2001 is a nonverbal experience?. I tried to create a visual experience, one that bypasses verbalized pigeonholing and directly penetrates the subconscious with an emotional and philosophic content.? The philosophy behind Part I borrows from this line of thinking: from the opening sequence of Killer's Kiss to the final frames of Eyes Wide Shut, Kubrick's complete films will be presented chronologically and wordlessly via frame enlargements. A completely nonverbal experience. Part 2: The Creative Process Divided into chapters chronologically by film, Part 2 brings to life the creative process of Kubrick's filmmaking by presenting a remarkable collection of material from his archives, including photographs, props, posters, artwork, set designs, sketches, correspondence, documents, screenplays, drafts, notes, and shooting schedules. Accompanying the visual material are essays by noted Kubrick scholars, articles written by and about Kubrick, and a selection of Kubrick's best interviews. Special features ? Part 1 features 800 film stills scanned directly from the original prints and interpositives ? Part 2 presents about 800 items from the archives, most of which have never been published before ? essays by Kubrick scholars Gene D. Phillips, Michel Ciment, and Rodney Hill ? selected articles and essays, including interviews with and essays by Stanley Kubrick ? illustrated Kubrickchronology ? audio CD featuring a 70-minute 1966 interview of Stanley Kubrick by Jeremy Bernstein **BONUS** ? books in the first print run will each include a twelve-frame film strip from a 70mm print of 2001: A Space Odyssey owned by Stanley Kubrick Made in cooperation with Jan Harlan, Christiane Kubrick, and the Stanley Kubrick Estate. The editor: Alison Castle received a BA in philosophy from Columbia University and an MA in photography and film from New York University (NYU/International Center of Photography masters program). Castle also edited TASCHEN's Some Like it Hot. She lives in Paris, home of the world's best cinemas.

    They are immediately attracted. Despite knowing this may be the only time they will see each other, in the next few hours in the city of Vienna, they share everything and promise to meet again.    Nearly a decade later, Jesse, now a novelist on a publicity tour, sees Celine in a bookstore in Paris. Again their time is short, and they spend it reestablishing the connection they experienced on their first meeting. Romantic, poignant, understated, and often profound, these two screenplays are sure to become classics in their own right.

    Now, for the first time and in their own words, over two hundred alumni of the series recall a quarter century's worth of never-before-told tales. Filled with all the backstage stories, struggles and controversies behind the onscreen mayhem, this candid and exhaustive history takes you inside the record-breaking franchise like no book ever has.

    Neither a snob nor a shill, Ebert manages in these essays to combine a truly populist appreciation for today's most important form of popular art with a scholar's erudition and depth of knowledge and a sure aesthetic sense. Once again wonderfully enhanced by stills selected by Mary Corliss, former film curator at the Museum of Modern Art, The Great Movies II is a treasure trove for film lovers of all persuasions, an unrivaled guide for viewers, and a book to return to again and again.Films featured in The Great Movies II12 Angry Men · The Adventures of Robin Hood · Alien · Amadeus · Amarcord · Annie Hall · Au Hasard, Balthazar · The Bank Dick · Beat the Devil · Being There · The Big Heat · The Birth of a Nation · The Blue Kite · Bob le Flambeur · Breathless · The Bridge on the River Kwai · Bring Me the Head of Alfredo García · Buster Keaton · Children of Paradise · A Christmas Story · The Color Purple · The Conversation · Cries and Whispers · The Discreet Charm of the Bourgeoisie · Don’t Look Now · The Earrings of Madame de . . . · The Fall of the House of Usher · The Firemen’s Ball · Five Easy Pieces · Goldfinger · The Good, the Bad and the Ugly · Goodfellas · The Gospel According to Matthew · The Grapes of Wrath · Grave of the Fireflies · Great Expectations · House of Games · The Hustler · In Cold Blood · Jaws · Jules and Jim · Kieslowski’s Three Colors Trilogy · Kind Hearts and Coronets · King Kong · The Last Laugh · Laura · Leaving Las Vegas · Le Boucher · The Leopard · The Life and Death of Colonel Blimp · The Manchurian Candidate · The Man Who Laughs · Mean Streets · Mon Oncle · Moonstruck · The Music Room · My Dinner with Andre · My Neighbor Totoro · Nights of Cabiria · One Flew Over the Cuckoo’s Nest · Orpheus · Paris, Texas · Patton · Picnic at Hanging Rock · Planes, Trains and Automobiles · The Producers · Raiders of the Lost Ark · Raise the Red Lantern · Ran · Rashomon · Rear Window · Rififi · The Right Stuff · Romeo and Juliet · The Rules of the Game · Saturday Night Fever · Say Anything · Scarface · The Searchers · Shane · Snow White and the Seven Dwarfs · Solaris · Strangers on a Train · Stroszek · A Sunday in the Country · Sunrise · A Tale of Winter · The Thin Man · This Is Spinal Tap ·Tokyo Story · Touchez Pas au Grisbi · Touch of Evil · The Treasure of the Sierra Madre · Ugetsu · Umberto D · Unforgiven · Victim · Walkabout · West Side Story · Yankee Doodle Dandy

    Corpse Bride carries on in the dark, romantic tradition of Tim Burton's classic films Edward Scissorhands and The Nightmare Before Christmas, Set in a 19th century European village, this stopmotion, animated feature follows the story of Victor (Johnny Depp), a young man who is whisked away to the underworld and wed to a mysterious Corpse Bride (Helena Bonham-Carter), while his real bride, Victoria (Emily Watson), waits bereft in the land of the living. Though life in the Land of the Dead proves to be a lot more colorful than his strict Victorian upbringing, Victor learns that there is nothing in this world, or the next, that can keep him away from his one true love. It's a tale of optimism, romance and a very lively afterlife, told in a classic Tim Burton style. Like Tim Burton's The Nightmare Before Christmas, this official visual companion showcases spectacular movie stills, sketches, paintings, and Tim Burton's own drawings. Covering preproduction, production, and post-production, sections detail character realization, set development and construction, puppet fabrication, costuming, and stop-motion filming. The book's final part retells the film's story in images with synopsis, storyboards, and lyrics. 140 color illustrations.

    Finally a script format guide that is accurate, complete, authoritative and easy to use, written by Hollywood's foremost authority on industry standard script formats.

    The movie and its author instantly became a counterculture icon. The New York Times said the film “demands to be seen,” and Newsweek called it “An Extraordinary Movie!” But that was only the beginning of the story and the controversy of El Topo, and the journey of its brilliant creator. His spiritual quest began with the Japanese master Ejo Takata, the man who introduced him to the practice of meditation, Zen Buddhism, and the wisdom of the koans. Yet in this autobiographical account of his spiritual journey, Jodorowsky reveals that it was a small group of wisewomen, far removed from the world of Buddhism, who initiated him and taught him how to put the wisdom he had learned from his master into practice.At the direction of Takata, Jodorowsky became a student of the surrealist painter Leonora Carrington, thus beginning a journey in which vital spiritual lessons were transmitted to him by various women who were masters of their particular crafts. These women included Doña Magdalena, who taught him “initiatic” or spiritual massage; the powerful Mexican actress known as La Tigresa (the “tigress”); and Reyna D’Assia, daughter of the famed spiritual teacher G. I. Gurdjieff. Other important wisewomen on Jodorowsky’s spiritual path include María Sabina, the priestess of the sacred mushrooms; the healer Pachita; and the Chilean singer Violeta Parra. The teachings of these women enabled him to discard the emotional armor that was hindering his advancement on the path of spiritual awareness and enlightenment.

    Covering hundreds of movies from America, Europe and Asia, this history chronicles the zombie's on-screen evolution from Caribbean bogeyman to flesh-eating corpse.

    Now the major motion picture "Brokeback Mountain" is being hailed as equally masterful, with performances that are "the stuff of Hollywood history" "(The New York Times)." "Brokeback Mountain: Story to Screenplay" offers readers insight into how this classic short story was turned into an award-winning screenplay and film. "Brokeback Mountain" was originally published in "The New Yorker." It won the National Magazine Award. It also won an O. Henry Prize. Included in this volume is Annie Proulx's haunting story about the difficult, dangerous love affair between a ranch hand and a rodeo cowboy. Also included is the Oscar-nominated and Golden Globe-winning screenplay for the major motion picture, written by Larry McMurtry and Diana Ossana. All three writers have contributed essays on the process of adapting this critically acclaimed story for film. This book is an indispensable tool for film students and aficionados.

    The director was a renegade filmmaker who'd never made a profitable picture. The producer was hired because he could stay below budget. The star had a reputation for being difficult. A formula for disaster?No, the makings of one of the greatest films of all time.The Godfather Legacy explores the fascinating behind-the-scenes intrigue and uproar during the making of all three films:The clashes between Coppola and the studio chiefs during the filming of The Godfather, the pressurized production schedule, and the project's near cancellationThe real story behind the cooperation of the Mafia in the creation of The GodfatherThe worldwide acclaim and stunning financial success following the release of The Godfather -- a triumph that set the stage for the film industry's renaissanceThe production of The Godfather Part II and the rise of Coppola, Al Pacino, and others to the loftiest heights of power in HollywoodThe creation of The Godfather Part III two decades after the original film and the completion of video projects that unified the three films for the first timeFeaturing production records, credits, reviews, and interviews with many of the principals involved, The Godfather Legacy is a rare and vivid peek into the making of three of the most compelling films in Hollywood history.

