as true villains and money men that only wanted franchise movies and their view of movies in Eisner’s own words were, “We have no obligation to make art. We have no obligation to make a statement. To make money is our only objective.”
In the end, Spielberg comes across the best of the trio. His Hollywood dreams come true, and he seemed able to resist the excess and ego that his contemporaries struggled with even though he had to overcome his own self-doubt. Coppola’s greed, ambition, and infidelity was, at times, off putting. It was relieving to see him come around at the end of the story and find a way to keep American Zoetrope alive and build the business around family instead of unbridled ambition. Lucas is portrayed as equally ambitious but also unsure of himself. He was enormously successful but struggled with being in Coppola’s footsteps.
I enjoyed every page of Fischer’s book and could easily read hundreds more. It is a trip through a great era of Hollywood told from the perspective of three of the greatest directors of all time and also a cautionary tale, like most success stories are. The only critique I have is also one of the things I loved most and that is the plethora of secondary characters. When there are so many characters it is often hard to keep them all straight and it is also a struggle to give them the space they need. The prime example of this is Marty Scorsese. We leave Marty at a pivotal point in his life and Fischer does not go back to him. I hope that a book on Scorsese and DeNiro is next up by Paul Fischer because I will read every word he writes.
Writing only four hundred pages on Coppola, Spielberg, and Lucas had to have been a daunting task, but Fischer is also able to weave an entertaining cast of iconic secondary characters into the book. Never has Martin Scorsese been a minor character, but he comes in and out of the narrative throughout these pages as a tragic figure he is often joined by his constant collaborator, Robert DeNiro, who steps in to encourage and refocus Scorsese after a near death experience. Walter Murch, who was, according to Mike Kitchens, “the biggest mensch,” features heavily and is by the side of both Lucas and Coppola from the beginning. Robert Evans, the epitome of a greasy Hollywood producer, steps into the story to help get The Godfather made after loaning Mario Puzo to get the story written in the first place. Evans, a constant champion for the movie, bristled Coppola and found himself frozen out of the production of the sequel and locked out of the story from that point on, only to reappear at the end again with Mario Puzo to work with Coppola again on The Cotton Club, another failure in a string of failures that rocked Coppola’s life throughout the 80s. The cast of characters in this book is a who’s who of Hollywood from the 60s, 70s, and 80s and even has surprise cameos from the likes of David Lynch, Toshiro Mifune, Akira Kurosawa, Agnes Varda, and John Cassavetes. Running across these names is a real treat when it happens.
Two other secondary characters are writers Paul Schrader and Lucas’ USC classmate John Milius who feature heavily and are seen equally as geniuses and pariahs. About Milius and Schrader, Fischer writes, “Great men make things happen and didn’t stick around to sort out the rubble, but so did small fucked-up men. Milius and Schrader both had the propensity to think of themselves as the former, even when the acted like the latter.” I feel like this passage applies to many characters in this book and each man proves Fischer’s theory right more times than not.
The book follows the three filmmakers throughout their professional lives, but the focus is from 1968 through 1982. Fischer introduces each director with a succinct background of their upbringing and what inspired them to become filmmakers then moving to their starts in Hollywood and first big opportunities. Coppola is presented as the one who paved the way for both Lucas and Spielberg and Fischer rightly points out that Coppola is responsible for a lot of the early opportunities that Lucas received and like any good Godfather, Coppola does remember these favors, and they do come up again throughout the book.
Fischer does an excellent job of not only celebrating the great accomplishments of these men but also showing their weaknesses. Each one had flaws and personality issues that would lead to dark periods and struggles. Coppola’s is a need to be the most important man in the room. He is plagued by having to perform for people at all times and his extra-marital affairs eventually lead to his divorce from his wife, Ellie, but, in the end, he does not get the girl, his former babysitter Missy Mathison, she ends up with Harrison Ford and steps out of Coppola’s shadow to write E.T. with Spielberg. Lucas is plagued by doubts and the feeling of inferiority and always being in Coppola’s shadow. Even at a point in their lives where Lucas is clearly on top of the world and Coppola is down and out, he struggles with stepping out of the almost little brother role in the relationship. He even sees himself as inferior to Spielberg when he first meets him because Steven had already directed something and Lucas had not.
Coppola’s film studio, American Zoetrope, plays a significant role in the book. On a trip to Europe, Coppola meets filmmaker Mogens Skot Hansen who was the owner of the independent production company, Laterna Films. Hansen gifted Coppola a Zoetrope explaining that the meaning of the word was “wheel of life,” “movement of life,” or, Coppola’s favorite translation -- “life revolution,” Just as the studio is one of the defining issues in Coppola’s life I feel like the concept of the revolutions of life is just as important to all three men’s stories. The revolutions of life in this story is seen in the ebbs and flows of their careers, their love lives and in the cycles of jealousy and resentment they, mostly George and Francis, have for each other.
Each director wanted to break from the Hollywood studio system and be independent. Coppola fiercely wanted to be able to make personal films and throughout the book Fischer writes about ways Coppola continually had to settle or take jobs he did not want to just to fund his projects. People around Coppola thought that The Godfather an example of Francis selling out with Caleb Deschanel saying that he and others knew “Francis was selling out.” The inability to keep Zoetrope financially viable and do his personal projects led to disappointments in Coppola’s life. Fischer writes that “both resounding failure and overwhelming success lay character bare” and I think that is really what this book is about. Each director is faced with both extremes and handle those revolutions of life in vastly different ways.
Another example of these life revolutions in the books is the cycle that Fischer shows Hollywood itself go through from the mid-60s up until the mid-80s. The book begins with George Lucas coming into Hollywood as Jack Warner is leaving. Throughout the book the specter of the old Hollywood studios and Warner himself haunts the narrative. By the time Lucas and Spielberg are at the height of their powers the system they abhorred has found its way back in thanks to a consumer and greed is good culture led by Jack Warner’s informant during the McCarthy years who had then become president, Ronald Reagan. I think it is acceptable to quote movies in a review on a book about movies and one of my favorite lines is from Aaron Eckhart’s Harvey Dent in The Dark Knight where he says, “You either die a hero, or you live long enough to become the villain.” The three directors came together with a vision to be independent of the studio pictures and overreaching producers and executives that they had grown to despise but in the end both Coppola and Lucas struggled with becoming just that and Fischer presents the argument critics made at the time that the massive success of Spielberg and Lucas led to a rebirth of the kind of movies that they wanted to move away from. Michael Eisner, Barry Diller, and others are presented at about the halfway point as true villains and money men that only wanted franchise movies and their view of movies in Eisner’s own words were, “We have no obligation to make art. We have no obligation to make a statement. To make money is our only objective.”
