This hilarious collection of essays by the offbeat writer and director is a treat for fans of the "Pope of Trash" and the perfect introduction for those who have not yet discovered his eccentric charms.

    Mikels, Larry Cohen, and others who dared to make independent feature films their way, without bowing to a committee or focus group. This is an oblique how-to manual, covering everything from financing, distribution, lighting, camerawork and acting, to publicity, marketing and screenwriting. Would-be filmmakers as well as scholars will find much inspiration and enlightenment in this volume, which has been used in college film classes. In-depth interviews focus on philosophy, while anecdotes entertain as well as illuminate theory. Lists of recommended films, an A-Z directory, and quotations are also included.

    Its cast includes actors, writers, musicians and composers, producers and directors, racketeers and labor leaders, journalists and politicians in the turbulent decade from World War II to Korea.

    From its early days in a large empty warehouse in Southern California's San Fernando Valley, to its Oscar-winning accommplishments creating special effects for the STAR WARS trilogy, RAIDERS OF THE LOST ARK, ET, POLTERGEIST, and a host of others.

    The book also analyzes the complex and problematic films of Brian De Palma, attacks the 1980s fantasy cinema of Lucas and Spielberg, examines the work of women directors, and celebrates the films of Scorcese and Michael Cimino.

    Book by Peary, Danny

    8 page of photos.

    interviews in Mexico, 1975-77, ed & tr Paul Lenti

    Reporting on the latest innovations and showcasing in-depth interviews with industry experts, Film Lighting provides an inside look at how cinematographers and film directors establish the visual concept of the film and use the lighting to help tell the story. Using firsthand material from experts such as Oscar-winning cinematographers Dion Beebe, Russell Carpenter, Robert Elswit, Mauro Fiore, Janusz Kaminski, Wally Pfister, Haskell Wexler, and Vilmos Zsigmond, this revised and expanded edition provides an invaluable opportunity to learn from the industry’s leaders.

    This is a one-man-band job for David Byrne (lead singer of the Talking Heads), who writes, stars, and directs, It's ostensibly about the sesquicentennial celebration of a small Texas town, but it's really about strange characters and strange attitudes. Byrne is our guide, driving us around and giving tour information about Texas in an innocuous patter, frequently running into Louis Fyne (John Goodman), a lonely man looking for love. At various times, and with little provocation, the film swoons into a Talking Heads number with preachers and bar patrons belting out tunes. If you make room for it, however, True Stories can surprise and delight with its inventiveness and its unconventional treatment of the residents. A scene in which a construction worker launches into an aria, on a makeshift stage when no one else is around, is but one example of numerous such moments in this bizarre, delightful, and benign film. Any Talking Heads fan who doesn't own it should. --Keith Simanton

    For several months he drove the empty highways of Texas, Arizona, New Mexico and California, transfixed by the vastness of a country saturated with light and color and energized by the American cowboy mystique. Even in the twentieth century, it was a landscape that had lost none of its evocative, mythic power. This collection of lush, colorful photographs magnificently displays what Wenders' practiced eye sought out: dramatic and visually arresting images, haunting vistas, and the poetic dilapidation of a country touched by man but ruled by nature. An enlightening interview with the photographer reveals the many ways that Wenders, a European traveling in a distinctly American landscape, was both moved by and bemused by what he considers the heartland of the American Dream. It is this sensibility, along with Wenders enormous photographic talents, that lend this collection a unique quality, and that allow us to experience the West in a whole new, brilliantly colorful light.

    This radical re-reading of Ford's work studies his films in the context of his complex character, demonstrating their immense intelligence and their profound critique of our culture.

    This first volume of his autobiography captures the startling momentum of his mercurial early career: from apprenticeship with Hitchcock, to the fateful meeting with the man who became his principal collaborator Emeric Pressburger; to the glories of A Matter of Life and Death, Black Narcissus and The Red Shoes. Powell's writing has the same brilliant feel for time, place and story as his amazing films.

    It is the story of Lisa, a young girl who rejects the constricting life of her small town and family in order to dedicate her life to a musician, Stefan. The film's elegant fin-de-siecle Viennese setting, lyrical camera work, dispassionate and ironic point of view, and fine performances by Joan Fontaine and Louis Jourdan elevate what could have been a mere tearjerker into one of Ophuls's finest works. This volume provides a detailed transcription of the 1948 film. Notes appended to the film's continuity script detail all the significant differences between the finished film and the shooting script. Wexman's introductions to each of the book's sections discuss the history of the film's reception and provide an overview of the central issues the film has raised. A cross section of commentary by well-known critics attests to the film's enduring position as a central text for cinema study. These essays acknowledge the film's significance as a preeminent example of Ophuls's art, as an important woman's film, and as a representative of the classic Hollywood style. A biographical sketch of Ophuls, the entire Zweig novella, a bibliography and other background materials are also included.

    Readers will learn the methodology and craft of the script supervisor, who ensures that the continuity of a film, its logical progression, is coherent. The book teaches all vital script supervising functions, including how to: .prepare, or "break down" a script for shooting .maintaining screen direction and progression .matching scenes and shots for editing .cuing actors .recording good takes and prints preparing time and log sheets for editingThis revision of an industry classic has been updated to reflect changes in the film industry in recent years, including the use of electronic media in the script supervisor's tasks. While it is written for the novice script writer, it can serve as a valuable resource for directors, film editors, scriptwriters and cinematographers.