    Leonard Maltin’s Classic Movie Guide includes more than 7,000 capsule reviews of classic movies, including: The Birth of a Nation (1915), Gone With the Wind (1939), The Philadelphia Story (1940), High Noon (1952), and Guess Who’s Coming to Dinner (1967). In addition, this unique volume also offers a star and director index, a full listing of classic movies on DVD, and Leonard Maltin’s unique Top Ten lists. The result is an authoritative, dynamic guide to the classics no film aficionado should be without.

    This candid portrait of one of the greatest stars of all time tells the story behind the making of an American icon, uncovering new details about the man behind the legend, with in-depth commentary from his closest friends and family, including his cousin and executor of his estate, Marcus Winslow and his best friend and roommate, William Bast. Loaded with features that chronicle his life and times, this book is a must have for fans of the man, the movie star--the legend.

    This ultimate insider's guide reveals the secrets that none dare admit, told by a show biz veteran who's proven that you can sell your script if you can save the cat!

    The now-legendary British company went on to make such classics as Dracula (and its many sequels), making international stars out of Peter Cushing and Christopher Lee, changing the face of horror cinema, and inspiring a generation of Hollywood filmmakers, including George Lucas, Martin Scorsese and Tim Burton.Now, for the first time, Hammer have given their active backing to an authorised history of the company, and have provided unlimited access to their archives.The Hammer Story provides a film-by-film dissection, dripping with rare promotional material and previously unpublished photographs.

    The fighting skeletons of Jason and the Argonauts. And, of course, the angry T. Rex of Island of the Gwangi. All these creations and many more, seared into our collective consciousness, are the work of one man—Ray Harryhausen. The father of special effects, Ray Harryhausen is revered among film historians, animators, special-effects designers, and everyone who’s ever seen his inspired stop-motion creations. In 2004, Watson-Guptill published Ray Harryhausen: An Animated Life to critical acclaim and sales of over 20,000 copies. Now WG is pleased to present a companion book: The Art of Ray Harryhausen. Concise essays and lavish illustrations look at each of Harryhausen’s many specialties, including aliens, prehistoric creatures, mythological monsters, and much more. At last, fans of Harryhausen can see the progression of his work over time, in a visual celebration of his art and artistry.

    Critic Kenneth Tynan once declared, What, when drunk, one sees in other women, one sees in Garbo sober. Though many books have tried to unlock the mystique of the Swedish Sphinx by focusing primarily on her personal life, Greta Garbo: A Cinematic Legacy is the first book to pay serious attention to what made her an icon - her twenty-four Hollywood films. As MGM's highest-paid star, Garbo had approval over story, co-star, director, and cinematographer, wielding power that few others could match - yet she was often at odds with the system that made her such a phenomenon. Lavishly illustrated with luminous portraits, film stills, and behind-the-scenes photographs - many previously unpublished - and drawing extensively on interviews, letters, and studio production files, the book chronicles Garbo's stellar, yet turbulent, career. One hundred years after her birth, Garbo's captivating legend endures.

    Mayer, the chief of Metro-Goldwyn-Mayer -- MGM -- the biggest and most successful film studio of Hollywood's Golden Age. An immigrant from tsarist Russia, Mayer began in the film business as an exhibitor but soon migrated to where the action and the power were -- Hollywood. Through sheer force of energy and foresight, he turned his own modest studio into MGM, where he became the most powerful man in Hollywood, bending the film business to his will. He made great films, including the fabulous MGM musicals, and he made great stars: Garbo, Gable, Garland, and dozens of others. Through the enormously successful Andy Hardy series, Mayer purveyed family values to America. At the same time, he used his influence to place a federal judge on the bench, pay off local officials, cover up his stars' indiscretions, and, on occasion, arrange marriages for gay stars. Mayer rose from his impoverished childhood to become at one time the highest-paid executive in America.Despite his power and money, Mayer suffered some significant losses. He had two daughters: Irene, who married David O. Selznick, and Edie, who married producer William Goetz. He would eventually fall out with Edie and divorce his wife, Margaret, ending his life alienated from most of his family. His chief assistant, Irving Thalberg, was his closest business partner, but they quarreled frequently, and Thalberg's early death left Mayer without his most trusted associate. As Mayer grew older, his politics became increasingly reactionary, and he found himself politically isolated within Hollywood's small conservative community.Lion of Hollywood is a three-dimensional biography of a figure often caricatured and vilified as the paragon of the studio system. Mayer could be arrogant and tyrannical, but under his leadership MGM made such unforgettable films as The Big Parade, Ninotchka, The Wizard of Oz, Meet Me in St. Louis, and An American in Paris.Film historian Scott Eyman interviewed more than 150 people and researched some previously unavailable archives to write this major new biography of a man who defined an industry and an era.

    Spanning sixty years, this deliciously entertaining history uncovers the audacious manner in which many blacks made a place for themselves in an industry that originally had no place for them. Through interviews and the personal recollections of Hollywood luminaries, Bogle pieces together a remarkable history that remains largely obscure to this day. We discover that Black Hollywood was a place distinct from the studio-system-dominated Tinseltown–a world unto itself, with unique rules and social hierarchy. It had its own talent scouts and media, its own watering holes, elegant hotels, and fashionable nightspots, and of course its own glamorous and brilliant personalities. Along with famous actors including Bill “Bojangles” Robinson, Hattie McDaniel (whose home was among Hollywood’s most exquisite), and, later, the stunningly beautiful Lena Horne and the fabulously gifted Sammy Davis, Jr., we meet the likes of heartthrob James Edwards, whose promising career was derailed by whispers of an affair with Lana Turner, and the mysterious Madame Sul-Te-Wan, who shared a close lifelong friendship with pioneering director D. W. Griffith. But Bogle also looks at other members of the black community–from the white stars’ black servants, who had their own money and prestige, to gossip columnists, hairstylists, and architects–and at the world that grew up around them along Central Avenue, the Harlem of the West.In the tradition of Hortense Powdermaker’s classic Hollywood: The Dream Factory and Neal Gabler’s An Empire of Their Own, in Bright Boulevards, Bold Dreams, Donald Bogle re-creates a vanished world that left an indelible mark on Hollywood–and on all of America.From the Hardcover edition.

    John Waters, the writer and director of these movies, is a legendary filmmaker whose films occupy their own niche in cinema history. His muse and leading lady was Divine — a 300-pound transvestite who could eat dog shit in one scene and break your heart in the next. In "Hairspray," a "pleasantly plump" teenager, played by Ricki Lake, and her big-hearted hairdresser mother, played by Divine, teach 1962 Baltimore about race relations by integrating a local TV dance show. "Female Trouble" is a coming-of-age story gone terribly awry: Dawn Davenport (again, Divine), progresses from loving schoolgirl to crazed mass murderer destined for the electric chair — all because her parents wouldn't buy her cha-cha heels for Christmas. In "Multiple Maniacs," dubbed by Waters a "celluloid atrocity," the traveling sideshow "Lady Divine's Cavalcade of Perversions" is actually a front for a group of psychotic kidnappers, with Lady Divine herself the most vicious and depraved of all — but her life changes after she gets raped by a fifteen-foot lobster.

    In 1944 W. H. Auden called Agee's film reviews for The Nation "the most remarkable regular event in American journalism today." Those columns, along with much of the movie criticism that Agee wrote for Time through most of the 1940s, were collected posthumously in Agee on Film: Reviews and Comments, undoubtedly the most influential writings on film by an American.Whether reviewing a Judy Garland musical or a wartime documentary, assessing the impact of Italian neorealism or railing against the compromises in a Hollywood adaptation of Hemingway, Agee always wrote of movies as a pervasive, profoundly significant part of modern life, a new art whose classics (Chaplin, Dovzhenko, Vigo) he revered and whose betrayal in the interests of commerce or propaganda he often deplored. If his frequent disappointments could be registered in acid tones, his enthusiasms were expressed with passionate eloquence. This Library of America volume supplements the classic pieces from Agee on Film with previously uncollected writings on Ingrid Bergman, the Marx Brothers, Alfred Hitchcock's Lifeboat, Vittorio De Sica's Shoeshine, and a wealth of other cinematic subjects.Agee's own work as a screenwriter is represented by his script for Charles Laughton's unique and haunting masterpiece of Southern gothic, The Night of the Hunter, adapted from the novel by Davis Grubb. This collection also includes examples of Agee's masterfully probing reporting for Fortune — on subjects as diverse as the Tennessee Valley Authority, commercial orchids, and cockfighting — and a sampling of his literary reviews, among them appreciations of William Faulkner, Virginia Woolf, S. J. Perelman, and William Carlos Williams.