In the end, Spielberg comes across the best of the trio. His Hollywood dreams come true, and he seemed able to resist the excess and ego that his contemporaries struggled with even though he had to overcome his own self-doubt. Coppola’s greed, ambition, and infidelity was, at times, off putting. It was relieving to see him come around at the end of the story and find a way to keep American Zoetrope alive and build the business around family instead of unbridled ambition. Lucas is portrayed as equally ambitious but also unsure of himself. He was enormously successful but struggled with being in Coppola’s footsteps.
I enjoyed every page of Fischer’s book and could easily read hundreds more. It is a trip through a great era of Hollywood told from the perspective of three of the greatest directors of all time and also a cautionary tale, like most success stories are. The only critique I have is also one of the things I loved most and that is the plethora of secondary characters. When there are so many characters it is often hard to keep them all straight and it is also a struggle to give them the space they need. The prime example of this is Marty Scorsese. We leave Marty at a pivotal point in his life and Fischer does not go back to him. I hope that a book on Scorsese and DeNiro is next up by Paul Fischer because I will read every word he writes.
February 9, 2026
This seems to be a well researched history on the legends who created and directed some of the most well known movies in my lifetime. I knew nothing about these three beyond their movies. Coppola and Lucas. Lucas and Spielberg. Connected with each other beyond being contemporaries.
The least interesting part of this *very* interesting book had to do with their personal lives, but I do think it’s a critical part of understanding the men behind the myth.
I want to thank Celadon Books, Macmillan Audio, and NetGalley for the opportunity to listen to this audiobook in advance of its release.
The least interesting part of this *very* interesting book had to do with their personal lives, but I do think it’s a critical part of understanding the men behind the myth.
I want to thank Celadon Books, Macmillan Audio, and NetGalley for the opportunity to listen to this audiobook in advance of its release.
Review of advance copy received from Netgalley
My thanks to NetGalley and Celadon Books for an advance copy of this new book that looks at Hollywood in a period of change, when the studios were falling apart and a group of young men with a love for movies, a need to create and a love for independence, began to make movies that changed everything, for good and bad.
There have been many great directors in Hollywood, and some of them still working today. Few though have had the impact of three men in particular, dreamers, schemers, odd men out in many ways, but full of love and passion for cinema and all it can do. And a love of making money. One wanted to create a working space for artists to create, independent of the studios, a dream that died a few times. One saw the future of film being digital not celluloid, with the ability to make films with out sets, and even without actors, a dream for this director. And one was a mix of both, film being the one thing that helped him deal with the world, something he was very good at, and one that gave him peace. Francis Ford Coppola, George Lucas and Steven Spielberg, created blockbusters, and box office disasters, started studios, changed the way films were made, and how the studio worked. In The Last Kings of Hollywood: Coppola, Lucas, Spielberg—and the Battle for the Soul of American Cinema by Paul Fischer tells their story, along with a large supporting cast of friends, co-workers, lovers, haters, executives, sharing stories, sharing painful moments, and the art that was created.
The book begins with George Lucas entering Warner Brothers studios with no idea what he is going to do, or why he was going. Lucas was boy who grew up with a dream to race cars, and make movies. A life-altering crash changed one dream, and strengthened his resolve to create films that he wanted. A chance meeting with Francis Ford Coppola, a couple of years older, a director of movies, and a dreamer changed their lives. Both bonded on wanting to make films that meant something, leading to a dream of a studio of outsiders. If they only had a movie that made money to fund it. Behind them was Steven Spielberg, an outsider in many ways with a skill to make movies, a drive to succeed, and a wish to belong somewhere. Stuck in the dying days of the studio system, Spielberg became a friend to both men, learning from their mistakes as he started to make his career. While Coppola had Godfather, Lucas had American Graffiti, and with Stars in his eyes, Spielberg started a little movie about a shark. A movie that nearly killed him, but changed everything.
An excellent look at a dynamic period in Hollywood one that had films that were both art classics, and industry changing successes. Sometimes not in good ways. Fischer is a very good writer, making the story flow perfectly balanceing the many tales of the principal cast, with the many people who helped, loved and were left behind. Women are not treated well in this book, which is sad, for one can see if certain directors had paid attention to their wives, well things might have been different. Fischer has done a great job researching and interviewing people, and this is a real warts and all telling. One that I really enjoyed.
A book for fans of the directors and for those interested in movie history. Extremely well written, with a propulsive narrative that shares a lot of information, and stories about these people. Some disappointing stories, but a really good book. This is the third book by Fischer I have read and think this is his best. I can't wait to read the sequel, or whatever Fischer has planned next..
There have been many great directors in Hollywood, and some of them still working today. Few though have had the impact of three men in particular, dreamers, schemers, odd men out in many ways, but full of love and passion for cinema and all it can do. And a love of making money. One wanted to create a working space for artists to create, independent of the studios, a dream that died a few times. One saw the future of film being digital not celluloid, with the ability to make films with out sets, and even without actors, a dream for this director. And one was a mix of both, film being the one thing that helped him deal with the world, something he was very good at, and one that gave him peace. Francis Ford Coppola, George Lucas and Steven Spielberg, created blockbusters, and box office disasters, started studios, changed the way films were made, and how the studio worked. In The Last Kings of Hollywood: Coppola, Lucas, Spielberg—and the Battle for the Soul of American Cinema by Paul Fischer tells their story, along with a large supporting cast of friends, co-workers, lovers, haters, executives, sharing stories, sharing painful moments, and the art that was created.
The book begins with George Lucas entering Warner Brothers studios with no idea what he is going to do, or why he was going. Lucas was boy who grew up with a dream to race cars, and make movies. A life-altering crash changed one dream, and strengthened his resolve to create films that he wanted. A chance meeting with Francis Ford Coppola, a couple of years older, a director of movies, and a dreamer changed their lives. Both bonded on wanting to make films that meant something, leading to a dream of a studio of outsiders. If they only had a movie that made money to fund it. Behind them was Steven Spielberg, an outsider in many ways with a skill to make movies, a drive to succeed, and a wish to belong somewhere. Stuck in the dying days of the studio system, Spielberg became a friend to both men, learning from their mistakes as he started to make his career. While Coppola had Godfather, Lucas had American Graffiti, and with Stars in his eyes, Spielberg started a little movie about a shark. A movie that nearly killed him, but changed everything.
An excellent look at a dynamic period in Hollywood one that had films that were both art classics, and industry changing successes. Sometimes not in good ways. Fischer is a very good writer, making the story flow perfectly balanceing the many tales of the principal cast, with the many people who helped, loved and were left behind. Women are not treated well in this book, which is sad, for one can see if certain directors had paid attention to their wives, well things might have been different. Fischer has done a great job researching and interviewing people, and this is a real warts and all telling. One that I really enjoyed.
