8 Writer and filmmaker Barry Sonnenfeld looks back at his career as a cinematographer and director, and gathers the choicest and funniest morsels about life in Hollywood. Filmmaker Barry Sonnenfeld Dishes Hilarious Tidbits on Hollywood By Luis Polanco To include your resume among the first few pages of your book is certainly a choice. It can mean that a) you take pride in your work, b) you are an egomaniac, c) you are insecure that no one knows who you are, or d) you have been conditioned by years of poor work-life balance. But if you are Barry Sonnenfeld, some or none of these may apply. Although, if you are Barry Sonnenfeld, there’s also option e) you have a sense of humor (and it shows on the book cover). In fact, listing your credentials and inviting respect is a wise move when you’ve worked a varied and wide-ranging career such as Sonnenfeld’s. After a brief stint behind the camera in the pornography industry, he worked throughout the 1980s as a cinematographer on the early Coen brothers’ films, on Danny DeVito’s black comedy Throw Momma from the Train, on the Rob Reiner-directed romantic comedy When Harry Met Sally and on the psychological thriller Misery. Starting in the ’90s and into the new millennium, he achieved box office and critical success as the director of a number of films, including the supernatural and dark The Addams Family, the mob comedy Get Shorty, and the alien-filled Men in Black franchise, among other projects. Then, he entered a stretch of time directing for television on series such as Pushing Daisies and A Series of Unfortunate Events. Sonnenfeld shares reminiscences, tales, and gossipy snippets from across his noteworthy trajectory in his newest book, Best Possible Place, Worst Possible Time: True Stories from a Career in Hollywood (352 pgs., Hachette Books, 2024, $30), a follow-up to his 2020 memoir Barry Sonnenfeld, Call Your Mother. Whether Sonnenfeld is recounting his days as a director of photography with a big personality or his days directing and dealing with big personalities, one thing remains steadfast — his wit is sharp. In organizing the book, Sonnenfeld has taken the proverb “Brevity is the soul of wit” to heart. The book is divided into 80some morsel-like vignettes, usually no more than three to five pages, with each vignette given a title remarkable for its dry, direct, or crass sense of humor. Some standouts include “Never Tell the Studio,” “The Unbearable Slog of Massive Stupidity,” “The Little Shit,” and “The Trouble with Words.” These anecdotal pearls of wisdom add up to a quick 300-plus pages. Sonnenfeld’s wit is at its most catty and playful when he divulges details about the creatives and talent he’s worked or crossed paths with in the industry, for whom he has nothing but flattery and praise. On working with the renowned screenwriter and director Nora Ephron on the set of When Harry Met Sally, he says, “I think she was annoyed I didn’t take myself as seriously as she viewed herself.” On mediating the interpersonal dynamics between celebrities while filming Men in Black, he says, “It was a good thing Tommy [Lee Jones] liked Will [Smith], since Mr. Smith had a tendency to fart.” On almost directing the energetic actor and comedian Jim Carrey in Paramount’s adaptation of A Series of Unfortunate Events, he says, “Jim Carrey’s participation and ‘low budget’ are oxymoronic.” Sonnenfeld is generous in sharing all that he’s learned about his profession, from techniques on set to tricks of the trade. He dispenses knowledge on the two kinds of cinematographers (he’s the kind who lights each shot individually, which is more flattering), as well as the criteria for picking which movie to work on (“money, location, and script”). And readers finally get the elusive answer to the question: What is the single most asked question of a director? No, the question is not about the creative process or how to balance art and budget or which actor is the biggest headache to work with. Unexpectedly, the answer is: “Will you see his shoes?” (Sonnenfeld explains why.) Among all the anecdotes filled with actors and biz executives, the industry gossip and secrets, and the advice on navigating the ups and downs of Hollywood, Sonnenfeld also offers gems on the craft of storytelling. For example, on how the number of people involved on a film or TV show teaches a lesson on narrative perspective: “There are as many different points of view as there are participants — each one with the observer as hero.” Then, in the next sentence, he reminds us what draws in audiences to a story: “There is also a universal disconnect between who we believe we are and what others see us as. It is this disconnect that creates absurdity, comedy, and pain.” In Best Possible Place, Worst Possible Time: True Stories from a Career in Hollywood, Sonnenfeld hands out much to laugh at and much to be amused by. Take what he says as lectures from a master class on showbiz and humor from a life coach who’s seen it all. A master class on showbiz and humor from a life coach who’s seen it all. VIDEOAGE January 2025 Book Review
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