Let’s <i> Not</i> Do Lunch

Does producer Julia Phillips have a future in Hollywood after trashing numerous colleagues in her upcoming memoir “You’ll Never Eat Lunch in This Town Again,” already excerpted in Premiere and Fame?

“I have no vested interest in staying in movies,” says Phillips, now 46 and still living in L.A.

One of the town’s hottest producers in the ‘70s, Phillips teamed with then-husband Michael Phillips on “The Sting” (1973). Following their divorce, they produced “Taxi Driver” (1976) and “Close Encounters of the Third Kind” (1977). Of the latter--and its mammoth, trouble-plagued production--Phillips says, “My blood is on every frame.”

It was during the production of “Close Encounters” that her career tumbled with heavy cocaine use, a downfall she chronicles in the Random House book, due in February.

Among her printed judgments and allegations:

* Francois Truffaut: “Of all the dead people I know, he wins the (jerk) award hands down.”

* Steven Spielberg: “Steven’s taste in women is on a par with my taste in men. As in, not so hot.” As for his ego: Because he wanted a “written and directed by” credit on “Close Encounters,” Spielberg had her “pressure” every contributing writer to “back off” from seeking credit via Writers Guild arbitration.

* Richard Dreyfuss: His own coke use during “Close Encounters” resulted in several emotional confrontations with Phillips.

* Goldie Hawn: “The worst (thing about her) is that she is borderline dirty, with stringy hair all the time.”

* Jon Peters: When he came to pick her up for a business dinner, the former hairdresser found her bangs to his distaste. He grabbed some scissors--and restyled.

Phillips, who hasn’t yet heard from her subjects, says, “I am preparing myself for some pretty awful things. But then, I’ve already been through some pretty awful things.”

Her last producing venture was “The Beat” (1980). She’s currently involved with only one project, “Interview With a Vampire,” a longtime pet project based on Anne Rice’s 1976 novel.

Phillips largely accepts responsibility for her professional demise--”I think I designed my own downfall, but I had plenty of help along the way”--and doesn’t want the book to come off “as an apologia for my behavior.”

She’s now at work on two novels, one about Hollywood.

“I looked at my life in the middle of the ‘80s when it was clear it was going to be very, very hard for me to make a comeback in the changed environment of Hollywood,” she says. “My feeling was, it ain’t happening for me in the movies--let me try this.”