A book for fans of the directors and for those interested in movie history. Extremely well written, with a propulsive narrative that shares a lot of information, and stories about these people. Some disappointing stories, but a really good book. This is the third book by Fischer I have read and think this is his best. I can't wait to read the sequel, or whatever Fischer has planned next..
February 15, 2026
The first commercial public film screening took place in 1895. Now, over a century and a quarter later, the movie industry has gone through remarkable and beneficial changes in business structure and has achieved technological advancements revolutionizing films. They are making not just works of art, but substantial amounts of money as well. How these two goals will coexist cannot be predicted with any certainty. However, the state of the industry, to paraphrase Winston Churchill, is not at the end or even at the beginning of the end. But it certainly could be at the end of the beginning.
THE LAST KINGS OF HOLLYWOOD revolves around three enormously gifted men who somehow were able to convince the film industry to accept their artistic talent in ways that previously had not been standard practice. George Lucas, Francis Ford Coppola and Steven Spielberg would be responsible for Star Wars, The Godfather and Jaws, three of the highest grossing movies of the 1970s. Lucas and Star Wars have become a freestanding film enterprise, resulting in sequels, prequels, spin-offs and a worldwide culture. Spielberg and Coppola are not far behind.
Through exhaustive research and interviews, Paul Fischer has documented how the trio began their journeys as directors, while at the same time becoming friends. This is a wonderful story of how Hollywood was transformed from a studio-run enterprise to an era of individually created independent blockbusters.
In 1967, Lucas and Coppola started working together at Warner Brothers. Lucas, a young film student graduate, assisted Coppola, whose first movie for the studio was Finian’s Rainbow, a musical starring Fred Astaire. The two soon departed and opened their own independent studio, American Zoetrope.
Spielberg got his start at Universal Studios. He was more conservative at the beginning and chose the security of a lengthy contract that included working on television shows. In fact, he directed the premiere episode of the long-running Peter Falk series “Columbo.” He ended up lobbying studio executives for the chance to direct Jaws, which was based on the bestselling novel by Peter Benchley. The movie was a huge success and launched Spielberg’s career.
This book would not be complete without a detailed discussion of the three films that brought Lucas, Coppola and Spielberg to the top of their profession, as well as their numerous other movies. For fans who want specifics about how some of the greatest modern films came to the screen, Fischer has produced an enjoyable and enlightening reading experience.
Present-day Hollywood is vastly different from the studio era that, despite its shortcomings, still had enough talent to create many of the classic movies that occasionally still appear in theaters and are available on streaming services. Fischer expresses concern over the industry’s changes and current financial structure.
THE LAST KINGS OF HOLLYWOOD concludes with details regarding the difficulties of Lucas, Coppola and Spielberg in the years after their great successes while observing that their films live on. It is a much-deserved tribute to their work and achievements, masterfully depicted in this exceptional biography.
Reviewed by Stuart Shiffman
THE LAST KINGS OF HOLLYWOOD revolves around three enormously gifted men who somehow were able to convince the film industry to accept their artistic talent in ways that previously had not been standard practice. George Lucas, Francis Ford Coppola and Steven Spielberg would be responsible for Star Wars, The Godfather and Jaws, three of the highest grossing movies of the 1970s. Lucas and Star Wars have become a freestanding film enterprise, resulting in sequels, prequels, spin-offs and a worldwide culture. Spielberg and Coppola are not far behind.
Through exhaustive research and interviews, Paul Fischer has documented how the trio began their journeys as directors, while at the same time becoming friends. This is a wonderful story of how Hollywood was transformed from a studio-run enterprise to an era of individually created independent blockbusters.
In 1967, Lucas and Coppola started working together at Warner Brothers. Lucas, a young film student graduate, assisted Coppola, whose first movie for the studio was Finian’s Rainbow, a musical starring Fred Astaire. The two soon departed and opened their own independent studio, American Zoetrope.
Spielberg got his start at Universal Studios. He was more conservative at the beginning and chose the security of a lengthy contract that included working on television shows. In fact, he directed the premiere episode of the long-running Peter Falk series “Columbo.” He ended up lobbying studio executives for the chance to direct Jaws, which was based on the bestselling novel by Peter Benchley. The movie was a huge success and launched Spielberg’s career.
This book would not be complete without a detailed discussion of the three films that brought Lucas, Coppola and Spielberg to the top of their profession, as well as their numerous other movies. For fans who want specifics about how some of the greatest modern films came to the screen, Fischer has produced an enjoyable and enlightening reading experience.
Present-day Hollywood is vastly different from the studio era that, despite its shortcomings, still had enough talent to create many of the classic movies that occasionally still appear in theaters and are available on streaming services. Fischer expresses concern over the industry’s changes and current financial structure.
THE LAST KINGS OF HOLLYWOOD concludes with details regarding the difficulties of Lucas, Coppola and Spielberg in the years after their great successes while observing that their films live on. It is a much-deserved tribute to their work and achievements, masterfully depicted in this exceptional biography.
Reviewed by Stuart Shiffman
Review of advance copy received from Edelweiss+
Thanks to Celadon Books, Macmillan Audio, Paul Fischer (author), Edelweiss, and Libro.fm for providing an advance digital copy and advance listening copy of The Last Kings of Hollywood (narrated by Shaun Taylor-Corbett). Their generosity did not influence my review in any way.
My dad wasn’t an affectionate person. Time spent with him was precious for us, and we (his 3 children) made sure to be as good as possible on outings so we would be allowed to do more cool things with him. He loved films and loved going to the cinema. When I was 7 and my sisters were 10 and 6, dad decided we were well-behaved enough to accompany him to our local cinema to see the big deal film he had been anticipating for 3 years. We were determined to be the best good girls ever, even though we had only been to the cinema twice before and that was for The Muppet Movie two weekends in a row. (I mean, The Rainbow Connection and one of the greatest love stories ever told with Kermit and Miss Piggy, am I right?) Anyway, we three sisters got our drinks and big popcorn to share, settled down in a crowded theater, and prepared to be serious film watchers. Or at least succeed at not being obnoxious and annoying. Two hours later, our popcorn was barely eaten, our jaws were on the floor, and we knew we had just experienced an amazing time with dad we would never forget. We didn’t know until later, though, that The Empire Strikes Back would become one of the biggest films of all time.
My childhood was the best time for movies, and I’m being serious about that. The three young friends featured in this really great book —Francis Ford Coppola, George Lucas, and Steven Spielberg—revolutionized American cinema, creating the most iconic films in history during the 1970s and 1980s while risking everything doing it their own way instead of the old way, the “movie studio way”. After that first movie trip with our dad, we also got to go see others including movies from these men like Return of the Jedi, the Indiana Jones films, E.T., The Outsiders, Labyrinth, Gremlins, The Goonies, Back to the Future, and even an all day marathon including the two films we missed when The Godfather III came out. Coppola, Lucas, and Spielberg are a huge part of my childhood and the memories I keep of my dad. If by some weird chance they ever read this, I’d like to say thank you for these films that made me love science and history and space and archaeology, and for teaching me empathy by showing me life through the eyes of others. And thank you for time well spent with loved ones.
