An Alan Smithee Film: Burn, Hollywood, Burn 1997
Directed by
Shane Black
Made by
Cinergi Pictures
An Alan Smithee Film: Burn, Hollywood, Burn Plot Summary
Read the complete plot summary and ending explained for An Alan Smithee Film: Burn, Hollywood, Burn (1997). From turning points to emotional moments, uncover what really happened and why it matters.
Challenger Films president Jerry Glover and producer James Edmunds hire Alan Smithee, an acclaimed English editor, to direct Trio, a high-profile action film headlined by Sylvester Stallone, Whoopi Goldberg, and Jackie Chan. Although they hire him for his inexperience and believe that will make him easier to control, Smithee grows genuinely invested in the project and its tangled behind-the-scenes dynamics.
From the start, Edmunds keeps reshaping the film, bringing in a flurry of additional writers and peppering Smithee with frequent notes during production. The on-set interference from the film’s stars adds pressure, and Smithee begins to withdraw. In a bid to pressure him further, Edmunds hires a prostitute to seduce the drunken director to gather blackmail material. The woman, Michelle Rafferty, is drawn to Smithee’s kind nature and soon develops real feelings, complicating the scheme.
As the situation spirals, Smithee realizes he has lost control over the project. He is advised to sever ties with the film and use the DGA pseudonym, but he cannot do so because the name would still read as Alan Smithee. After Stallone requests that a line be cut from Chan, Smithee volunteers to handle the edit and drop the master at the lab, only to steal the master and flee instead.
Challenger Films’ security foreman Sam Rizzo is charged with locating Smithee, and the director phones into Larry King, where, amid a mental breakdown, he declares his intention to burn Trio so it cannot be released. At a gas station, he meets Stagger Lee, a member of the African American Guerilla Film Family, and the two strike an uneasy friendship. Smithee is then connected with the Brothers brothers, indie directors who sympathize with his plight and arrange a meeting with Glover and Edmunds to negotiate.
Glover counters with a three-picture deal if the master can be returned unchanged, but the Brothers refuse, insisting that Smithee be granted final cut on Trio. In a sequence of tense pursuit, Glover has Rizzo shadow the brothers’ home, prompting a police search for the master. Smithee slips away through a back window and drives to the La Brea Tar Pits, where he burns the film as promised. He later appears on Larry King again, in person, defending his actions with the admission that “they killed Trio, I ended its suffering.”
Attorney Robert Shapiro negotiates for Smithee to be sent to a psychiatric hospital in England in lieu of criminal charges, citing the King interview as a catalyst for public sympathy. Meanwhile, Glover and Edmunds engage in a bidding war with producer Robert Evans to secure Smithee’s life story for a film adaptation, which Smithee ultimately sells on the condition that the Brothers direct with final cut. The producers realize that Smithee, with his new notoriety, has become a valuable commodity and offer him a fresh film deal. At the hospital, Michelle reconciles with Smithee as he discusses plans for a new film, Duo.
An Alan Smithee Film: Burn, Hollywood, Burn Timeline
Follow the complete movie timeline of An Alan Smithee Film: Burn, Hollywood, Burn (1997) with every major event in chronological order. Great for understanding complex plots and story progression.
Smithee hired to direct Trio
Challenger Films president Jerry Glover and producer James Edmunds hire English editor Alan Smithee to direct Trio. They believe his inexperience will make him controllable, but he becomes invested in the project.
Edmunds pushes constant changes
Edmunds makes frequent changes to the film, hiring many writers to retool the script and giving Smithee frequent notes during production. Smithee's growing frustration mirrors the mounting interference from the stars and the producers.
Michelle Rafferty hired to seduce Smithee
Edmunds hires prostitute Michelle Rafferty to seduce a drunken Smithee in order to obtain blackmail material. Michelle is captivated by Smithee's kind spirit and begins to develop genuine feelings for him.