    The volume includes 350 black and white photographs taken between 1945-50 including rare unpublished images

    When it became a surprise blockbuster, studios began to trust him with larger budgets and the whims of his expansive imagination. Mixing gothic horror, black comedy, and oddball whimsy, Burton's movies veer from childlike enchantment to morbid melancholy, often with the same frame.His beautifully designed and highly stylized films-including Batman, Edward Scissorhands, Beetlejuice, Big Fish, Sleepy Hollow, and Ed Wood-are idiosyncratic, personal visions that have found commercial success. In Tim Burton: Interviews, the director discusses how animation and art design affect his work, how old horror films have deeply influenced his psyche, why so many of his protagonists are outcasts, and how he's managed to make personal films within the Hollywood system. He gives tribute to writers he's worked with, his favorite actors-including Johnny Depp and Vincent Price-and talks enthusiastically about pulp horror fiction and the works of Edgar Allan Poe.These interviews show his progression from an inarticulate young director to a contemplative and dry-witted artist over the course of twenty years. In later interviews, he opens up about being in therapy and how his childhood fantasies still affect his art. Tim Burton: Interviews reveals a man who has managed to thrive inside Hollywood while maintaining the distinctive quirks of an independent filmmaker.Kristian Fraga, New York City, wrote and directed the award-winning PBS documentary The Inside Reel: Digital Filmmaking. He is a founding partner of Sirk Productions, LLC, a Manhattan-based film and television production company.

    With an American TV actor named Clint Eastwood and a script based on a samurai epic, Leone wound up creating "A Fistful of Dollars", the first in a trilogy of films (with "For a Few Dollars More" and "The Good, the Bad, and the Ugly") that was violent, cynical, and visually stunning. Along with his later masterpiece, "Once Upon a Time in the West", these films came to define the Spaghetti Western

    It is a complete resource for anyone who wants to write and produce for a television drama series or create an original series, as well as for teachers in screenwriting classes and workshops. Offering practical industry information and artistic encouragement, the book is both nuts-and-bolts and inspiration. The Third Edition leads readers into the future and engages provocative issues about the interface between traditional TV and emerging technologies and endless possibilities.

    Part guidebook and part manifesto, the book takes a fresh look at what it's like to create work in a world that has become increasingly fragmentary. Through casual and direct discussions Broken Screen offers a detailed navigation through the ideas behind the important yet under-documented visual language of nonlinear narratives, split screens, and fragmentary visual planes that define the most progressive moving images today. Presented in 25 illustrated chapters, the focus here lies on the shattering of the linear narrative in the visual arts through the use of image-based work to articulate the speed and fragmentation of modern life. Perhaps best of all, Broken Screen is a unique opportunity for readers to learn the thoughts and personal beliefs of these artists in their own words and imagery, unencumbered by critical or commercial filters, and communicated in the manner of a conversation between friends. It also seeks to produce a cultural manifesto for new communication, expression, and understanding in both the present and future--much as Marshall McLuhan's Medium is the Massage did. With its accessible conversational style, forward-thinking graphic design, and over 300 high-contrast images, Broken Screen extends across many disciplines including art, film, design, and architecture, and is sure to become an important document of our time.

    Figures Traced in Light is a detailed consideration of how cinematic staging carries the story, expresses emotion, and beguiles the audience through pictorial composition. Ranging over the entire history of cinema, David Bordwell focuses on four filmmakers' unique contributions to the technique. In-depth chapters examine Louis Feuillade, master of the 1910s serial; Kenji Mizoguchi, the great Japanese director who worked from the 1920s to the 1950s; Theo Angelopoulos, who began his career as a political modernist in the late 1960s; and Hou Hsiao-hsien, the Taiwanese filmmaker who in the 1980s became the preeminent Asian director. For comparison, Bordwell draws on films by Howard Hawks, Michelangelo Antonioni, Yasujiro Ozu, Takeshi Kitano, and many other directors. Superbly illustrated with more than 500 frame enlargements and 16 color illustrations, Figures Traced in Light situates its close analysis of model sequences in the context of the technological, industrial, and cultural trends that shaped the directors' approaches to staging.

     Enjoy a rare and fascinating director’s-eye-view of all the action, all the legendary characters, and each of the exotic worlds from science fiction cinema’s greatest saga, as it comes full circle. And thanks to the images from the final cut of the movie itself, you’ll be able to visualize the adventure as it unfolded throughout the shooting of Star Wars: Episode III: Revenge of the Sith. For the total Star Wars fan and filmmaking enthusiast alike, this extraordinary ebook is an essential part of the Star Wars experience.Features a bonus section following the novel that includes a primer on the Star Wars expanded universe, and over half a dozen excerpts from some of the most popular Star Wars books of the last thirty years!

    60,000 first printing.

    In the process they made computer history.

    The result is The DD Group, the highly detailed work of author David Marshall. It chronicles Monroe's final day and her tragic and puzzling demise. Using available information including police reports, vintage magazine and newspaper accounts, documentaries and biographies, and correspondence with some of the principals in the case, the group had one purpose--to reconstruct the events of Monroe's last summer and reach an understanding of what likely took place on August 4, 1962.By verifying sources, considering agendas, and, above all else, applying logic, the DD Group was able to weed through the conflicting and often contradictory reports. Through careful research and study, they arrived at the most comprehensive understanding of the events surrounding Monroe's disturbing death.

    This title reveals the mind, the methods and the madness of Japan's most influential and unique filmmaker.

    A bargain bridge. Séances. Golden Boy pageants. A demolished hockey arena. St. Mary's Academy for Girls. Spanky the Guide Dog through Time. An epidemic of sleepwalking.This is the Winnipeg of Guy Maddin, the world's foremost cinéaste planant, and it's not the Winnipeg you'll find in tourist brochures. When the iconoclastic auteur of The Saddest Music in the World decided to tackle the subject of his hometown, it could only have become a 'docu-fantasia,' a melange of personal history, civic tragedy and mystical hypothesizing. The result is wildly delirious, deeply personal and deliciously entertaining.Herewith, venture deeper into the mind of Maddin with the text of his narration, wantonly annotated with an avalanche of marginal digressions, stills, outtakes, family photos, emails, essays, deoculations, animations, notebook pages and collages. There's even an X-ray of Spanky the pug and an in-depth interview with Michael Ondaatje.

    So much so that in America, at least, he tends to be underrated. The most respectful of his critics often define him (a bit too simply) as a "realist." Certainly, whether the subject is thievery (The Jericho Mile, Thief, Heat), killers (Manhunter, Collateral), frontier life (The Last of the Mohicans), the nuanced struggle between the news media and corporate money (The Insider), or that of a celebrated athlete looking to find his life's meaning in a world of bigotry (Ali), Mann seeks authenticity above all. Whatever suspense, entertainment value, and emotional or philosophical insight his work may yield rises from a truthfully imagined, painstakingly observed set of human beings and their warring intentions. This book explores Mann's multifaceted oeuvre, including his most recent film, Miami Vice. Made with full access to Michael Mann's archives! The author: F.X. Feeney is a screenwriter and critic based in Los Angeles. His film credits include The Big Brass Ring, based on a story by Orson Welles, and Frankenstein Unbound, directed by Roger Corman, whilst his reviews have appeared in L.A. Weekly and other publications. F.X. is also the author of TASCHEN's Roman Polanski: The Complete Films. The editor: Paul Duncan has seen lots of films and read lots of comics and books. He wanted to share his enthusiasm for these subjects so he published magazines about comics (Ark) and crime fiction (Crime Time) before launching a series of small film guides (Pocket Essentials). He edits film books for TASCHEN and wroteAlfred Hitchcock: The Complete Films and Stanley Kubrick: The Complete Films.

    This is a guide to his entire career, and an in-depth look at his methods.

    With the aid of over 250 source images and documents, this text reveals how photographs, film, mass-media imagery and other sources informed Bacon's painting and, in particular, how 'lens-based images' helped to trigger the most significant turning point in his stylistic development.

    She was one of the busiest and most definitive actresses of that medium. The bottom line is that Agnes Moorehead is one of the few actresses who succeeded in every realm of show business: stage, radio, film, and television. The respect of her peers can be summed up in these statistics: four Academy Award nominations, seven Emmy nominations - with one win - two Golden Globe nominations - with two wins - and the Best Actress award from the New York Film Critics. This impressive, 400+ page biography, complete with filmography and radiography, proves to readers and scholars alike that she was much more than the witch of Endor! *This is the 2nd edition of the bestselling book, with new material and cover!*

    He is one of the most amazing, popular, and iconic characters in the history of motion pictures. His 1933 debut was a legendary piece of pure cinema simultaneously a terrifying monster movie, epic fairy tale, tragic love story, and deeply resonant cultural myth. His name is King Kong. Ray Morton's King Kong The History of a Movie Icon is the first book to chronicle the making of all seven feature films in which the character of Kong has appeared, including the hotly anticipated Peter Jackson version. It is generously illustrated with photographs, production art, and promotional materials from the author's extensive private collection. Morton has interviewed the surviving members of each major film. A colorful overview of the tremendous amount of collectible Kong merchandise is also on view for all the fans of Kongdom to devour.

    "Zulu" tells the epic story of the Battle of Rorke's Drift of 1879, in which barely 150 soldiers of the British Army in South Africa fought for twelve hours to hold an isolated mission station against sustained assault from 4,000 highly disciplined Zulu warriors. Zulu enjoyed blockbusting box-office success and now holds near-legendary status in the British popular imagination. Written in a lively and accessible style and lavishly illustrated throughout, this is the definitive account of the filming of one of the great movie epics, Covered in fascinating detail are such topics as: - How hundreds of Zulu tribesmen, many of whom had never before seen a film, were taught to perform for the camera- Filming under apartheid: with vivid reminiscences of working in the midst of an oppressive political regime- Behind the cameras with actors Stanley Baker, Michael Caine, jack Hawkins, James Booth, Nigel Green and Ivor Emmanuel.- How the battle was re-enacted against the spectacular backdrop of Natal's Drakensberg mountain range.