So much work went into this book. Hundreds of interviews were conducted, hundreds of articles and essays were researched and referenced, and everything is footnoted. People over 45, movie buffs, and students interested in any aspect of the film industry would especially enjoy the book but I’d recommend it to pretty much anyone. The ebook and audiobook were both great.
My dad wasn’t an affectionate person. Time spent with him was precious for us, and we (his 3 children) made sure to be as good as possible on outings so we would be allowed to do more cool things with him. He loved films and loved going to the cinema. When I was 7 and my sisters were 10 and 6, dad decided we were well-behaved enough to accompany him to our local cinema to see the big deal film he had been anticipating for 3 years. We were determined to be the best good girls ever, even though we had only been to the cinema twice before and that was for The Muppet Movie two weekends in a row. (I mean, The Rainbow Connection and one of the greatest love stories ever told with Kermit and Miss Piggy, am I right?) Anyway, we three sisters got our drinks and big popcorn to share, settled down in a crowded theater, and prepared to be serious film watchers. Or at least succeed at not being obnoxious and annoying. Two hours later, our popcorn was barely eaten, our jaws were on the floor, and we knew we had just experienced an amazing time with dad we would never forget. We didn’t know until later, though, that The Empire Strikes Back would become one of the biggest films of all time.
My childhood was the best time for movies, and I’m being serious about that. The three young friends featured in this really great book —Francis Ford Coppola, George Lucas, and Steven Spielberg—revolutionized American cinema, creating the most iconic films in history during the 1970s and 1980s while risking everything doing it their own way instead of the old way, the “movie studio way”. After that first movie trip with our dad, we also got to go see others including movies from these men like Return of the Jedi, the Indiana Jones films, E.T., The Outsiders, Labyrinth, Gremlins, The Goonies, Back to the Future, and even an all day marathon including the two films we missed when The Godfather III came out. Coppola, Lucas, and Spielberg are a huge part of my childhood and the memories I keep of my dad. If by some weird chance they ever read this, I’d like to say thank you for these films that made me love science and history and space and archaeology, and for teaching me empathy by showing me life through the eyes of others. And thank you for time well spent with loved ones.
So much work went into this book. Hundreds of interviews were conducted, hundreds of articles and essays were researched and referenced, and everything is footnoted. People over 45, movie buffs, and students interested in any aspect of the film industry would especially enjoy the book but I’d recommend it to pretty much anyone. The ebook and audiobook were both great.
February 27, 2026
When I first heard about The Last Kings of Hollywood, it immediately became a pre-order and one of my most anticipated reads of the year. I’ve always loved books that tell the stories behind the movies I grew up watching, and this one explores the fascinating relationships between Francis Ford Coppola, George Lucas, Steven Spielberg, and Martin Scorsese during the rise of New Hollywood in the 1970s.
The book opens with a young George Lucas arriving at Warner Bros. for an internship after winning a student film award for THX. There he meets Francis Ford Coppola, who quickly becomes something like an older brother and mentor to Lucas. That relationship becomes the emotional backbone of the book. Fischer shows how Coppola initially helped launch Lucas’s career, but as Lucas found massive success with American Graffiti, Star Wars, and Indiana Jones, tensions developed between the two. Coppola often saw Lucas as the “little brother,” while Lucas increasingly viewed them as equals.
Fischer also traces the rise of Steven Spielberg, who famously couldn’t get into film school but managed to impress Universal executives with his short film Amblin, landing a seven-year directing contract. Alongside Coppola, Lucas, Scorsese, and Brian De Palma, Spielberg became part of the new generation of filmmakers who transformed Hollywood in the 1970s.
One of the most fascinating parts of the story is the founding of American Zoetrope, the independent studio Coppola and Lucas created in San Francisco in an attempt to escape the Hollywood system. Their dream of independence quickly collided with financial reality, eventually pushing Coppola to take on what he initially didn’t want to direct: The Godfather. Ironically, that film would become one of the most important movies ever made.
While the book covers all four filmmakers, it leans most heavily into Coppola’s life—his creative ambition, financial struggles, personal relationships, and eventual tragedies, including the loss of his son Gian-Carlo. Fischer paints Coppola as both brilliant and deeply flawed, and by the end of the book you find yourself sympathizing with him in ways you might not expect early on.
George Lucas acts as the connective thread tying the story together. We see his struggle to get Star Wars made, his growing frustration with the franchise during Return of the Jedi, and how his personal life—especially the collapse of his marriage—shaped his darker storytelling during the Indiana Jones era.
My only real criticism is that the ending feels a bit rushed. The book concludes around Lucas’s divorce, and I would have loved a little more discussion about how Lucas and Spielberg continued to shape Hollywood into the 21st century.
Still, this is a fantastic look at the friendships, rivalries, and ambitions that helped reshape the film industry. If you enjoy behind-the-scenes stories about filmmaking and the rise of modern Hollywood, this book is absolutely worth reading.
The book opens with a young George Lucas arriving at Warner Bros. for an internship after winning a student film award for THX. There he meets Francis Ford Coppola, who quickly becomes something like an older brother and mentor to Lucas. That relationship becomes the emotional backbone of the book. Fischer shows how Coppola initially helped launch Lucas’s career, but as Lucas found massive success with American Graffiti, Star Wars, and Indiana Jones, tensions developed between the two. Coppola often saw Lucas as the “little brother,” while Lucas increasingly viewed them as equals.
Fischer also traces the rise of Steven Spielberg, who famously couldn’t get into film school but managed to impress Universal executives with his short film Amblin, landing a seven-year directing contract. Alongside Coppola, Lucas, Scorsese, and Brian De Palma, Spielberg became part of the new generation of filmmakers who transformed Hollywood in the 1970s.
One of the most fascinating parts of the story is the founding of American Zoetrope, the independent studio Coppola and Lucas created in San Francisco in an attempt to escape the Hollywood system. Their dream of independence quickly collided with financial reality, eventually pushing Coppola to take on what he initially didn’t want to direct: The Godfather. Ironically, that film would become one of the most important movies ever made.
While the book covers all four filmmakers, it leans most heavily into Coppola’s life—his creative ambition, financial struggles, personal relationships, and eventual tragedies, including the loss of his son Gian-Carlo. Fischer paints Coppola as both brilliant and deeply flawed, and by the end of the book you find yourself sympathizing with him in ways you might not expect early on.