Smithee loses control; advised to drop his name
Smithee realizes he has lost control over Trio and voices his concerns to Edmunds. Edmunds advises him to drop his directorial name and use the DGA pseudonym, which he cannot do because it would still be 'Alan Smithee'.
Stallone demands cut; Smithee steals the master
Stallone requests they cut one of Chan's lines; Smithee offers to edit and drop the master off at the lab, but instead steals the master and runs away. The act marks a turning point in his control over the project.
Search ordered; Larry King call
Glover orders a search for Smithee. Meanwhile, Smithee calls into Larry King and, in the middle of a mental breakdown, reveals his plan to burn the film so it will never be released.
Gas station encounter with Stagger Lee
At a gas station, Smithee is spotted by Stagger Lee, a member of the African American Guerilla Film Family, who quickly befriends him and offers support in his crisis.
Meeting with the Brothers brothers
Smithee is introduced to indie directors the Brothers brothers, who relate to his plight and schedule a meeting with Glover and Edmunds to negotiate terms.
Brothers demand final cut; Rizzo tailing
The Brothers refuse to return the master and insist that Smithee be granted final cut. Glover pretends to accept but has Sam Rizzo follow them as police search for the master.
Smithee burns the master
Smithee escapes through a back window and drives to the La Brea Tar Pits, where he finally burns the film as promised. The act cements his break from the production's control.
Defending his actions on Larry King
He appears on Larry King again, in-person, to defend his actions, explaining that 'they killed Trio, I ended its suffering'. The interview shifts public perception of the project.
Shapiro negotiates hospital diversion
Attorney Robert Shapiro negotiates for Smithee to be sent to a psychiatric hospital in England in lieu of criminal charges, as the King interview has led Smithee to be regarded as a hero by the public.
Rights bid for Smithee's life story
Glover and Edmunds compete in a bidding war with producer Robert Evans to secure Smithee's life story for a film adaptation. Smithee sells on the condition that the Brothers brothers direct with final cut.
Smithee becomes a valuable property
The producers realize Smithee, with his newfound reputation, is a valuable property and offer him a film deal. This marks a new phase in his career arc.
Michelle reconciles at the hospital
At the psychiatric hospital, Michelle reconciles with Smithee as he discusses plans for his new film, Duo. The couple contemplates a future beyond Trio's troubled production.
An Alan Smithee Film: Burn, Hollywood, Burn Characters
Explore all characters from An Alan Smithee Film: Burn, Hollywood, Burn (1997). Get detailed profiles with their roles, arcs, and key relationships explained.
Alan Smithee (Eric Idle)
A once-respected director who finds his creative control slipping away as producers and stars impose changes. He is kind, morally conflicted, and driven by a stubborn belief in his own vision, even as pressure mounts. His arc traces a descent into doubt and a dramatic rebirth as he attempts to reclaim his work.
James Edmunds (Ryan O'Neal)
A forceful producer pushing for maximum profit and control over the project. He frequently rewrites the script and pressures Smithee, showing a willingness to manipulate others to get what he wants. His actions illuminate the corrosive effects of power within the studio system.
Sam Rizzo
Security foreman tasked with organizing the search for Smithee. He embodies the production's loyalty to the studio's interests, while slowly confronted with the director's crisis. His actions reflect the tension between safeguarding the project and respecting artistic autonomy.
Larry King
A talk-show host who becomes a public-facing voice during Smithee's crisis. His interviews propel the narrative and shape audience perception. The scenes anchor the story in modern media culture and its appetite for spectacle.
Stagger Lee
A member of the African American Guerilla Film Family who befriends the distressed director. He represents an alternative, independent perspective within Hollywood's machine. His presence offers a counterpoint to the studio system's dominance and supports Smithee in his darkest hour.
An Alan Smithee Film: Burn, Hollywood, Burn Settings
Learn where and when An Alan Smithee Film: Burn, Hollywood, Burn (1997) takes place. Explore the film’s settings, era, and how they shape the narrative.