    Over the last thirty years, he's created many of Hollywood's most memorable posters. His art touched generations of filmgoers with unforgettable images for The Star Wars Trilogy, Raiders of the Lost Ark, Indiana Jones and the Temple of Doom, The Phantom Menace, Bladerunner, First Blood, The Thing, Back to the Future I - III, Harry Potter and the Sorcerers Stone, and hundreds more. Finally, these posters, in addition to paintings from Drew's private collection, several limited edition works, book and album covers and more have been collected into one stunning full color volume, Drew Struzan: Oeuvre. Authors Jessie and Amy Horsting examine the unique forces shaping Struzan's career, his rise as an illustrator, and the perseverance required to succeed and thrive in a notoriously fickle industry. Featuring a foreword by George Lucas, the book also focuses on the history of some ground-breaking posters, relates a few celebrity encounters, and offers commentary from Harrison Ford, Frank Darabont, Alice Cooper, Robert Zemekis, Jim Henson, and many others who have had close encounters with this giant talent.

    In looking back, I realize that the peculiarities of my personality helped me to adopt strategies that allowed for the reclamation of my identity and my integrity while in the hands of barbarians. Yet what I did is neither remarkable nor courageous nor beyond the capabilities of any person that finds himself in similar circumstances. What I have come to believe is that there exists in all of us the potential to stand and fight and reclaim."— William SampsonOn Sunday, December 17, 2000, Canadian engineer William Sampson stepped outside his house in Riyadh only to be hauled into a car and beaten by two Saudi men he didn’t know. Within an hour, he was incarcerated in one of the city’s most notorious jails. Within two months, he was tortured into a confession of responsibility for a wave of car bombings he did not commit. Sometime in that first year, he was sentenced to death in a secret trial. For two and a half years, Sampson was continually subjected to beatings and torture, convinced his death was just around the corner. Inept diplomacy failed him but human rights groups took up his cause and on August 8, 2003, he was finally freed in a controversial prisoner exchange. It wasn’t until February 2005 that Sampson’s name was officially cleared when a British inquest exonerated him of the crimes.Angry, intelligent, and compelling, Sampson places his personal story within the context of the geopolitics that engineered his fate, and in doing so has crafted a searing exposé of Western foreign policy in the Arab Middle East.

    Bernard (Jeff Daniels), a once successful novelist, and hiswife Joan (Laura Linney), an up-and-coming writer, have given upon their marriage.Their two sons Walt (Jesse Eisenberg), 16, andFrank (Owen Kline), 12, are left to grapple with their confusingand conflicted feelings.The experience is a tender, funny, and ultimatelymoving coming-of-age for Walt and a tortuously prematureone for Frank.The emotional tensions and strains that emergeduring this difficult period for the Berkmans are given a remarkablysubtle and nuanced portrayal.

    By the end of the following year, moviegoers couldn't get enough of him and his iconic persona, the Little Tramp. Perpetually outfitted with baggy pants, a limp cane, and a dusty bowler hat, the character became so beloved that Chaplin was mobbed by fans, journalists, and critics at every turn. Although he never particularly liked giving interviews, he accepted the demands of his stardom, giving detailed responses about his methods of making movies. He quickly progressed from making two-reel shorts to feature-length masterpieces such as The Gold Rush, City Lights, and Modern Times. Charlie Chaplin: Interviews offers a complex portrait of perhaps the world's greatest cinematic comedian and a man who is considered to be one of the most influential screen artists in movie history. The interviews he granted, performances in and of themselves, are often as well crafted as his films. Unlike the Little Tramp, Chaplin the interviewee comes across as melancholy and serious, as the titles of some early interviews-"Beneath the Mask: Witty, Wistful, Serious Is the Real Charlie" or "The Hamlet-Like Nature of Charlie Chaplin"-make abundantly clear. His first sound feature, The Great Dictator, is a direct condemnation of Hitler. His later films such as Monsieur Verdoux and Limelight obliquely criticize American policy and consequently generated mixed reactions from critics and little response from moviegoers. During this late period of his filmmaking, Chaplin granted interviews less often. The three later interviews included here are thus extremely valuable, offering long, contemplative analyses of the man's life and work.

    He goes on to analyze pulp novels of the 1960s and 1970s and more recent mainstream works. The second part of the volume is an annotated bibliography describing over 600 books

    This is her intimate portrait of the extraordinarily brilliant, complex character that was Dudley Moore. During the last ten years of his life Dudley changed. He stepped off the podium and into real life. Physically life was difficult, professionally it was turbulent, but during his final years he blossomed, and in the midst of his illness from the debilitating effects of Progressive Supranuclear Palsy, he found peace. Rena writes beautifully of Dudley's final years but also takes us back through his life story - conveying his inimitable talent, humour and vibrancy; evoking the atmosphere of a working-class upbringing in 1940s Britain, life in 1950s London and his relationship with Peter Cook, and the excesses of 1980s LA. With style and precision she unravels his personality, looks back at his childhood and career, weaving a moving and compelling story of a unique man.

    It is the first book to describe and analyze the complete development, operation, and reinvention of the global corporate entities that produce and distribute most of the films we watch. Starting in 1920, Adolph Zukor, head of Paramount Pictures, helped to fashion Hollywood into a vertically integrated system, a set of economic innovations that was firmly in place by 1930. For the next three decades, the movie industry operated according to these principles. Cultural, social, and economic changes ensured the demise of this system after WWII. Beginning in 1962, Lew Wasserman of Universal Studios emerged as the key innovator in creating a second studio system. Gomery relates the history of these two systems using primary materials from a score of archives across the United States as well as a close reading of both the business and trade press of the time. A number of previously unpublished photos illuminate the narrative.

    In this new set of interviews, MacDonald engages filmmakers in detailed discussions of their films and of the personal experiences and political and theoretical currents that have shaped their work. The interviews are arranged to express the remarkable diversity of modern independent cinema and the interactive community of filmmakers that has dedicated itself to producing forms of cinema that critique conventional media.

    Meanwhile the world has changed and cinema with it. Poetics of Cinema, 1 had much of a call to arms about it. What I write today is rather more of a consolatio philosophica. However, let no one be mistaken about this, a healthy pessimism may be better than a suicidal optimism.- Following his research in Poetics of Cinema, 1 on new narrative models as tools for apprehending a fast-shifting world, Ruiz makes an appeal for an entirely new way of filming, writing and conceiving the image. 'Light, more light, ' were Goethe's last words as he died. 'Less light, less light, ' Orson Welles cried repeatedly on a set--the one and only time I saw him. In today's cinema (and in today's world) there is too much light. It is time to return to the shadows. So, about turn! And back to the caverns!-

    The script for the movie, profusely illustrated with conceptual designs, preproduction art, character sketches, and behind-the-scenes photos.

    . . told with sweep and visual richness." This robust romance garnered nine Academy Awards, amongst them Best Picture and Best Director. His follow-up, The Talented Mr. Ripley, combined stunning vistas with the masterful suspense of studio-era Hollywood; praised by the New York Times' Janet Maslin as a "hypnotic, sensually charged adaptation," the film also found the attention of the Academy, receiving five nominations. With yet another ambitious adaptation creating tremendous buzz--Charles Frazier's best-selling Cold Mountain--Minghella is well on his way to becoming one of the most respected directors of the decade. A thorough craftsman painstakingly involved with each step of the moviemaking process, Minghella here shares knowledge gleaned from years of experience as a musician and writer for the theater. Praised for his ability to adapt the psychological density of the novel to the silver screen, he discusses the screenwriting process at length, imparting valuable lessons regarding pacing and narrative with a refreshing perspective as unique as the characters that pass before his lens.

    What the industry's most succcessful writers and directors have in common is that they have mastered the cinematic conventions specific to the medium.

    What makes him unparalleled in cinema is that he was personally responsible for all aspects of his films-from script to music. Published as a lavish album, the hundreds of illustrations in this book include drawings by Ray, film stills and photographs by Nemai Ghosh, who accompanied Ray and observed his work for nearly twenty-five years.

    A remarkable collection of never-before-published photographs from the reclusive actress's own collection features a dramatic array of tritone portraits by Clarence Bull, Arthur Genthe, Ruth Harriet Louise, and other notable photographers that capture the diverse dimensions of the star throughout her storied career, accompanied by a complete filmog

    From the eerie psychosis of "The Silence Of The Lambs" to the romantic fantasy "Pretty Woman", this was a decade that offered something for everyone. This book reproduces the pick of the decade. Full description

    It covers such essential artistic matters as looking for work, the roles played by various members of the costume/wardrobe department, union membership and regulation, the on-set and off-set duties of all costume department members, costume craftwork, script breakdown, writing and following budgets, organising and running a wardrobe department, designing for specific actors, fitting, dealing with deadlines, and much more.