George Lucas acts as the connective thread tying the story together. We see his struggle to get Star Wars made, his growing frustration with the franchise during Return of the Jedi, and how his personal life—especially the collapse of his marriage—shaped his darker storytelling during the Indiana Jones era.
My only real criticism is that the ending feels a bit rushed. The book concludes around Lucas’s divorce, and I would have loved a little more discussion about how Lucas and Spielberg continued to shape Hollywood into the 21st century.
Still, this is a fantastic look at the friendships, rivalries, and ambitions that helped reshape the film industry. If you enjoy behind-the-scenes stories about filmmaking and the rise of modern Hollywood, this book is absolutely worth reading.
Review of advance copy received from Netgalley
While I'm far from a serious film buff, I found this both entertaining and quite informative. I have to admit that I've never given much thought to what shaped them. That they would know each other was certainly a natural assumption given the nature of the industry, though I never realized they met before fame really found any of them. Even more fascinating was reading about their initial, not necessarily well-formed concepts that led to their most memorable work. And, while I had some vague memory of Lucas being involved in a car wreck, I had no idea how much influence that would have. Same with Spielberg being bullied in school or Coppola's personal struggles with his health and being unable to walk for nearly a year while surrounded by a family of, let's call them, over achievers. Nor did I know who his roommate at UCLA was. Nope, not telling. You'll have to read the book. Grin. Needless to say, Spielberg's Jewish roots should have been a hint to us of where it would take him for one of his most remarkable movies and, no, not the one with the shark. Grin.
So, young and ambitious, struggling for recognition and success, while also chaffing under the then restrictions of film making, they met and became friends. Of course, they were also competitors with all that would mean, but the three of them certain changed movies as we knew them. I still remember leaving the theater after seeing Star Wars repeatedly mumbling "Wow!", totally blown away. While I never quite warmed up to Coppola, I certainly could appreciate the likes of The Godfather and know I've been surprised to see his association with movies like The Outsiders. Even more amazing, to read how long he'd pondered a war movie that ultimately became Apocalypse Now. Wonder how many avoided the beach after Spielberg's Jaws, while shaken by Schiendler's List? Or fell hard for Harrison Ford as Indiana Jones? Obviously I could rattle on endlessly but I'm reluctant to reveal too much because it all rather builds on each part. The comings together and apart and the reasons for it are all intriguing and give us insight into not just these three talents but movie making in general, too, so I want you to get the full scope as it builds.
Bottom line, I obviously thoroughly enjoyed this read. How they became friends and motivated and challenged each other was thought provoking. You'll get some intriguing behind the scenes looks at their movies, of course, a real perk. Thanks #CeladonBooks for this early look at an intriguing book that, shh, I honestly didn't expect to enjoy as much as I did. Amazing to see how serendipity played such a role, too, from childhood trauma and events to the red carpet as they changed how we though of movies.
So, young and ambitious, struggling for recognition and success, while also chaffing under the then restrictions of film making, they met and became friends. Of course, they were also competitors with all that would mean, but the three of them certain changed movies as we knew them. I still remember leaving the theater after seeing Star Wars repeatedly mumbling "Wow!", totally blown away. While I never quite warmed up to Coppola, I certainly could appreciate the likes of The Godfather and know I've been surprised to see his association with movies like The Outsiders. Even more amazing, to read how long he'd pondered a war movie that ultimately became Apocalypse Now. Wonder how many avoided the beach after Spielberg's Jaws, while shaken by Schiendler's List? Or fell hard for Harrison Ford as Indiana Jones? Obviously I could rattle on endlessly but I'm reluctant to reveal too much because it all rather builds on each part. The comings together and apart and the reasons for it are all intriguing and give us insight into not just these three talents but movie making in general, too, so I want you to get the full scope as it builds.
Bottom line, I obviously thoroughly enjoyed this read. How they became friends and motivated and challenged each other was thought provoking. You'll get some intriguing behind the scenes looks at their movies, of course, a real perk. Thanks #CeladonBooks for this early look at an intriguing book that, shh, I honestly didn't expect to enjoy as much as I did. Amazing to see how serendipity played such a role, too, from childhood trauma and events to the red carpet as they changed how we though of movies.
February 17, 2026
First, let me say thank you to Celadon Books for the Advance Reading Copy of The Last Kings of Hollywood and the Battle for the Soul of American Cinema!
Let me also say that I'm the person that rarely comes across of book he doesn't like, but then there was this one, which I'd looked forward to reading since it's about movies from a time period during which I was growing up, but ultimately this book ended up being a disappointment.
The problems with this book began with the cover, which shows the three film makers standing side by side. Below each of them is a name but not that specific person's name. Coppola, someone whose picture I'd never seen, appears below Spielberg, whom I recognized. The name Spielberg appears below the picture of George Lucas. Though this may seem a minor quibble, it actually epitomizes the overall problem with the entire book—it misrepresents the subjects and leaves us feeling cheated out of any genuine insight about who they are and how they came to create such memorable films. Nobody will be surprised by the numerous examples of the excesses of Hollywood: the drinking and drugging; the pettiness of credits, percentages and money; the infidelities and destruction of marriages and friendships. Honestly, we've heard all of that. What this book leaves one wondering is if these people had any redeeming qualities other than making money, obtaining prestige and power? Because it's not portrayed in this book. Clearly the author included the details that were important to him and relished relating every salacious detail of what was wrong with these people, and ignoring or brushing over what was right about them.
There are some really interesting details about each film maker here and there—and some about other big Hollywood names, as well—that could have been delved into but instead were left untapped, but at least they were there. So, the book wasn't a total dud. If the nonsense was taken out and the really interesting points were expanded on, this would have been a great book. One final complaint is that the narrative was choppy throughout the book and the prose sometimes confusing, making it a difficult read. In fairness, these type of books must be a challenge to write as there are three different stories developing at the same time and often interweaving as each film maker strove to develop their work and achieve success.
I was expecting this to be a human narrative that would mirror the core of the movies that Spielberg, Lucas and Coppola created—a firmly seated human treatment of people who, though flawed, were also good, kind, giving, and passionate about raising film making to a higher, more artistic plateau, and it's unfortunate that the readers won't gain that type of insight from this volume.
Let me also say that I'm the person that rarely comes across of book he doesn't like, but then there was this one, which I'd looked forward to reading since it's about movies from a time period during which I was growing up, but ultimately this book ended up being a disappointment.
