The Last Kings of Hollywood: Coppola, Lucas, Spielberg―and the Battle for the Soul of American Cinema

by Paul Fischer, Shaun Taylor-Corbett (Narrator)

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.

Genres: Nonfiction, History, Biography, Film, Media Tie In, Audiobook, Pop Culture

12 pages, Audiobook

First published February 10, 2026

About the author

Paul 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.

Reviews

[Scott · Rating 5 out of 5]

"Every one of them, in this brief shared moment [the spring of 1976], was on top of the world. At film school, they had been told it was impossible for a young person with no industry connections to become a studio filmmaker, let alone a successful one, even less a successful filmmaker with a degree of creative freedom. Somehow, and all at the same time, the Trancas Beach gang had achieved the unattainable." -- on page 251

Harkening back to an exciting and evolving era in making movies - and similarly mined in the earlier but excellent tomes such as Biskind's Easy Riders, Raging Bulls and Harris' Pictures at a Revolution - author Fischer's The Last Kings of Hollywood mainly focuses on the 'power trio' adorning the cover - the brothers-in-arms film directors Francis Ford Coppola (a natural leader and perfectionist), George Lucas (middle child independent-type), and Steven Spielberg (the energetic young visionary), who brought the ailing and moribund studio system of Hollywood kicking-and-screaming into the bolder 1970's. Said threesome - along with their friends and fellow new directors Brian DePalma, Martin Scorcese, and John Milius (and who are all supporting characters in this narrative) - represented the first batch of film school graduates who attained success on their own terms, and also the moment when both the 'Silent/War Baby' AND 'Baby Boom' generations, which spanned the years 1929 to 1964, finally achieved some irreversible power in the then-creaky filmmaking industry. While at times thought of as the men most responsible for cementing the 'blockbuster' mental stranglehold on U.S. movies - see Coppola's The Godfather, Spielberg's Jaws, and Lucas' Star Wars: A New Hope, all released within five years of each other - the text makes a good argument that it was more the slick and money-obsessed studio execs arriving in the wake of said flicks who shoulder a lot of the blame. Like great moments in cinema, I often laughed, I cried once (there was an unexpected death that caught me by complete surprise in a closing chapter), and I became very invested when these fallible directors were facing various unrelenting difficulties when attempting to complete the now-classic films that many know and love. Let's all go the movies . . . and save me an aisle seat, please. ☺️

[Catherine (alternativelytitledbooks) - still catching up! · Rating 4 out of 5]

**Many thanks to Celadon and Paul Fischer for an ARC of this book provided via NetGalley!**

"You're gonna need a bigger boat."

"Leave the gun, take the cannoli."

"May the Force be with you...always."

(And yes, that last one WAS inspired by the church...just in case you ever found yourself wanting to reply "And also with you!")

What do these iconic one-liners have in common? And how is it that ALL film aficionados (and frankly, most of the culture at large) can name these films instantly, even if they've never seen a single frame?

The Last Kings of Hollywood is the perfect place to start exploring fact...and moreso, the incredible connection between three of the world's most prolific and visionary directors: Francis Ford Coppola, George Lucas, and Steven Spielberg. What began as a strange sort of kismet between artists who were unafraid to take chances, brought forward by nothing other than inherent talent, creative vision, and determination, has blossomed into a legacy that has set the stage (and frankly, set a precedent) for all who would follow in their footsteps...and author Paul Fischer is here to guide us through this incredible, and at times unbelievable, journey.

I was a bit wary going into this one - not because of the subject matter, but because too often nonfiction books like this one have a hard time weaving in fact with interview excerpts and NOT getting stuck in the weeds. I had a couple less than stellar experiences with music books lately that fell into this trap, and I was a bit concerned this would be more of the same. Fischer revealed early on in the text that the book was going to incorporate interviews as well as other forms of fact-finding media, and I didn't honestly think that there was any way this book was GOING to work in any sort of page-turning, coherent way.