    Scott Nollen worked extensively with Sara Jane Karloff on this impressive life history of one of the legends of Hollywood's Golden Age of Horror. "Being able to know and work with Sara Jane Karloff on this project has been a highlight of my career. Hopefully this book is the most thorough, accurate and entertaining chronicle of her father’s fascinating life. Perhaps a few Karloff mysteries have been solved."—Scott Allen Nollen

    "But in those days, an unlimited amount of money wouldn't have gotten us much better special effects, because they didn't exist. We had to go with the stories and try to make them as believable as possible, and flash the outlandish things by quickly, so the audience never got a good, in-focus look at them!" Perhaps no films attracted more rabid fans and less critical acclaim than the genre movies of that era. The men and women who made the characters come to life are interviewed here, talking about their work, the behind-the-scenes action, and the impact the movies had on their careers. The interviewees are Gene Barry, Gary Clarke, Gary Conway, Merian C. Cooper, Robert Dix, Donnie Dunagan, Alex Gordon, Peter Graves, Gary Gray, Arch Hall, Jr., Stephen Kandel, Carolyn Kearney, Ken Kolb, Robert L. Lippert, Jr., Jan Merlin, Mary Mitchel, Elliott Reid, Stanley Rubin, Frankie Thomas and Burt Topper. Extensively illustrated.

    "I find John's critical writing immensely entertaining even when I'm not in agreement... He has the gift, such a rare one, of being able to analyze the work in question, to be able to say why it is that it's so powerful, so touching; or, on the other hand, so trite, so meretricious, or so banal... I find his reviews full of insights and perceptions that make reading a collection of this sort as exciting as reading a gripping novel. John's wit is dazzling and is never displayed for its own sake, but to drive home an aspect of the review... It was exciting for me to read through this collection and see such warm praise for so many films that I feel have been unjustly ignored." Bruce Beresford

    After showing users what tools they need and why in a short primer on equipment, Hillman dives straight in to the heart of the volume: 'Making Movies.' Each chapter in this section represents a short vignette about one of Hillman's real-world projects. shoot, Hillman's wry and witty tales from the trenches provide insight into both the inspiration and process behind each project. Readers learn about each shoot and its aftermath, gleaning loads of practical information along the way.

    Adaptations gathers together 35 pieces that have been the basis for films, many from giants of American literature (Hemingway, Fitzgerald) and many that have not been in print for decades (the stories that inspired Bringing Up Baby, Meet John Doe, and All About Eve).Categorized by genre, and featuring movies by master directors such as Steven Spielberg, Stanley Kubrick, Robert Altman, Frank Capra, and John Ford, as well as relative newcomers such as Chris Eyre and Christopher Nolan, Adaptations offers insight into the process of turning a short story into a screenplay, one that, when successful, doesn’t take drastic liberties with the text upon which it is based, but doesn’t mirror its source material too closely either. The stories and movies featured in Adaptations include: - Philip K. Dick’s “The Minority Report,” which became the 2002 blockbuster directed by Steven Spielberg and starring Tom Cruise- “The Harvey Pekar Name Story” by reclusive graphic artist Harvey Pekar, whose life was the inspiration for American Splendor, winner of the 2003 Sundance Grand Jury Prize- Hagar Wilde’s “Bringing Up Baby,” the basis of the classic film Bringing Up Baby, anthologized here for the first time ever- “The Swimmer” by John Cheever, an example of a highly regarded story that many feared might prove unadaptable•The predecessor to the beloved holiday classic A Christmas Story, “Red Ryder Nails the Hammond Kid” by Jean ShepherdWhether you’re a fiction reader or a film buff, Adaptations is your behind-the-scenes look at the sometimes difficult, sometimes brilliantly successful process from the printed page to the big screen.

    His work with Alfred Hitchcock produced a slew of classics including Vertigo (1958), North by Northwest (1959), and Psycho (1960). Several years before collaborating with Hitchcock, however, Herrmann composed the brilliant score for The Ghost and Mrs. Muir (1947), which remained a personal favorite of the composer's. Herrmann's score reinforces the film's romantic theme, and much of the music has an appropriately elegiac quality. In mood, orchestration, and even to some extent thematic identity, it seems to prefigure his music for Vertigo. In this latest addition to the Scarecrow Film Score Guide series, author David Cooper examines Herrmann's career in general, as well as the specific elements that went into the creation of The Ghost and Mrs. Muir's score. Cooper traces the development of Herrmann's craft as a film composer, especially through his radio work, where he made contact with many of the great artists of the age, most notably Orson Welles. This association was to give him a passport to Hollywood and led to the scoring of his first film, Citizen Kane. Herrmann's subsequent film scores of the 1940s included The Devil and Daniel Webster, The Magnificent Ambersons, and Jane Eyre. In this guide, Cooper considers Herrmann's musical technique and offers a theorization of some of the ways in which music can be "meaningful" in film. He also explores non-musical contexts of the film, including the screenplay's relationship to the popular novel from which it was adapted, as well as the contribution of director Joseph L. Mankiewicz, the performances of Gene Tierney and Rex Harrison, and the editing of Dorothy Spencer. Cooper also provides a quantitative, evidence-based study of the score. In doing so, he discusses the extent to which Herrmann adopted screenwriter Philip Dunne's suggestions for music in

    It is an unofficial and unauthorized book. The mention of names and places associated with the Walt Disney Company and its businesses are not intended to infringe on any existing copyrights or trademarks of the Walt Disney Company but are used in context for educational purposes. The opinions and statements expressed in these interviews are solely the opinions and perspectives of the authors and the interviewees and do not necessarily reflect the opinions and policy of the Walt Disney Company and its businesses.

    Cooper–the adventurer who created King Kong–was truly larger than life. “Pictures cannot be made from an executive’s desk,” “Coop” declared, and he did more than talk the talk–he walked the walk to the far corners of the globe, with a motion picture camera in tow, in an era when those corners were truly unknown, untamed, and unforgiving.Cooper’s place in history is assured, thanks not only to the monstrous gorilla from Skull Island but because the story of Kong’s creator is even bigger and bolder than the beast he made into a cultural icon. Spellbound since boyhood by tales of life-threatening adventure and exotic locales, Cooper plunged again and again into harrowing expeditions that took him to places not yet civilized by modern man.Cooper was one of the first bomber pilots in World War I. After the war, he helped form the famous Kosciuszko Squadron in battle-torn Poland. He then turned his attention to producing documentary films that chronicled his hair-raising encounters with savage warriors, man-eating tigers, nomadic tribes, and elephant stampedes. In addition to producing King Kong, he was the first to team Fred Astaire with Ginger Rogers, arranged Katharine Hepburn’s screen test, collaborated with John Ford on Hollywood’s greatest Westerns, and then changed the face of film forever with Cinerama, the original “virtual reality.” He returned to military service during World War II, serving with General Claire Chennault in China, flying missions into the heart of enemy territory.This book is a stunning tribute to a two-fisted visionary who packed a multitude of lifetimes into eighty remarkable years. The first comprehensive biography of this unique man and his amazing time, it’s the tale of someone whose greatest desire was always to be living dangerously.

    His portrayal of the child murderer in Fritz Lang's masterpiece M (1931) catapulted him to international fame. Lang said of Lorre: "He gave one of the best performances in film history and certainly the best in his life." Today, the Hungarian-born actor is also recognized fo

    With the world at war, directors served up propaganda and escapist entertainment to the massed moviegoers of the pre-television age. Yet in many countries, there was also a parallel tendency towards greater realism. In Italy, for example, the spirit of the resistance culminated in the neorealist movement, which inspired the world's moviemakers with masterpieces such as De Sica's Bicycle Thieves (1948). In Hollywood, the 40s were probably the most creative phase in the studios? history. Never before had the Dream Factory brought such compellingly edgy and experimental films to the silver screen. The most seminal work of the decade was Citizen Kane (1941); Orson Welles's extravagantly original debut anticipated the expressive visual style that would come to typify film noir?the genre of ?dark movies, ? populated by romantic antiheroes and femmes fatales, that still represents the essence of cinema for many passionate movie buffs. In the atmospheric black-and-white universe of noir, Rita Hayworth, Ava Gardner, and Lauren Bacall became timeless erotic icons, while Bogart?following The Big Sleep (1945)?was the very quintessence of cool. While these movies bore witness to the cracks in America's fa?ade, another genre was busily reconstituting the nation's identity. In the films of John Ford, the Western came back with a vengeance, Monument Valley embodied America's incomparable grandeur, and John Wayne (The Duke) was a natural aristocrat of the wild frontier.

    Working through six hours of superb raw footage on two DVD-9 discs, you'll learn to cut dialogue, action, comedy, chases, fights, interviews, documentaries, music videos, and multi-camera projects, as well as complete an entire audio mix. Unlike other software books, Wohl teaches you to use Final Cut Pro's advanced features while you explore the art of crafting a story on film. So, for example, rather than just learn how dynamic trimming works, you'll learn why it works and in what situations you'd want to use it. And as you perfect your split edits, you'll learn to match angles, cut for reactions, and use cutaways and inserts effectively in dialogue. You'll discover how editing choices make comedy funny, drama moving, or chases suspenseful. Along the way, Wohl shares valuable tips on creating polished transitions, refining rough edits, and fixing screen direction errors. The book also covers audio editing and finishing, managing clips and media, transcoding video, and working with film and 24p--all in the context of making you a better editor and a more effective storyteller. - DVD-ROM includes lesson and media files for over 40 hours of training - Focused lessons take you step-by-step through practical, real-world projects - Accessible writing style puts an expert instructor at your side - Ample illustrations and keyboard shortcuts help you master techniques fast - Lesson goals and time estimates help you plan your time - Chapter review questions summarize what you've learned The Apple Pro Training Series is both a self-paced learning tool and the official curriculum of the Apple Pro Training and Certification Program. Upon completing the course material in this book, you can become a certified Apple Pro by taking the certification exam at an Apple Authorized Training Center. To find an Authorized Training Center near you, go to www.apple.com/software/pro/training.About the Author Michael Wohl is best known as one of the principal designers of Final Cut Pro, a role he held for more than five years. As a director and editor, he has won numerous awards including the coveted CINE Golden Eagle award in 1993. Michael's films have been featured in film festivals worldwide, and his first feature, "WANT," will be released on DVD in 2006. He has taught classes on editing, directing, and digital filmmaking at institutions including the American Film Institute, UCLA, and Pixar University, and has been a featured speaker at film festivals and conferences including DV Expo, South by Southwest, and Macworld Expo.