The problems with this book began with the cover, which shows the three film makers standing side by side. Below each of them is a name but not that specific person's name. Coppola, someone whose picture I'd never seen, appears below Spielberg, whom I recognized. The name Spielberg appears below the picture of George Lucas. Though this may seem a minor quibble, it actually epitomizes the overall problem with the entire book—it misrepresents the subjects and leaves us feeling cheated out of any genuine insight about who they are and how they came to create such memorable films. Nobody will be surprised by the numerous examples of the excesses of Hollywood: the drinking and drugging; the pettiness of credits, percentages and money; the infidelities and destruction of marriages and friendships. Honestly, we've heard all of that. What this book leaves one wondering is if these people had any redeeming qualities other than making money, obtaining prestige and power? Because it's not portrayed in this book. Clearly the author included the details that were important to him and relished relating every salacious detail of what was wrong with these people, and ignoring or brushing over what was right about them.
There are some really interesting details about each film maker here and there—and some about other big Hollywood names, as well—that could have been delved into but instead were left untapped, but at least they were there. So, the book wasn't a total dud. If the nonsense was taken out and the really interesting points were expanded on, this would have been a great book. One final complaint is that the narrative was choppy throughout the book and the prose sometimes confusing, making it a difficult read. In fairness, these type of books must be a challenge to write as there are three different stories developing at the same time and often interweaving as each film maker strove to develop their work and achieve success.
I was expecting this to be a human narrative that would mirror the core of the movies that Spielberg, Lucas and Coppola created—a firmly seated human treatment of people who, though flawed, were also good, kind, giving, and passionate about raising film making to a higher, more artistic plateau, and it's unfortunate that the readers won't gain that type of insight from this volume.
February 13, 2026
Francis Ford Coppola, George Lucas, Steven Spielberg. If you are a movie buff these are three of the most famous names in Hollywood. But as young men first Francis then George and finally Steven broke the stale mode with new and exciting films. They all came from university film schools and the friends wanted control. They all dreamed big. Sometimes those dreams were wisps, attainable for a while and then vanishing. Other times there was great bounty.
Francis in particular was impulsive and extravagant . He would see a number of his big ideas crumble in the reality of filmmaking as a business. But when he was on fire, he made some wonderful and profitable movies. George was more cautious and while he, like so many big names today, he followed behind Francis until he felt he needed to go in a different directions. Whether by intent or accident, he made much better business decisions and was able to translate his successes into financial bounty. He also understood how the digital world would change everything again. Steven decided a slightly safer and different route but he too made the studio system work for him. He parlayed his talent into his own playground.
At one time, all had the biggest grossing movies of all time in the 1970s and 80s. More than once for George and Steven. But with all the success, they were all tortured and damaged souls. They often self flagellated as their demons got the better of them. They knew what they wanted but it was often elusive. They tapped into what the public wanted and they knew how to deliver it. While all of them dreamt in their youth of making small independent films, ironically they created the blockbuster with their franchises.
The book is really interesting as it cuts back and forth from each of the three, often as supporting characters in each other’s lives. It shows them warts and all and some of them had some pretty egregious warts. It read like a who’s who of movies of the 1970s and 80’s within the incestuous community they built. Overall it is an entertaining read about three Kings. There can be no doubt of the impact they had on audiences everywhere.
Their movies still rate amongst the all time favourites of many.
Four purrs and two paws up.
Francis in particular was impulsive and extravagant . He would see a number of his big ideas crumble in the reality of filmmaking as a business. But when he was on fire, he made some wonderful and profitable movies. George was more cautious and while he, like so many big names today, he followed behind Francis until he felt he needed to go in a different directions. Whether by intent or accident, he made much better business decisions and was able to translate his successes into financial bounty. He also understood how the digital world would change everything again. Steven decided a slightly safer and different route but he too made the studio system work for him. He parlayed his talent into his own playground.
At one time, all had the biggest grossing movies of all time in the 1970s and 80s. More than once for George and Steven. But with all the success, they were all tortured and damaged souls. They often self flagellated as their demons got the better of them. They knew what they wanted but it was often elusive. They tapped into what the public wanted and they knew how to deliver it. While all of them dreamt in their youth of making small independent films, ironically they created the blockbuster with their franchises.
The book is really interesting as it cuts back and forth from each of the three, often as supporting characters in each other’s lives. It shows them warts and all and some of them had some pretty egregious warts. It read like a who’s who of movies of the 1970s and 80’s within the incestuous community they built. Overall it is an entertaining read about three Kings. There can be no doubt of the impact they had on audiences everywhere.
Their movies still rate amongst the all time favourites of many.
Four purrs and two paws up.
February 1, 2026
Since the mid-70s films have been dominated by the blockbuster racking in millions of dollars at the box office. Those blockbusters have been made by three of the the biggest names in Hollywood now. But they were the new kids on the block back then. The Last Kings of Hollywood by Paul Fischer tells their story.
I’ve been a fan since “American Graffitti” in 1973 and “Jaws” in 1975. In my college days, I was not into the blood and gore of “The Godfather” in 1972, but did finally watch the series of films later in life. Same with “Taxi Driver” as Fischer does detail some of Scorsese’s beginnings and troubles. All four directors would cross paths and become friends as did the people that worked for them would also. That was something I did not know much about until reading this book.
Fischer writes a remarkably detailed history of these four directors from the college graduation and how they got started to the 1990s. My favorite films are all of them. I was thrilled to see documented proof that there were originally 12 stories in the Star Wars series but Lucas had decided to cut three stories. I had always remembered 12 as the number and then later nine, but could not locate the article I had read that in. Most of the history detailed in the book I knew as I followed Spielberg and Lucas in the press as much as a fan boy like me was able to.
I think what I most liked about the book was that it brought back that feeling of being alive during a highly popular era for films, a very personal feeling even I had lost growing up in a dysfunctional family. Reading this book was like reliving those years. Fischer’s book was an easy read and very enjoyable filled with comments from many people involved with the directors and the people that worked for them on the films that made them a household name. Reading this book was like reliving the excitement I had during those years. An absolute good read!
@CeladoBooks #CeladonBooks #LastKingsofHollywood
Fischer writes a remarkably detailed history of these four directors from the college graduation and how they got started to the 1990s. My favorite films are all of them. I was thrilled to see documented proof that there were originally 12 stories in the Star Wars series but Lucas had decided to cut three stories. I had always remembered 12 as the number and then later nine, but could not locate the article I had read that in. Most of the history detailed in the book I knew as I followed Spielberg and Lucas in the press as much as a fan boy like me was able to.
I think what I most liked about the book was that it brought back that feeling of being alive during a highly popular era for films, a very personal feeling even I had lost growing up in a dysfunctional family. Reading this book was like reliving those years. Fischer’s book was an easy read and very enjoyable filled with comments from many people involved with the directors and the people that worked for them on the films that made them a household name. Reading this book was like reliving the excitement I had during those years. An absolute good read!