But I am SO happy to say that Fischer's writing and some expert editing made this a seamless and exciting reading experience, with hardly a bump in the Yellow Brick Road! 👠 (Yeah, I know, wrong director...couldn't help myself there!😉)

As a reader who knew very little about the personal OR early professional careers of these auteurs, Fischer expertly incorporates personal background on each, to the moments when their paths first crossed (this is Coppola and Lucas to start, Spielberg enters the mix later), and how a passion for the art overtook studio demands, as each director sort of fought for their concepts for better...or worse. (Yes, those of you unfamiliar with American Zoetrope or THX 1138 won't be able to say the same after finishing this one!) There's also quite a bit of Hollywood drama interspersed throughout: don't be surprised when, mid-anecdote, you learn about an unlikely yet torrid affair - this is just par for the course in the Last Kings. Rather than feeling clunky, however, the snips of interviews from various Hollywood types are woven into the narrative, and the entire timeline is presented in a way that reads almost like fiction...and for a book like this, who could ask for anything more?

The only clear downside to this book? Its length. When I first eagerly snatched this one up, I failed to check the page count - and it is nearly in textbook/tome territory at almost 500 PAGES. 🤯 Granted, there's a LOT of story here to tell, as this book also sort of functions a mini-biography of each of the 'Kings', so you're certainly getting bang for your buck. However, at the thirteenth mention of Lucas' first project...you MIGHT start to feel a bit of Film Fact Fatigue. I did thoroughly enjoy learning so much about each of the films mentioned BUT even the best behind-the-scenes documentary needs to eventually...well, let the credits roll, so to speak. I won't spoil any of the fun, but Fischer reveals everything from where the iconic 'bigger boat' line came from, to the HORRENDOUS struggle with special effects Spielberg had to endure during the filming of Jaws, to the original idea for Indiana Jones (hint: his last name was NOT Jones...and the initial concept was WILDLY different!)But no spoilers here...you'll have to do the adventuring all on your own! 🗻

And while our film industry battles against a world determined to mine, steal, and stunt creativity through AI, there is perhaps no better time to revisit the genius that can come from unbridled creativity, struggle, determination, and good old-fashioned grit.

I'll leave you with a quote from Coppola that sums up that something special that only true, HUMAN, creativity can achieve: "I think cinema, movies, and magic have always been closely associated. The very earliest people who made film were magicians." 🪄

Abracadabra!

4 stars

[Barbara K · Rating 5 out of 5]

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…)

[Michael Burke · Rating 4 out of 5]

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

[LPosse1 Larry · Rating 3 out of 5]

A Fun Ride That Ends Too Soon

I’ll be upfront—this was a bit of a guilty pleasure for me. As a lifelong movie fan, The Last Kings of Hollywood by Paul Fischer was an enjoyable and worthwhile read. For the most part, I had a great time with it.

Fischer chronicles the rise of three cinematic giants—Francis Ford Coppola, George Lucas, and Steven Spielberg—who helped redefine American film in the 1970s. At a time when the old studio system was faltering, these filmmakers ushered in a new era of blockbuster, auteur-driven storytelling that still shapes Hollywood today.

The book is packed with great behind-the-scenes nuggets. I especially enjoyed the stories surrounding the making of Jaws, The Godfather, Star Wars, American Graffiti, and Indiana Jones. Fischer also does a nice job exploring the relationships between these three—how they supported each other, challenged each other, and ultimately changed the business together. There’s a real sense of creative energy and risk-taking that comes through.

So why only three stars??

Because just as the book really gets going—it ends. Abruptly.

I found myself wanting more reflection, more closure, more sense of legacy. There’s very little “where are they now,” and almost no deeper look at the long-term impact of their work or the next generation (how do you not at least give us a few pages on Sofia Coppola?). It felt like the story stopped right when it should have widened its lens.

In the end, this is a fun, engaging read—especially for film lovers—but one that leaves you wishing for a stronger final act. And for a book about the masters of storytelling, that feels like a missed opportunity.

[Donna · Rating 5 out of 5]

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.

[Ellen Ross · Rating 5 out of 5]

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.

[Jake · Rating 4 out of 5]

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.

[Kelly Stover · Rating 5 out of 5]

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.

[Zoe Wardrop · Rating 4 out of 5]

4.5⭐️

Made me feel maternal for Steven Spielberg

[Louise Sullivan · Rating 3 out of 5]

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.

[Julie · Rating 4 out of 5]

A wonderful and interesting book about the modern-day kings of cinema which include Stephen Spielberg, Francis Ford Coppola and George Lucas. A must read for movie fans!

[TJ Wilson · Rating 5 out of 5]

Love that this book makes an epic of these authors who have themselves made epics. Super solid history and perspective. The ending is wrenching.

Couldn't stop reading this one.