    1924) is considered one of the most gifted and socially conscious American filmmakers of his generation. His best-known movies--including Serpico, Dog Day Afternoon, The Verdict, 12 Angry Men, and Network--have garnered him an Honorary Academy Award in 2005, multiple Oscar nominations for Best Director, the D. W. Griffith Award for Lifetime Achievement, and numerous other tributes.This book features over twenty interviews with the director, including an interview conducted by the editor for this volume. One of the few mainstream directors who works outside of Hollywood, Lumet discusses how his home base, New York City, fuels his films. Candid, outspoken and occasionally brash, Lumet talks passionately and clearly about his work with great actors (among them Al Pacino, Faye Dunaway, River Phoenix, and Sean Connery) and acclaimed screenwriter Paddy Chayefsky.Insisting that moviemaking is collaborative, Lumet often notes his determination to find styles that serve the many different kinds of stories he has told, such as the social drama The Pawnbroker, the crime films Prince of the City and Serpico, the intimate family piece Garbo Talks, the play adaptation Long Day's Journey into Night, and the television series 100 Centre Street.Joanna E. Rapf is professor of English and of film and video studies at the University of Oklahoma in Norman. She is the author of On the Waterfront and Buster Keaton: A Bio-Bibliography, and her work has appeared in Film Quarterly, Literature/Film Quarterly, Post Script, and Journal of Popular Culture.

    In its movie adaptation, it not only birthed American film noir but also ranks as one of the 100 greatest movies of all time, as selected by the American Film Institute. Now this treasury of memorabilia on Sam Spade and his creator, Dashiell Hammett, uncovers a wealth of documents and photos about the book and movie from institutional and private archives, many of which are previously unpublished and are available nowhere else. Providing far more information than any resource before it, the book delves deeply into the tale of the jeweled avian statue, including a full account of Hammett's detective career, a chronology of his life and publications, sources and notes the author used in constructing the book, and never-before-seen documents from the book's film, stage, and radio adaptations. This version has been updated to include additional contents, color photos, and an index. Available now for any audience, it will be a joy for fans of Sam Spade, Hammett, film noir, and the history of cinema and literature.

    Faced with the prospects of a career-defining role and mentorship by a cinematic great, the 24-year-old Hollywood actor arrived in London armed with a large-format Roliflex camera-inspired by Kubrick's early career as a "Look "photographer-and a notebook to record his own on-set reportage; preparation for his starring role as a Marine Corps journalist. But expectations eroded as a strange, creeping sickness pervaded the set, a horrific accident sidelined a principal, and an unexpected rivalry arose with a co-star. And as the months dragged on, take-by-take, Modine realized he was falling victim to a manipulative mind-game of the Grand Master himself. By the time his tour of duty ended a year and a half later, Modine had shot hundreds of photos and written countless entries. Only now-after two decades and the death of Kubrick-can Modine look back on his images and words. The result-a coming-of-age drama set against the backdrop of a seminal Vietnam saga. A book like no other, Stanley Kubrick would have been the first in line to buy "Full Metal Jacket Diary."

    With exclusive concept art, character models, set designs, stills and more, plus interviews with all the leading talent and an introduction by Nick Park, this is the indispensable guide to this must-see movie.

    Its unrivalled coverage of international cinema, Hollywood and Bollywood, blockbusters, forgotten marvels, silent films, documentary and esoterica includes extensive cast and crew listings. Its reach extends into home entertainment, with six pages of reviews of notable international DVD releases from the previous twelve months.

    Halsman would ask Fernandel questions about America to which he would respond using only facial expressions. With his wide, lovable horse-face, Fernandel mimicked the answers to such questions as ?Does the average Frenchman still pinch pretty girls in a crowd?? (silly grin) and ?What was your reaction to the great American game of baseball?? (perplexed). Fernandel's reactions are laugh-out-loud funny, and the book that resulted from this unusual collaboration is nothing short of wonderful. The Frenchman has been out of print for over fifty years, but TASCHEN's reprint thankfully brings it back to life.

    Sex on the silver screen unfolds in such a perfect way and we get sucked in. Whether we want to admit it or not, much of our sexual behavior has been learned from the movies. From Joe Bob Briggs comes Profoundly Erotic, a collection of essays on sex in film. This guide explores the most seminal films―from cult classics to Hollywood blockbusters―that both shaped and reflected America's changing mores and codes about sex. Briggs, who has been called the Leonard Maltin of cult movies, makes good on his reputation as an off-kilter and daring movie guru in this revealing look at filmed fornication. Profoundly Erotic follows Joe Bob's popular Profoundly Disturbing. Now Joe Bob takes on the key films that turn us on, such as It Happened One Night (1938), Lolita (1962), Belle de Jour (1967), and sex, lies, and videotape (1989). Illustrated with lurid stills and posters, the book strips down the hottest screen moments in history with the bodies we adore, from Rudolf Valentino and Mae West to Brigitte Bardot and Sharon Stone. In addition to the ten main movies, the book features a hundred more capsule reviews in "For Further Frisson" sidebars. Praise for Profoundly Disturbing: "A valuable and entertaining survey of movies that broke taboos." ―Leonard Maltin"The book merits attention from fans tired of high-minded essays about classics such as Citizen Kane, and explains why crass, tasteless pictures often make more impact than those released with the stamp of respectability." ―Publishers Weekly

    Offering hands-on illustrations from actual movie contracts to show how the basic deals for each of the many stages are assembled, the author explains in plain and simple terms what the contracts contain and why. It gives the big picture and the finer points of movie making -- from concept to raking in the last dollar after the film is completed.While it may not transform you into a lawyer or an industry accountant -- and that's not what you want anyway -- it will take you through all the business and legal principles you need to know to be a successful and knowledgeable professional producer.

    Packed with behind-the-scenes details, pressbook tidbits, and full-color photos, it has all the hot, steamy fun of an old-fashioned movie without the horn-honking and mosquitoes! Motorcycles and movies are the perfect combination of wild, wicked pleasures.

    Director and cinephile Andrea Richards all but hands the reader a camera as she raucously paves the way for young women to make their own films. Sharing tales of the coolest femme filmmakers from history and recounting advice from the best women directors now in the business, Richards explains step by step how anyone can make a film using a standard video camera. Covering such topics as screenwriting, storyboards, set design, editing, distribution, Claymation, music videos, film festivals, and the digital revolution, GIRL DIRECTOR is a must-have handbook for the aspiring auteur of any age.A guide to do-it-yourself filmmaking from a female perspective, featuring accessible expert advice and a hip history of women in film.A must-have reference (and an excellent gift) for tweens, teens, adults, or anyone interested in making movies.Includes specifics on the who, what, where, and how of making low-budget videos and films.

    The director of nearly four hundred short films, including "Dog Star Man, parts I-IV, and The "Roman Numeral Series, Brakhage is widely recognized as one of the great artists of the medium. His short films eschewed traditional narrative structure and his innovations in fast cutting, hand-held camerawork and multiple superimpositions created an unprecedentedly rich texture of images that provided the vocabulary for the explosion of independent filmmaking in the 1960s. "Stan Brakhage: Filmmaker chronicles both the director's personal and formal development. The essays in this book--by historians, filmmakers and other artists--assess Brakhage's contributions to the aesthetic and political history of filmmaking, from his emergence on the film scene and the establishment of his reputation, to the early-1980s. The result is a remarkable tribute to this lyrical, visionary artist.

    He also has some sweet dance moves. His friends have some pretty good skills too -- Pedro has a Huffy Sledgehammer and a mustache, and Deb makes the best boondoggle key chains in town. Sure, Uncle Rico tries to ruin Napoleon's life and makes him look like a freakin' idiot, but even if Napoleon's just had the worst day of his life, tomorrow he can get up and do whatever he feels like he wants to do. Gosh!

    This glorious panoramic history of film production outside the commercial studio system reconfigures Los Angeles, rather than New York, as the true center of avant-garde cinema in the United States. As he brilliantly delineates the cultural perimeter of the film business from the earliest days of cinema to the contemporary scene, David James argues that avant-garde and minority filmmaking in Los Angeles has in fact been the prototypical attempt to create emancipatory and progressive culture. Drawing from urban history and geography, local news reporting, and a wide range of film criticism, James gives astute analyzes of scores of films—many of which are to found only in archives. He also looks at some of the most innovative moments in Hollywood, revealing the full extent of the cross-fertilization the occurred between the studio system and films created outside it. Throughout, he demonstrates that Los Angeles has been in the aesthetic and social vanguard in all cinematic periods—from the Socialist cinemas of the early teens and 1930s; to the personal cinemas of psychic self-investigation in the 1940s; to attempts in the 1960s to revitalize the industry with the counterculture’s utopian visions; and to the 1970s, when African Americans, Asian Americans, Latinos, women, gays, and lesbians worked to create cinemas of their own. James takes us up to the 1990s and beyond to explore new forms of art cinema that are now transforming the representation of Southern California’s geography.