@CeladoBooks #CeladonBooks #LastKingsofHollywood
Review of advance copy received from Netgalley
The Last Kings of Hollywood is a tale about the early days of the three directors on the cover (Coppola, Lucas, Spielberg), as well as others also then coming along (Scorsese and De Palma). As someone just seeing for the first time some of the pre-blockbuster movies of the 1970’s, it was great fun learning the behind-the-scenes stories about their obstacles to completing their films, as well as their personal goals, business ventures and collaborations.
As you would expect the book tells many stories from the making of their early great works, (The Godfather, Jaws, Star Wars, Apocalypse Now and Raiders of the Lost Ark). Equally fun to me though were the stories of other films I had forgotten or never knew, such as The Sugarland Express, Alice Doesn’t Live Here Anymore, Mean Streets and Raging Bull. While these stories were the initial draw for me, I found myself engaged with learning more about the directors' personalities. Reading about Coppola in the 1970’s, for example, made it easier for me to understand how he ended up announcing he was personally broke following the release of the recent flop Megalopolis.
There are also interesting stories about the actors who were frequently associated with these directors, such as Robert De Niro, Richard Dreyfuss and Harrison Ford. The stories about Harrison Ford’s early days were a highlight.
One disappointment for me resulting from reading the book is that there are four or five movies I am now wanting to see which do not seem to be streaming for free anywhere I have looked.
Shaun Taylor-Corbett is narrator of the audiobook of The Last Kings of Hollywood. Whereas I remember enjoying his performance in The Only Good Indians, in this case, I left that he neither added to, nor distracted from, the material. I listened at a 1.25 speed.
Thanks to Macmillan Audio and NetGalley for providing me the opportunity to read The Last Kings of Hollywood. The above opinions are my own.
As you would expect the book tells many stories from the making of their early great works, (The Godfather, Jaws, Star Wars, Apocalypse Now and Raiders of the Lost Ark). Equally fun to me though were the stories of other films I had forgotten or never knew, such as The Sugarland Express, Alice Doesn’t Live Here Anymore, Mean Streets and Raging Bull. While these stories were the initial draw for me, I found myself engaged with learning more about the directors' personalities. Reading about Coppola in the 1970’s, for example, made it easier for me to understand how he ended up announcing he was personally broke following the release of the recent flop Megalopolis.
There are also interesting stories about the actors who were frequently associated with these directors, such as Robert De Niro, Richard Dreyfuss and Harrison Ford. The stories about Harrison Ford’s early days were a highlight.
One disappointment for me resulting from reading the book is that there are four or five movies I am now wanting to see which do not seem to be streaming for free anywhere I have looked.
Shaun Taylor-Corbett is narrator of the audiobook of The Last Kings of Hollywood. Whereas I remember enjoying his performance in The Only Good Indians, in this case, I left that he neither added to, nor distracted from, the material. I listened at a 1.25 speed.
Thanks to Macmillan Audio and NetGalley for providing me the opportunity to read The Last Kings of Hollywood. The above opinions are my own.
February 24, 2026
The Last Kings of Hollywood: Coppola, Lucas, Spielberg—and the Battle for the Soul of American Cinema by Paul Fischer offers a detailed, behind-the-scenes look at how three visionary filmmakers, Francis Ford Coppola, George Lucas, and Steven Spielber helped transform Hollywood in the late 1960s through the early 1980s. The book chronicles their early careers, friendships, rivalries, and successes, starting from when the old studio system was crumbling and these young directors seized the chance to make personal, director-driven films. It covers iconic milestones like Coppola's The Godfather, Spielberg's Jaws and E.T., and Lucas's Star Wars, while also touching on Martin Scorsese and others.
Packed with facts, figures, and stories about how well-known actors and filmmakers got their starts. It contains a lot of interesting industry history and insider details. I found the content very informative and engaging—there's a lot here that cinephiles will appreciate about the shift from studio control to blockbuster independence and the personal dreams driving these creators. That said, the book felt overly long and drawn out at times. Some chapters dragged, and I ended up skimming or glossing over sections just to keep momentum. Additionally, the frequent references to George Lucas's obscure early film THX 1138 (which I knew nothing about going in) became a bit irritating, as they popped up repeatedly without enough context for casual readers.
Overall, it's a solid, well-researched read with plenty of value if you're into film history, but the pacing and length kept it from being a compelling page-turner for me. Worth it for the insights, but not a quick or effortless one. Three stars.
I was invited to read a DRC from Celadon Books through NetGalley. This review is my own and reflects my honest thoughts and opinions.
Packed with facts, figures, and stories about how well-known actors and filmmakers got their starts. It contains a lot of interesting industry history and insider details. I found the content very informative and engaging—there's a lot here that cinephiles will appreciate about the shift from studio control to blockbuster independence and the personal dreams driving these creators. That said, the book felt overly long and drawn out at times. Some chapters dragged, and I ended up skimming or glossing over sections just to keep momentum. Additionally, the frequent references to George Lucas's obscure early film THX 1138 (which I knew nothing about going in) became a bit irritating, as they popped up repeatedly without enough context for casual readers.
Overall, it's a solid, well-researched read with plenty of value if you're into film history, but the pacing and length kept it from being a compelling page-turner for me. Worth it for the insights, but not a quick or effortless one. Three stars.
I was invited to read a DRC from Celadon Books through NetGalley. This review is my own and reflects my honest thoughts and opinions.
Review of advance copy received from Publisher
This was an engaging and fascinating book. Coincidence and proximity brought Steven Spielberg, George Lucas and Francis Coppola into contact with one another, shaping their relationships and their careers. The author did an excellent job of depicting the personalities and motivations of the three. They were not happy with the old Hollywood system; they wanted to make artistic films that appealed to their sensibilities. The desire to be ‘free’ of Old Hollywood was a major motivator for each titan, and their dreams of independence played a significant role in business decisions, often causing them to make foolhardy investments. I really enjoyed learning about the film industry of the time, and how older entertainment executives were accustomed to having control over so many aspects of a film’s creation and distribution. The book highlighted the struggles the directors faced as they tried to get their movies made, scrounging up financing and haggling with movie studios for every bit of ownership and creative control they could retain. The author also interweaves the personal relationships and crises of each titan, showing how marriages, affairs, colleagues and world events influenced their choices. This book is also an interesting look into the chaos of filmmaking, how directors are constantly having to adapt to problems on set, field demands and criticism from executives, and balance their artistic vision and the realities of their situation. If you like movies, history, the directors, or even just love a good biography, I would absolutely recommend this book!
