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The Kid Stays in the Picture (2002)

Documentary about legendary Paramount producer Robert Evans (the film shares the same name as Evans's famous 1994 autobiography).

Writers:

(book), (screen adaptation)

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4 wins & 12 nominations. See more awards »

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Cast

Complete credited cast:
...
Narrator
Rest of cast listed alphabetically:
...
Himself (archive footage)
...
Himself (archive footage)
Charlie Bluhdorn ...
Himself (archive footage)
...
Himself (archive footage) (as Bill Castle)
...
Himself (archive footage)
...
Herself (archive footage)
Charles Evans ...
Himself (archive footage)
Josh Evans ...
Himself (archive footage) (as Joshua Evans)
...
Herself (archive footage)
...
Himself (archive footage)
...
Herself (archive footage)
...
Himself (archive footage)
...
Himself (archive footage)
...
Himself (archive footage)
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Storyline

This documentary captures the life story of legendary Hollywood producer and studio chief Robert Evans. The first actor to ever to run a film studio, Robert Evans' film career started in 1956, poolside at the Beverly Hills Hotel. His good looks, charm and overwhelming confidence captured the eye of screen legend Norma Shearer, who offered him a film role. After a glamorous--but short-lived--career as a movie star, Evans tried out producing. At the age of 34, with no producing credits to his name, he landed a job as chief of production at Paramount Pictures. Evans ran the studio from 1966-1974. During his tenure, he was responsible for such revolutionary films as The Godfather, Rosemary's Baby, Love Story, The Odd Couple, Harold and Maude and Chinatown. By the early '80s, the Golden Boy of Hollywood was losing his luster. After a failed marriage to Ali MacGraw, a cocaine bust and rumored involvement with the Cotton Club murder, he disappeared into near-obscurity. Only through ... Written by Sujit R. Varma

Plot Summary | Add Synopsis

Taglines:

Success. Scandal. Sex. Tragedy. Infamy. And that's just the first reel... See more »


Motion Picture Rating (MPAA)

Rated R for language and some brief violent and sexual images | See all certifications »
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Details

Country:

Language:

Release Date:

16 August 2002 (USA)  »

Also Known As:

A kölyök képben marad  »

Box Office

Opening Weekend:

$89,087 (USA) (26 July 2002)

Gross:

$1,434,436 (USA) (4 October 2002)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

The title comes from Darryl F. Zanuck's response to executives wanting to fire Evans from the lead role of The Sun Also Rises (1957). See more »

Goofs

The closing credits say that Evans has been at Paramount for over 35 years, "more than any other producer on the lot." However, A.C. Lyles has been with Paramount for 75 years (as of 2003), though he is no longer actively producing. See more »

Quotes

Robert Evans: Any man who thinks he can read the mind of a woman is a man who knows nothing.
See more »

Crazy Credits

All actor credits are from archives, including some from movie clips. Actors not marked "uncredited" were credited by Robert Evans, the narrator See more »

Connections

Edited from You're a Big Boy Now (1966) See more »

Soundtracks

Machine Gun
Performed by The Commodores
Written by Milan Williams
Published by Jobete Music Co. Inc.
Courtesy of Motown Records
Under license from Universal Music Enterprises
See more »

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User Reviews

A REAL-LIFE CITIZEN KANE
30 July 2002 | by (fairview, nj) – See all my reviews

THE KID STAYS IN THE PICTURE (2002) **** Fascinating and wildly entertaining documentary by Nanette Burstein and Brett Morgen on legendary Hollywood film producer Robert Evans – based on his notorious best-selling autobiography – of his rise from poolside discovery by Norma Shearer as a fledgling B actor to his successful climb atop Paramount Studios upper echelon and responsible for green lighting many of The Golden Age of the Seventies blockbusters (i.e. `Love Story', `The Godfather', & `Chinatown' to name three) to his disdain as an industry pariah involving cocaine and murder. Evans' unique sangfroid mixed with charm, chutzpah and a movie lovers' contempt for those who ‘just don't get it' wields a strong hold in his story and the wonderful cinematic ingenuity of making photo stills into diorama-like animation is used smartly as well as allowing its subject to pontificate without utterly destroying his self-made rakish image. One of the best indie docus down the pike in some time and a valentine for those who like their gossip with popcorn.


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