Time period
1990s
The events take place in the modern era of the 1990s Hollywood film industry, an age of blockbuster culture and heavy media attention. Studio politics, writer retakes, and star-driven demands drive the chaos on and off set. The setting mixes glamorous production locations with behind-the-scenes pressure, highlighting a period when branding often trumped artistic considerations.
Location
Los Angeles, California, Hollywood, La Brea Tar Pits
Set in contemporary Hollywood, the story unfolds across film studios and public spaces in Los Angeles. The La Brea Tar Pits provide a symbolic location for the director’s burnout, offering a surreal counterpoint to the industry’s gloss. The city’s studio lots, production offices, and media hubs anchor the narrative in a real-world entertainment capital.
An Alan Smithee Film: Burn, Hollywood, Burn Themes
Discover the main themes in An Alan Smithee Film: Burn, Hollywood, Burn (1997). Analyze the deeper meanings, emotional layers, and social commentary behind the film.
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Integrity
The film centers on a director wrestling with control over his vision as producers and stars impose changes. Smithee’s struggle highlights the fragility of artistic integrity within a profit-driven system. It critiques how market pressures can erode creative autonomy and personal responsibility. The climactic act of burning the master serves as a stark stand for artistic integrity.
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Power
Producers pursue dominance over the film's narrative and the director's legacy, revealing how credit, profits, and deals steer decisions. The dynamics among Glover, Edmunds, and industry players expose the economics of fame. The meta-narrative uses contracts and negotiations to demonstrate how power shapes storytelling. The pursuit of final cut becomes a weapon in the battle over creative control.
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Media
Media attention frames the audience’s perception of the film and its creator. The Larry King interview becomes a catalyst for public opinion, illustrating sensationalism in Hollywood. The story shows how fame can be manufactured, amplified, or destroyed by the press. The film critiques the way media cycles can turn a director’s crisis into a spectacle.
An Alan Smithee Film: Burn, Hollywood, Burn Spoiler-Free Summary
Discover the spoiler-free summary of An Alan Smithee Film: Burn, Hollywood, Burn (1997). Get a concise overview without any spoilers.
In the glitzy yet ruthless world of a blockbuster action set, an unexpected name appears behind the camera. Alan Smithee, a renowned English film editor, is catapulted into the unlikely role of director for a high‑profile project titled Trio. The studio sees his lack of directing experience as a convenient lever, hoping he will remain pliable while the production machine cranks up to full throttle.
Behind the glossy veneer, studio president Jerry Glover and producer James Edmunds juggle endless revisions, bringing in a parade of writers and demanding constant notes. The cast—legends whose presence guarantees box‑office buzz—adds its own pressures, turning what should be a coordinated effort into a fever‑dream of egos and last‑minute changes. Sylvester Stallone, Whoopi Goldberg, and Jackie Chan each bring larger‑than‑life personas that both inspire and intimidate the novice director.
As the shoot unravels, Smithee finds himself caught between his meticulous editorial instincts and the chaotic demands of a studio unwilling to relinquish control. The atmosphere crackles with satire and tension, painting Hollywood as a gilded battlefield where creative vision is constantly hijacked by profit and power. Amid whispers of back‑room deals and media frenzy—including a surprising call to a late‑night talk‑show host—he quietly begins to assert his own agency, hinting at a subversive plan that could reshape the very footage he’s been asked to shepherd.
Complicating the mix is Michelle Rafferty, a woman initially dispatched for a covert purpose who instead forms an unexpected bond with the beleaguered director, offering a glimpse of humanity in a setting otherwise dominated by manipulation. Their tentative alliance, along with the presence of off‑beat figures from the fringe of independent cinema, suggests that the battle over the film’s destiny will be fought on both personal and industry‑wide fronts, leaving audiences to wonder how far one man will go to protect his artistic integrity.
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