Review of advance copy received from Netgalley
Fascinating, fact-filled study of how three men became friends and rivals. The movie studios were weakening, and these men wanted to be free of their restrictions. Starting in the early 70s and continuing into the 80s, they revolutionized movies. with blockbusters that drew crowds and earned critical acclaim. Coppola released The Godfather, a major crowd-pleaser that achieved strong box office attendance and critical acclaim. It was next surpassed by Spielberg's Jaws, and then by Star Wars by George Lucas. Each director followed up with popular sequels and other films of various types, such as Spielberg's serious award-winning Schindler's List. They are still prominent as directors/ producers today. Although the quality is maintained, I do not anticipate huge lineups at theatres. Other popular, talented directors, such as Martin Scorsese, are prominently mentioned in the book
During COVID, people stayed home, and the gap was eventually filled by TV. Movies on demand to rent or own, or on streaming Channels arrived. Many realized, to their surprise, that they enjoyed watching current movies on the small screen in the comfort of their home. It is already possible to watch all the Oscar-nominated movies on television, and some former theatre goers are embracing that choice.
Thanks to NetGalley and the producer for the much-anticipated early copy of The Last Kings of Hollywood by Paul Fischer. Publication is scheduled for February 10/2026. Recommended for anyone interested in movie history and in the works of these three directors.
During COVID, people stayed home, and the gap was eventually filled by TV. Movies on demand to rent or own, or on streaming Channels arrived. Many realized, to their surprise, that they enjoyed watching current movies on the small screen in the comfort of their home. It is already possible to watch all the Oscar-nominated movies on television, and some former theatre goers are embracing that choice.
Thanks to NetGalley and the producer for the much-anticipated early copy of The Last Kings of Hollywood by Paul Fischer. Publication is scheduled for February 10/2026. Recommended for anyone interested in movie history and in the works of these three directors.
February 12, 2026
“The Last Kings of Hollywood: Coppola, Lucas, Spielberg, And the Battle for the Soul of American Cinema”
By Paul Fischer
Published February 2026
by Celadon Books
While I’m far from a certified film expert, I was pretty confident that I knew all there was to know about movie directors George Lucas and Steven Spielberg, and to a slightly lesser extent, Francis Ford Coppola. Over the years I’ve read many books and watched numerous documentaries about the groundbreaking trio.
I was dead wrong, fortunately. In his book Paul Fischer reveals scores of details that were new to me. And he’s written the book in a very interesting and entertaining way that never stoops to gossip or character assassination. All three filmmakers come across as individual personalities with faults and failures to go along with their later staggering successes.
For detractors of George Lucas’ screenwriting skills, the extent to which Lucas spends the first half of the book declaring that he absolutely hates to write will prove very amusing.
Paul Fischer connects the three men together in a natural way that never feels forced, and offers a wonderful depiction of how they all changed the course of American cinema, each in their own way.
Fischer has done a great job, and The Last Kings of Hollywood is a very entertaining book that I would highly recommend to any fans of the three filmmakers, and for film fans in general.
Thank you to Celedon Books and the author for the gifted copy is this book in exchange for my honest review.
February 23, 2026
(Audiobook) This work covers the 1970s, when directors Francis Ford Coppola, George Lucas, Steven Spielberg and Marin Scorsese got their start in Hollywood, but also managed to produce some of the greatest films of all time. This work looks at their respective upbringings and how each got their start in Hollywood, noting how they got to their directorial debuts and how they came to produce the movies that they did. The work also notes their interactions, which could be at times from friendly to acrimonious. Money could be the source the issues, but also the way that each went about their businesses. One thing of note is that Apocalypse Now is a bit of a lynchpin work, as the genesis started in the early 1970s as Coppola was trying to figure out how he could adapt Heart of Darkness for the screen. Even with the Godfather and his other works, he still was trying to figure out how to make this one. He got there, but it was a brutal experience to create art. That I that read this shortly after Robert Duvall’s passing, given his iconic roles in Godfather and Apocalypse Now added some impact.
Given that I have seen most of these movies and enjoyed them (Godfather, Jaws, Star Wars, Taxi Driver, etc), I can see how this work can offer some insight into some of the best movies of all time. Were this directors perfect? Nope. Lots of affairs, some drugs, poor financial and business decisions/etc. Still, a work that can provide some good insight for those who’ve seen the movies, but don’t know the backstory. The rating is the same regardless of format.
Given that I have seen most of these movies and enjoyed them (Godfather, Jaws, Star Wars, Taxi Driver, etc), I can see how this work can offer some insight into some of the best movies of all time. Were this directors perfect? Nope. Lots of affairs, some drugs, poor financial and business decisions/etc. Still, a work that can provide some good insight for those who’ve seen the movies, but don’t know the backstory. The rating is the same regardless of format.
March 4, 2026
*Disclosure: I received a free advance review copy of this book from the publisher.
I read an advanced reading copy, so there might have been a few stray errors that likely found resolution before the book hit shelves last month. Fischer’s prose is striking and engaging; his words flow with an effortless grace, and the myriad quotes sourced from interviews, diaries, letters, and other contemporary documents create an immersive reading experience that kept me captivated over several nights. This book dives into the murky waters of drugs, greed, betrayal, and the stark highs and lows of the Hollywood dream—particularly for Coppola, who takes the title of my least favorite director among the three. Most of the narrative centers on the rise and tumultuous fall of American Zoetrope, once a beacon of hope in independent filmmaking, eventually overshadowed by the franchises that emerged.
As for Spielberg, the book provides a concise yet enlightening glimpse into his childhood, detailing his rise from directing television at a tender age to dominating the summer blockbuster scene with hits strung together like pearls on a necklace.
To summarize, The Last Kings of Hollywood is an engaging journey through the tumult of filmmaking, a riveting read for any cinephile eager to delve into the tapestry of Hollywood’s storied past. Highly recommended for those who thirst for the rich history of cinema and yearn to understand the souls behind its screams and whispers. ╌★★★★✰
Find my full review at https://www.coffeeaddictedwriter.com/....
I read an advanced reading copy, so there might have been a few stray errors that likely found resolution before the book hit shelves last month. Fischer’s prose is striking and engaging; his words flow with an effortless grace, and the myriad quotes sourced from interviews, diaries, letters, and other contemporary documents create an immersive reading experience that kept me captivated over several nights. This book dives into the murky waters of drugs, greed, betrayal, and the stark highs and lows of the Hollywood dream—particularly for Coppola, who takes the title of my least favorite director among the three. Most of the narrative centers on the rise and tumultuous fall of American Zoetrope, once a beacon of hope in independent filmmaking, eventually overshadowed by the franchises that emerged.
As for Spielberg, the book provides a concise yet enlightening glimpse into his childhood, detailing his rise from directing television at a tender age to dominating the summer blockbuster scene with hits strung together like pearls on a necklace.
To summarize, The Last Kings of Hollywood is an engaging journey through the tumult of filmmaking, a riveting read for any cinephile eager to delve into the tapestry of Hollywood’s storied past. Highly recommended for those who thirst for the rich history of cinema and yearn to understand the souls behind its screams and whispers. ╌★★★★✰
Find my full review at https://www.coffeeaddictedwriter.com/....
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