    Fillm history.

    readers the story of a gentle man who became one of the indisputable Kings of HorrorPeter Cushing. Mr. Cushing discusses his childhood, his early acting career in films and on stage, his BBC television work and his renowned years at Hammerall with literary wit and charm. While Mr. Cushing's humor will tickle readers' funny bones, the everlasting love story between Mr. Cushing and his dear wife Helen will touch their hearts.

    readers the story of a gentle man who became one of the indisputable Kings of Horror. Peter Cushing. Mr. Cushing discusses his childhood, his early acting career in films and on stage, his BBC television work and his renowned years at Hammerall with literary wit and charm. While Mr. Cushing's humor will tickle readers' funny bones, the everlasting love story between Mr. Cushing and his dear wife Helen will touch their hearts.

    The telling of the story of the Labyrinth using the photos of the 1986 movie.

    

    The first successes of the New Wave by major Cahiers contributors such as Jean-Luc Godard, Francois Truffaut, Jacques Rivette, Eric Rohmer, and Claude Chabrol focused international attention on the revitalization of French cinema and its relation to film criticism; and in the early 1960s the journal's laudatory critiques of popular American movies were attaining the greatest notoriety.As the lively articles, interviews, and polemical discussions in this volume reveal, the 1960s saw the beginnings of significant new directions in filmmaking and film criticism changes in which the New Wave itself was a major factor. The auteur theory that the journal had championed in the 1950s began to be rethought and revalued. At the same time, along with a reassessment of American film, Cahiers began to embrace new, often oppositional forms of cinema and criticism, culminating in the political and aesthetic radicalism of the ensuing decade.The selections, translated under the supervision of the British Film Institute, are annotated by Jim Hillier, and context is provided in his general introduction and part introductions. For an understanding of the important changes that took place in cinema and film criticism in the 1960s and beyond, this book is essential reading.

    Vogel examines the business economics of the major entertainment enterprises: movies, music, television programming, broadcasting, cable, casino gambling and wagering, publishing, performing arts, sports, theme parks, and toys and games. The seventh edition has been further revised and broadened and differs from its predecessors by restructuring and repositioning the previous Internet chapter, including new material on the economics of networks and advertising, adding a new section on policy implications, and further expanding the section on recent theoretical work pertaining to box-office behaviour. The result is a comprehensive up-to-date reference guide on the economics, financing, production, and marketing of entertainment in the United States and overseas. Investors, business executives, accountants, lawyers, arts administrators, and general readers will find that the book offers an invaluable guide to how entertainment industries operate.

    

    He draws on a wide range of sources, including the films in which each star appeared, to illustrate how each star's persona was constructed, and goes on to examine each within the context of particular issues in fan culture and stardom. Students of film and cultural studies will find this an invaluable part of there course reading.

    In this book, selections from his best, wittiest, and most profound work in every area have been gathered together for the first time. The excerpts from the published and never-before-published work range from one-liners to memorable on-screen exchanges to essays, and are drawn from Woody's stand-up routines (which have never appeared in print before), his classic New Yorker pieces, his screenplays, film outtakes, magazine articles, plays, and interviews. Here is vintage Woody Allen on the topics that have dominated his work for more than thirty years: Intellectuals ("They're like the Mafia, they only kill their own"); Analysts ("My poor analyst got so frustrated. The guy finally put in a salad bar"); Love ("Should I marry W.? Not if she won't tell me the other letters in her name"); Work ("Show business is dog eat dog. It's worse than dog eat dog. It's dog doesn't return dog's phone calls"); Death ("I don't want to achieve immortality through my work, I want to achieve it through not dying"); and much more. Here is marvelous dialogue from twenty-six original screenplays, including Annie Hall, Hannah and Her Sisters, Bananas, Take the Money and Run, Play It Again, Sam, Broadway Danny Rose, Zelig, Radio Days, Manhattan, Husbands and Wives, and all the others. Here are highlights from monologues, including the first one he ever recorded in March, 1964; Woody dicussing his grandfather ("On his deathbed he sold me this pocket watch"); remembering a moth who ate his sports jacket; and telling the now-classic tale of the time he shot a moose. Also included are excerpts from more than sixty essays: "No Kaddish for Weinstein," "Confessions of a Burglar," "The UFO Menace," "The Discovery and Use of the Fake Ink Blot," "A Guide to Some of the Lesser Ballets," and "If the Impressionists Had Been Dentists," in which a distraught Dutch dentist named Vincent writes in anguish t

    

    One begins to obsessively photograph dead animals, while the crusades to set them free. A bizarre and unexpected story emerges.

    Albrecht traces the connections between film designers' art and its roots in European design movements, such as Art Deco and the Bauhaus. The penthouses, nightclubs, and skyscrapers that showed moviegoers a new way of living demanded a new look, which these architectural movements provided. DESIGNING DREAMS concludes with an essential chapter on The Fountainhead, modernist architecture's last fervid gasp in the movies. Illustrated with rare stills from classic films.

    A married socialite beds a seedy small-town lawyer and convinces him to murder her husband. Their passionate affair cools when it becomes uncertain if they can pull off their diabolical scheme. Body Heat was Kathleen Turner's first film and Kasdan's directorial debut. The screenplay was nominated in 1982 for Best Drama Written Directly for the Screen by the Writers Guild of America.