
Personal Info
Known For
Writing
Birthday
1944-11-23
Place of Birth
Csakanydoroszlo, Hungary
Joe Eszterhas
Biography
József Antal Eszterhás (Hungarian: [ˈjoːʒɛf ɒntɒl ˈɛstɛrhaːʃ]; born November 23, 1944), credited as Joe Eszterhas, is a Hungarian-American writer. Born in Hungary, he grew up in Cleveland, Ohio, in the United States. After an early career as a journalist and editor, he entered the film industry. His first screenwriting credit was for the film F.I.S.T. (1978). He co-wrote the script for Flashdance, which became one of the highest-grossing films of 1983, and set off a lucrative and prolific run for his career. By the early 1990s, he was known as the highest-paid writer in Hollywood, and noted for his work in the erotic thriller genre. He was paid a then-record $3 million for his script Love Hurts, which was produced as Basic Instinct (1992), and following its success, news outlets reported he earned seven-figure payouts solely on the basis of two-to-four page outlines. Eszterhas' screenwriting career experienced a decline over the rest of the decade, with films such as Showgirls (1995), Jade (1995), and An Alan Smithee Film: Burn Hollywood Burn (1997), the latter receiving negative reviews and performing poorly at the box office. He mostly withdrew from Hollywood afterward, though he has since authored several books. His publications include American Rhapsody (2000), and two volumes of memoirs: Hollywood Animal (2004), an autobiography, and Crossbearer (2008), which detailed his adulthood return to the Catholic faith he was raised in. Description above from the Wikipedia article Joe Eszterhas, licensed under CC-BY-SA, full list of contributors on Wikipedia
Known For

An Alan Smithee Film: Burn, Hollywood, Burn
as Joe Eszterhas

Jackie Chan: My Story
as Self - Showgirls' Writer

You Don't Nomi
as Himself (archive footage)

The First Film
as Himself

Basic Instinct: Sex, Death & Stone
as Self

The Tobacco Conspiracy
as Himself

Prüdes Hollywood - Laster, Lust und Leidenschaft im Film

Goddess: The Fall and Rise of Showgirls
as Self