[Lizzie · Rating 4 out of 5]

Crazy well documented accounts of three of some of the most pivotal filmmakers

[Alfred Weber · Rating 4 out of 5]

If you’re a fan of movies you have to read this book. I’ve heard many of these stories before but it’s still a fun and fascinating read.

[James Corson · Rating 3 out of 5]

The Last Kings of Hollywood follows Francis Ford Coppola, George Lucas, and Steven Spielberg (plus Martin Scorcese and Brian De Palma, who aren't worthy of being included in the book's subtitle, for some reason) as they transitioned from young film students trying to break the traditional Hollywood studio system to experience directors who ended up becoming part of that system. Along the way, we get to hear a lot about how these directors made some of their classic movies, and we get to hear about their relationship drama behind the scenes.

This book was pretty enjoyable. It's hard for it not to be, given that it goes into the backstories of some of my all-time favorites (e.g., Jaws, The Godfather, Apocalypse Now, the original Star Wars Trilogy, and Raiders of the Lost Ark). At the same time, I have heard a lot of the information covered in the book before, mostly because I am such fans of the aforementioned movies. (I did learn a few new tidbits, though, my favorites being that Harrison Ford ad libbed the immortal "I know" line in The Empire Strikes Back, or that Ford suggested shooting the massive-sword-wielding guy in Raiders because he was sick at the time and didn't want to do the complicated whip vs. sword choreography. So we have Harrison Ford to thank for these two iconic moments!)

I knew that going in that the book would cover a lot of stuff I already knew, but that's true for a lot of nonfiction books that I read. I read this book because I was hoping the author would provide some insight into how the titular trio changed moviemaking forever, or what makes them "The Last Kings of Hollywood" (ignoring more recent figures like Christopher Nolan who could possibly lay some claim to that title). Sure, author Paul Fischer does provide some thoughts on how Lucas and Spielberg especially set off a rush to create new intellectual property to sell tickets and merchandise, and how new studio head focused more on the financials than on making great art (as if Jack Warner was only interested in creating art and not making tons of money). But this is not new, either; I've read this same argument plenty of times before. He does offer one new (to me) insight, that it may not be fair to place the blame on Lucas and Spielberg for this trend, given that the late 70's and the 80's saw a shift in corporate America trying to maximize profits at all costs, creating bland consumer products in the process. But he doesn't really follow up on this thought, so that the book largely rehashes a bunch of stories and arguments that I've already heard before. And he never answers the question raised by the title about what makes Coppola, Lucas, or Spielberg "The Last Kings of Hollywood", nor does he address why he shoehorns Scorcese and De Palma in as well (other than the fact that they were around at the same time and had a similar ethos).

Still, the book is well-written and well-researched, and I will never get tired of hearing about the mishaps with Bruce while Spielberg was filming Jaws, or about how Coppola's megalomania nearly sank Apocalypse Now. I was expecting a bit more of a deep analysis of how these directors changed Hollywood, but I got something more akin to popcorn fare instead. But at least it was high quality popcorn fare, a la Jaws, rather than garbage like Morbius.

[Charlie White · Rating 2 out of 5]

This is more a glorified list than a book. Amid such exhilarating personalities and films, this text feels like it’s paraphrasing a combination of calendar, Rolodex and financial statements.

It takes a special kind of careless typing to make these three genius filmmakers boring. I feel like my two-star review is overly generous. A disappointment.

[Paul Wilner · Rating 5 out of 5]

Very well done.
My interview with the author is linked below:
https://www.nobhillgazette.com/arts_a...

[Leane · Rating 3 out of 5]

