Since Hollywood joined the 1970s, the American film industry was in the middle of a revolution. Magles' old studio, who would be sorry during the 1960s to use the thirst of the baby's audience audience for films that spoke about their generation, were replaced by younger directors who understood the future of their business, depending on what they could obviously connect with this mass group.

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As movies dealing with envelopes such as "Lightweight Driver", "Rosemary Baby" and "Graduated" have become refugees for blockbusters, biggest directors and stars in the era spied on the opportunity to gain more creative and financial control over their films. Because even young executions tried to understand why the boomers gathered to adapt to Publishing sensation as a "Lovebow Story", But he avoided, say, Johnon's bestseller film "Rabbit, Running", striking deals with artists who seemed to have a finger on the pulse of this generation, or whose name of Marquia, but guaranteed a decent return to the studio investment.

The ultra-powerful talent agent Freddie Shields understood that he had the city above the barrel, so in 1969, he teamed up with three of the highest Starswells in Paul Manumman's films, Barbra Streisand and Sidney Peretier to form the first agents. The manufacturing company offered the studio how it seemed as a fair exchange: Starswells would receive lower salaries in exchange for greater creative control of their films and some of the profits. Steve McQueen joined the group in 1970, while Dustin Hoffman climbed the ship two years later. The first artists threw some big hits early in his existence (McQueen at Sam Pekingpa's "The Getaway", Manuman in "Life and the time of Judge Roy Bin's time", and fought as he fought as a decade.

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The first artists will eventually be purchased by Warner Bros. in 1980, but it really died a year earlier when Hoffman, Irit, due to the loss of the final cut of two films (one of which was speculated on the details of Agatha Christie's mysterious disappearance in 1926).

While Hoffman joined the first artists in 1972, he would not strive to make a project through the company until he acquired the rights of Edward Bunker's novel "Without Astpler so fierce" as a project for him to act and direct him. However The resulting film, "Right time", He is now properly viewed as one of the actor's best films, his production was difficult. When Hoffman failed to record any film frame after the first day of work, he handed over the chair to Ulu Grossbard director. Their improvisational collaboration wore strange and beautiful fruit, but the main photo lasted 23 days above the schedule.

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At the moment, the first artists claim that Hoffman lost his right to a final shape, but, according to the actor, he did not know that the film was taken by him until he fired "Agatha", his second project for the company. While on a Christmas break from the "Agatha" recording in London, Hoffman won him back in Los Angeles for a "right time" clock session. He had only 20 minutes reducing his specifications before being forced to return to England.

Hoffman was not happy with the "Agatha" before the cameras rolled. Initially, his image, an American journalist who was packing the author during her disappearance (motivated by her pain when she reveals that her husband has an affair), should have been an accompanying part. The first artists reportedly insisted on the role of expanding to satisfy Hoffman's contract, which needed a lot of copying. When Hoffman and the co-Starvaza Vanessa Redgrave realized that the script was far from over, they asked to delay the recording for several weeks so they could tighten the screws. When they were rejected, Hoffman was quarreling.

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In an interview of 1979 With the Yorkyork TimesHoffman is described as "close to tears" as he walks through the remains of his first artists. "Direct Time" mostly points to the most, and if you've ever seen the movie, you know why. He is brilliant as a former to which he cannot shake his old criminal reflexes. Sometimes, this is one of those performances by Bravura Hoffman where he disappears without a show about it (as he did in Papillon, Lenny and "Rain Man" - "Tooty", yesBut the idea of ​​that was the point of the performance). "You put a whole life to work and training and someone takes away your color brush," complained of the Times.

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He is good at "Agatha", but aside from acting opposite one of the biggest actors of the 20th century in Redgrave, I fail to see what the complaint about Hoffman (the first artists accused him of making the film in bad confidence to satisfy his contracting company). However, he put the job to rewrite "Agatha" according to the specifications of the first artists (along with team writers), so it is understandable that he would try to go production. "Once you go to that floor to make a movie, it's time crazy," he told The Times. "A picture of the train trails with the approaching train." Agatha "was a nightmare of every actor. The script was literally attributed every day. It was a rainbow of green, yellow, pink audit pages. "

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Hoffman's $ 65m trial against the first artists, the WB, and Astair was indeed for "straight time", which was seized by him when he returned to the "Agatha" set after that Christmas break. "(T) Hey waited until they had what they felt needed at Agatha before taking" direct time ", Hoffman said. The first artists have opposed Hoffman, claiming that he will harm "direct time" commercially by publicly stating that he is a compromised work. More than 40 years later, the result of this litigation is unknown. However, I know that Hoffman made his peace with "direct time". When I interviewed him in 2008, he said to me, "I like that movie. It's a real movie. It's just as close to the reality of criminals I am aware of. Former condemnations said that film really gets it." I believe Hoffman, but the cynic in me can't help, but I'm not wondering if the undiscovered 11 figures has helped to ease his previous pain.