    "Silent Film Sound" reconsiders all aspects of sound practices during the entire silent film period. Based on extensive original research and accompanied by gorgeous illustrations, the book challenges the assumptions of earlier histories of this period in film and reveals the complexity and swiftly changing nature of American silent cinema.Contrary to received opinion, silent films were not always accompanied, nor were accompaniments uniform. Beginning with sound practices before cinema's first decade and continuing through to the more familiar sound practices of the 1920s, Rick Altman discusses the variety of sound strategies and the way early cinema exhibitors used these strategies to differentiate their products. During the nickelodeon period prior to 1910, this variety reached its zenith, with theaters often deploying half a dozen competing sound strategies--from carnival-like music in the street, automatic pianos at the rear of the theater, and small orchestras in the pit to lecturers, synchronized sound systems, and voices behind the screen. During this period, musical accompaniment had not yet begun to support the story and its emotions as it would in later years.But in the 1910s, film sound acquiesced to the demands of captains of the burgeoning cinema industry, who successfully argued that accompaniment should enhance the film's narrative and emotional content rather than score points by burlesquing or "kidding" the film. The large theaters and blockbuster productions of the mid-1910s provided a perfect crucible for new instruments, new music-publication projects, and the development of a new style of film music. From that moment on, film music would become an integral part of the film rather than its adversary, and a new style of cinema sound would favor accompaniment that worked in concert with cinema storytelling. For the first time, "Silent Film Sound" details the ways in which these diverse interests and industries came together to produce an extraordinarily successful audiovisual art.

    In this groundbreaking new book, Vincent LoBrutto provides an enjoyable and accessible education in the art of cinema: using 50 landmark films spanning the history of the medium, LoBrutto illustrates such important concepts as editing, production design, cinematography, sound, screen acting, narrative structure, and various genres, nationalities, and film eras. Each concept is illustrated by the selection of a film that epitomizes its use, so that readers will learn about film authorship in Citizen Kane, multiplot narrative in Nashville, widescreen filmmaking in Rebel without a Cause, and screen violence in The Wild Bunch. Explaining the various tricks of the moviemaking trade, Becoming Film Literate offers a crash course in cinema, one designed to give even the novice reader a solid introduction to this complex and multifaceted medium.Though movies have remained our foremost cultural pastime for over 100 years, many of us still know very little about the tools used to create them. In this groundbreaking new book, Vincent LoBrutto provides an enjoyable and accessible education in the art of cinema: using 50 landmark films spanning the history of the medium, LoBrutto illustrates such important concepts as editing, production design, cinematography, sound, screen acting, narrative structure, and various genres, nationalities, and film eras. Each concept is illustrated by the selection of a film that epitomizes its use, so that readers will learn about film authorship in Citizen Kane, multiplot narrative in Nashville, widescreen filmmaking in Rebel without a Cause, and screen violence in The Wild Bunch.Providing a unique opportunity to become acquainted with important movies and the elements of their greatness, Becoming Film Literate offers a crash course in cinema, one designed to give even the novice reader a solid introduction to this complex and multifaceted medium.

    His many subjects - music legends, movie directors, artistic provocateurs, up-and-coming talents, visionary songwriters - all speak with rare candor about the meanings within and the motivations behind their best work. Many of these interviews - which originally appeared in Rolling Stone, The New York Times and other publications - have been significantly expanded. DeCurtis has also written new introductions that tell the story behind these stories, transforming this collection into an episodic memoir of a life on the front lines of cultural journalism. These gripping conversations will make readers feel that they are sitting, as DeCurtis did, at a dinner table or in a quiet room alone, learning everything they want to know about some of the most revered artists of our time.

    Hallmarks of her style are the appropriation and reassembly of found footage and fragments from disparate visual sources, ranging from industrial films and documentaries to home movies, vacation photography, and snippets of old B movies.The resulting collages and montages are cinematic narratives that have been consistently praised for their beauty and sense of wonder and delight in the purely visual. At the same time, Child's films are noted for their incisive political commentary on issues such as gender and sexuality, class, voyeurism, poverty, and the subversive nature of propaganda.In the essays of This Is Called Moving, Child draws on her long career as a practicing poet as well as a filmmaker to explore how these two language systems inform and cross-fertilize her work. For Child, poetry and film are both potent means of representation, and by examining the parallels between them—words and frames, lines and shots, stanzas and scenes—she discovers how the two art forms re-construct and re-present social meaning, both private and collective.

    They have also invited contributions from leaders in other cultural fields: DJ Spooky, Scanner, George Lewis, and Johann Johannsson (music), servo (architecture), Schoenerwissen/OfCD (information visualization), and Ross Cooper Studios (media design). The results of their three-year explorations are the three films presented on this DVD. Although the films resemble the familiar genres of cinema, the process by which they were created demonstrates the possibilities of soft(ware) cinema. A cinema, that is, in which human subjectivity and the variable choices made by custom software combine to create films that can run infinitely without ever exactly repeating the same image sequences, screen layouts and narratives. Mission to Earth, a science fiction allegory of the immigrant experience, adopts the variable choices and multi-frame layout of the Soft Cinema system to represent variable identity. Absences is a lyrical black and white narrative that relies on algorithms normally deployed in military and civilian surveillance applications to determine the editing of video and audio. Texas, a database narrative, assembles its visuals, sounds, narratives, and even the identities of its characters, from multiple databases. The DVD was designed so that every viewing of each film generates a different version.

    Despite his many achievements as a child of the Italian Cinecitta studios, however, Sergio Leone has been judged severely by writers who find his films lacking in ideas and moralists who find his films unduly cynical. Nevertheless, Leone's greatest cinematic achievement, Once Upon a Time in the West, served to refute these criticisms while exposing the director's unique romanticism and artistic ambition. As Leone's fourth successful American western film, Once Upon a Time in the West earned him acclaim for liberating the western genre, restoring it to a place of antique American simplicity. The principal goal of this book is to sharpen an appreciation for Sergio Leone and his most famous American western. The first two chapters deal with the relationship between Once Upon a Time in the West and the western films that preceded it, particularly those of John Ford. Subsequent chapters concentrate on the central characters ofOnce Upon a Time in the West, with special attention to Jill, Leone's first female protagonist and a surprisingly successful character, central to the plot and accorded a kind of existential strength usually reserved for men in Westerns. The sixth, seventh and eighth chapters address Leone's visual style, which represents a unique fusion of Hollywood classicism and modernism, and reveals the influences of Italian Surrealism and the French New Wave. The final chapters explore the rhythm, romanticism, and musical character of Once Upon a Time in the West, espousing the theory that Leone's approach to film is, above all, musical.

    Three-time Academy Award nominee for best director, responsible for such film classics as A Room with a View and The Remains of the Day, Ivory speaks with remarkable candor and wit about his more than forty years as an independent filmmaker. In this deeply engaging book, he comments on the many aspects of his world-traveling career: his growing up in Oregon (he is not an Englishman, as most Europeans and many Americans think), his early involvement with documentary films that first brought attention to him, his discovery of India, his friendships with celebrated figures here and abroad, his skirmishes with the Picasso family and Thomas Jefferson scholars, his usually candid yet at times explosive relations with actors. Supported by seventy illuminating photographs selected by Ivory himself, the book offers a wealth of previously unavailable information about the director's life and the art of making movies.James Ivory on:On the Merchant Ivory Jhabvala partnership:"I've always said that Merchant Ivory is a bit like the U. S. Govenment; I'm the President, Ismail is the Congress, and Ruth is the Supreme Court. Though Ismail and I disagree sometimes, Ruth acts as a referee, or she and I may gang up on him, or vice versa. The main thing is, no one ever truly interferes in the area of work of the other."On Shooting Mr. and Mrs. Bridge:"Who told you we had long 18 hour days? We had a regular schedule, not at all rushed, worked regular hours and had regular two-day weekends, during which the crew shopped in the excellent malls of Kansas City, Paul Newman raced cars somewhere, unknown to us and the insurance company, and I lay on a couch reading The Remains of the Day."On Jessica Tandy as Miss Birdseye in The Bostonians:"Jessica Tandy was seventy-two or something, and she felt she had to 'play' being an old woman, to 'act' an old woman. Unfortunately, I'couldn't say to her, 'You don't have to 'act' this, just 'be,' that will be sufficient.' You can't tell the former Blanche Du Bois that she's an old woman now."On Adapting E. M. Forster's novels"His was a very pleasing voice, and it was easy to follow. Why turn his books into films unless you want to do that? But I suppose my voice was there, too; it was a kind of duet, you could say, and he provided the melody."On India:"If you see my Indian movies then you get some idea of what it was that attracted me about India and Indians...any explanation would sound lamer than the thing warrants. The mood was so great and overwhelming that any explanation of it would seem physically thin....I put all my feeling about India into several Indian films, and if you know those films and like them, you see from these films what it was that attracted me to India."On whether he was influenced by Renoir in filming A Room with a View"I was certainly not influenced by Renoir in that film. But if you put some good looking women in long white dresses in a field dotted with red poppies, andthey're holding parasols, then people will say, ‘Renoir.’"On the Critics:"I came to believe that to have a powerful enemy like Pauline Kael only made me stronger. You know, like a kind of voodoo. I wonder if it worked that way in those days for any of her other victims—Woody Allen, for instance, or Stanley Kubrick."On Andy Warhol as a dinner guest:“I met him many times over the last twenty years of his life, but I can't say I knew him, which is what most people say, even those who were his intimates. Once he came to dinner with a group of his Factory friends at my apartment. I remember that he or someone else left a dirty plate, with chicken bones and knife and fork, in my bathroom wash basin. It seemed to be a symbolic gesture, to be a matter of style, and not just bad manners."