Still not sure who won the battle—the corporate big studio conglomerates or the independent auteur/director/producers—for the soul of the cinema but these three film giants/geniuses (each in their own way) made the older Hollywood and the monied newer vanguard re-think how movies are created, financed, made, and released. Not only do we get a rotating chapter-by-chapter evolution of Coppola, Lucas, and Spielberg, but also Scorsese, De Palma, and other artists early history as well as the film technicians, editors, and actors of this generation. Through three parts: Outsiders, Young Moguls, and Company Men, we perceive their childhood and influences, their coming-of-age and education, their early failures and triumphs, and the birth of their creativity and success. Beginning with Coppola and his first meeting with Lucas, and then Lucas’s first meeting with Spielberg, the author weaves their eventual collaborations into the a compelling story of ego, excess, pathos, creativity, and triumph. Fischer does his homework and quotes a vast multitude of sources and gives the reader gossipy tidbits without sensationalizing his subjects. Instead, these men come across as multidimensional, flawed, and bold as they redefine the movie biz. The anecdotes of personal behavior, and references to the lives of star powers like Hamilton Ford and Robert DeNiro does not hurt either. Worth the read if you are not familiar with these men’s biographies and also for people who are interested in the collaborative creativity of these men in particular but also the films of the 1970s and 1980s. I found it educational--I never realized how projects can take years to come to fruition, how they are often being simultaneously nurtured, and how renown sequels can be both a bane and a financial magnet for those who create them. The Epilogue ends the book with decent closure and does not really go beyond the 1990s. There is an Author’s Note worth reading, a clever Opening Credits page for the book that mimics a movie’s scroll, an Intro, extensive Notes with sources, Photo Credits, and an Index. RED FLAGS: Drugs, Alcohol, Adultery, Sexual Abuse, Misogyny, Questionable Parenting. Readalikes may be Roger Ebert’s Scorsese, Olivier Bousquet’s Steven Spielberg: All the Films, Shawn Levy’s Clint, and Joanna Robinson’s MCU: The Reign of Marvel Studios.

[AL · Rating 5 out of 5]

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.

[Reader · Rating 4 out of 5]

A fascinating and well constructed account of some of the most famous directors to date making some of the most impactful films of the last century. I hadn’t realised the lives of Spielberg, Lucas, Coppola, and Scorsese were so intertwined, or how involved they all were in the genesis of each others most well known and critically acclaimed films, which I had previously attributed solely to the credited director of each piece of work.

If you want to delve deeper into the history of film this is a good place to start, as it is very readable. It is also an interesting take on how different the yield, and subsequent legacy, can be when a group sets out with shared ambitions but with different goals.

[Ed · Rating 5 out of 5]

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.

[Stuart Rosen · Rating 4 out of 5]

Author Paul Fischer has put together a fast-moving, richly-reported history of the rise and fortunes of Francis Ford Coppola, George Lucas and Steven Spielberg. In so doing, he tells the story of the interconnections among the three filmmakers, the overlapping personnel and support systems that sustained them, and other key filmmakers (Martin Scorsese, John Milius and Paul Schraeder, among others).

A lot of this is ground already traveled by any number of writers and film historians - Coppola's Utopian dream of independence; Lucas's odd detachment from collaborators (how many times have we read the story of Harrison Ford telling Lucas he can type his terrible dialog but can't speak it?). But the story still comes alive through Fischer's new reporting, providing detail that this film fanatic never read before, and certainly not so compellingly in one work.

My only reservation is that there's little if any analysis as to the true impact of these giants on the film industry - the question of whether Lucas and Spielberg truly ruined the prospects of films with adult themes and the pushing-out of smaller films from theaters and from the interests of major studios. Are they the best or worst thing that ever happened to movies? That's a question posed in the book's title and sub-title, but not fully explored.

Still, the writing here is propulsive and Fischer is especially effective tying these filmmakers to each other - not just as stars rising at the same time, but as individuals each of whom might never have succeeded without the support of the two others - their success was in part a by-product of what each of Coppola, Lucas and Spielberg provided to each other.

Many thanks to Celadon and NetGalley for the advance reviewer copy.

[Lynn · Rating 5 out of 5]

Insightful Book

I found this book to be very insightful and informative about three of the greatest American directors. I was a kid in the 70s and read endless books about Jaws, Star Wars, Close Encounters as well as watching the films. Of course The Godfather, Mean Streets and Raging Bull were later. I was totally infatuated with the movies and followed these directors’ careers. This book brought back memories and provided new insight into their careers.

[Michael · Rating 5 out of 5]

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.

[Catherine · Rating 4 out of 5]

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.

[John Bleasdale · Rating 5 out of 5]

Brilliant

[Nick Hansen · Rating 4 out of 5]

Overall, a fun look into the heyday of New Hollywood. The strongest parts are when the author recounts the making of these directors’ best films - The Godfather, Jaws, Star Wars. It sort of struggles to tie things up neatly - and it also seems like Scorcese could have been on the cover as well.

[Irma Myers-Donihoo · Rating 5 out of 5]

Great read and plenty of interesting info on film making in the 70s. Not as wide spread as From Easy Riders to Raging Bulls, this still deals with that time frame. Recommend!

[Zach Florida · Rating 5 out of 5]

The geniuses that gave this world so much are documented excellently here. A great read.

If only the film industry still operated like this.