{"id":813,"date":"2004-09-12T02:02:30","date_gmt":"2004-09-12T09:02:30","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2004\/09\/the_stars_according_to_bogdano\/"},"modified":"2004-09-12T02:02:30","modified_gmt":"2004-09-12T09:02:30","slug":"the_stars_according_to_bogdano","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2004\/09\/the_stars_according_to_bogdano.html","title":{"rendered":"THE STARS ACCORDING TO BOGDANOVICH"},"content":{"rendered":"

Yours truly has a review of “Who the Hell’s in It”<\/FONT><\/B><\/A> in today’s
\nChicago Sun-Times. It begins: <\/P>
\n


\n

Peter Bogdanovich’s superb collection of movie-star profiles and interviews — a sequel to
\n“Who the Devil Made It,” his interviews of top film directors — begins with an affectionate tale
\nabout Orson Welles that reminds us of just how intimate the author’s connection to
\nHollywood’s greatest has been. But contrary to what we’ve come to expect from dime-a-dozen
\ncelebrities and celebrity interviews not worth two cents, the tale avoids bromidic egotism and
\njournalistic platitudes. Rather, it introduces the collection’s main theme, “the essential paradox
\nabout actors,” as Bogdanovich puts it.<\/P><\/BLOCKQUOTE>
\n

Read the rest here<\/FONT><\/B><\/A>.<\/P><\/p>\n","protected":false},"excerpt":{"rendered":"

Yours truly has a review of “Who the Hell’s in It” in today’s Chicago Sun-Times. It begins: Peter Bogdanovich’s superb collection of movie-star profiles and interviews — a sequel to “Who the Devil Made It,” his interviews of top film directors — begins with an affectionate tale about Orson Welles that reminds us of just how […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-813","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-d7","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/813","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=813"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/813\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=813"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=813"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=813"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}