Andrea Sperling


    ELMORE LEONARD’S EQUATION of a film producer with a petty criminal in Get Shorty may not completely miss the mark. Films such as Robert Altman’s The Player and George Huang’s Swimming With Sharks and real-life exposés of the drug-crazed antics of Don Simpson and the ogreish office politics of Scott Rudin (not to mention Julia Phillips’ bridge-burning autobiography, You’ll Never Eat Lunch in This Town Again) have posited the film producer as a modern-day Mephistopheles. Certainly, this caricature of the producer as part huckster, part thug, contains a grain of truth. But fortunately, it doesn’t