    While Vertov's uncompromising writings and his experimental features, such as Man with a Movie Camera, are known and discussed in the West, less is known about the other films he made in the 1920s, and still less about the response they provoked in the Soviet Union and abroad. Vertov liked to call his films and his essays "bombs"--and indeed the public reaction to them was nothing short of explosive. This book follows the development of his work and opinions from 1917 to 1930, and chronicles contemporary reactions to them, including such prominent personalities as fellow directors Lev Kuleshov and Sergei Eisenstein, artists Aleksandr Rodchenko and Kazimir Malevich, and theorists Walter Benjamin and Siegfried Kracauer.Distributed for Le Giornate del Cinema Muto

    With its step-by step approach, this text is appropriate for readers of all experience levels. KEY TOPICS: Basic format and style, the elements of a screenplay, advanced format and style, special format situations, and common screenplay mistakes. MARKET: Introductory screenwriting.

    And during Weimar Germany's advance to technological modernity, light - particularly the representational possibilities of electrical light - became the link between the cinema screen and the rapid changes that were transforming German life.In Frances Guerin's compelling history of German silent cinema of the 1920s, the innovative use of light is the pivot around which a new conception of a national cinema, and a national culture emerges. Guerin depicts a nocturnal Germany suffused with light - electric billboards, storefronts, police searchlights - and shows how this element of the mise-en-scene came to reflect both the opportunities and the anxieties surrounding modernity and democracy. Guerin's interpretations center on use of light in films such as Schatten (1923), Variete (1925), Metropolis (1926), and Der Golem (1920). In these films we see how light is the substance of image composition, the structuring device of the narrative, and the central thematic concern. This history relieves German films of the responsibility to explain the political and ideological instability of the period, an instability said to be the uncertain foundation of Nazism. In unlocking this dubious link, A Culture of Light redefines the field of German film scholarship.

    The film introduces a theme that would haunt Bunuel's later films: the abject desire of an older man (Don Jaime, played by Fernando Rey) for a young, pure, beautiful woman (Viridiana, played by Silvia Pinal). In elaborating his theme Bunuel expounds on all his signature concerns: his abhorrence of Catholicism, his complicated delight in lechery and perversity, and his fierce satirical idealism. For Gary Indiana, Bunuel is the greatest of all film directors. Indiana analyzes all the component elements of "Viridiana "as well as its moments of special intensity. But each discussion of a shot, an actor, a symbol, or a dramatic effect leads to further analysis of some wider aspect of Bunuel's filmmaking. Dissecting and elucidating "Viridiana "as he goes, Indiana also moves backward and forward through this maverick director's career to create portraits both of a pivotal film and one of the foremost twentieth-century artists.

    In the more than forty years since, over 5,400 made-for-television films and miniseries have been produced. Television historian Alvin H. Marill has compiled a comprehensive listing of every one of these films, which have been assembled in this publication. But this is no mere list. The exhaustive entries cite each film's original network, airdate, and length of broadcast. Along with a brief summary, each entry also includes extensive production credits (director, writer, producer, composer, director of photography, and editor) and a complete cast (and character) listing. The first four volumes are arranged by decade(s): Volume 1: 1964-1979 Volume 2: 1980-1989 Volume 3: 1990-1999 Volume 4: 2000-2004 Entries are arranged alphabetically for quick access, and each volume also contains a chronology of films produced in that period. Volume 5, the index, includes a list of each actor and director, as well as source material (books and plays). From television pilots like Prescription: Murder (1967), the film that introduced Peter Falk's Columbo, to epic miniseries such as Angels in America (2003), every film has been acknowledged, every actor identified, and every character named. This remains a unique undertaking; there simply is no other compendium like it. Movies Made for Television, 1964-2004 will be a valuable resource for scholars and historians of television and popular culture, as well as anyone interested in the medium.

    Whatever your taste, you're sure to find the movie that caters to it within these pages.

    Judith Mayne's comprehensive study traces Denis's career and discusses her major feature films in rich detail. Born in Paris but raised in West Africa, Denis explores in her films the legacies of French colonialism and the complex relationships between sexuality, gender, and race. From the adult woman who observes her past as a child in Cameroon to the Lithuanian immigrant who arrives in Paris and watches a serial killer to the disgraced French Foreign Legionnaire attempting to make sense of his past, the subjects of Denis's films continually revisit themes of watching, bearing witness, and making contact, as well as displacement, masculinity, and the migratory subject.

    In their interviews the editors relate their experience to the directors they have worked with, including: Agnes Guillemot- (Godard, Truffaut, Catherine Breillat)Roberto Perpignani- (Welles, Bertolucci, Tavianni Brothers)Sylvia Ingemarsson- (Ingmar Bergman)Michal Leszczylowski- (Andrei Tarkovsky, Lukas Moodysson)Tony Lawson (Nic Roeg, Stanley Kubrick, Neil Jordan)and many more.Foreword by Walter Murch - three-time Oscar-winning Editor of 'Apocalypse Now', 'The English Patient', 'American Graffiti', 'The Conversation' and 'The Godfather Part II and III'.

    Kevin Donnelly emphasizes the manipulative and ephemeral character of film music. He discusses not only traditional orchestral film music but also film music's colonization of television and the relation of pop music and film. Film and Television Music challenges accepted notions of film music as restricted to film by looking at its use in television and its influence in the world of pop music. It questions traditional assumptions about "valued" film music, either from "name" composers or from the golden era of classical Hollywood. Focusing on topics as diverse as horror, pop music in film, ethnic signposting, television drama, and the soundtrack without a film, this original study introduces a range of new perspectives on one of the most complex and fascinating aspects of filmmaking.

    With more than 16,000 movie reviews, updated and expanded indexes of leading performers, more than 14,000 video-cassette and 8,000 DVD listings, and much more, this is the biggest and best guide in the field.

     Evanston, Illinois, was an idyllic 1950s paradise with stately homes, a beautiful lake, a world-class university, two premier movie houses, and one very seedy movie theater -- the Valencia. This was the site of Washington Post film critic Stephen Hunter's misspent youth. Instead of going to school, picking up girls, or tossing a football, Hunter could be found sitting in the fifteenth row, right-hand aisle seat of the Valencia, sating himself on one B-list movie after another. The Valencia had a sticky floor, smelly bathrooms, ancient popcorn, and a screen set in a hideously tacky papier-mache castle wall. It was also the only place in town to see westerns, sci-fi pictures, cops 'n' robbers flicks, slapstick comedy, and Godzilla. In Now Playing at the Valencia, the author of such bestselling novels as Havana and Pale Horse Coming has compiled his favorite movie reviews written between 1997 and 2003, bringing to the discussion the passionate feelings for cinema he discovered in the '50s, a time when genres were forming, mesmerizing stars played unforgettable characters, and enduring classics were made. While filmmaking has changed tremendously since Hunter first frequented the Valencia, the view from the fifteenth row, and the thrill of down and dirty entertainment, has remained the same.

    Contents include:Foreword and Screenplay by Sally PotterIntroductions by John Berger and Pankaj MishraQ&A with Sally Potter and Joan Allen16-page color photograph section with 28 photographs

    Shooting is like buying the groceries. You buy all kinds of ingredients and the better ingredients you get, the better chance you have of making the movie you want."--Ang Lee, from Speaking in ImagesSpeaking in Images offers an engaging and rare collection of interviews with the directors who have changed the face of Chinese and international cinema. Michael Berry's discussions with such directors as Ang Lee (Crouching Tiger, Hidden Dragon), Zhang Yimou (Hero), Chen Kaige (Farewell My Concubine), Stanley Kwan (Lan Yu), Tsai Ming-Liang (Vive l'Amour), Edward Yang (Yi Yi), and Hou Hsiao-hsien (Flowers of Shanghai) offer an eclectic and comprehensive portrait of contemporary Chinese cinema.In interviews that capture each filmmaker's unique vision, the subjects discuss their formative years, the ideas and influences that shaped their work, film aesthetics, battles with censors and studios, the mingling of commercial and art film, and the future of Chinese cinema in a transnational context. Berry's introduction to the collection provides an overview of Chinese cinema in the second half of the twentieth century, placing the directors and their work in a wider historical and cultural context.

    From the ever-popular Faces of Death movies to purported snuff films, from classic B-movies such as The Tingler, to more popular but no less controversial films such as The Texas Chainsaw Massacre, Brottman takes a wide-eyed look at movies most folks watch only through parted fingers.While most critics have been quick to dismiss such films as mere shock-fests (if they even bother to talk about them at all), Brottman argues that these movies tell us quite a bit about who we are as a society, what makes us anxious, and what taboos we truly believe cannot be crossed. Part anthropology, part psychoanalysis, Offensive Films vivisects these movies in order to figure out just what about them is so offensive, obscene, or bizarre. In the end, Brottman proves that these films, shunned from the cinematic canon, work on us in sophisticated ways we often choose to remain unaware of.

    Amid this amalgamation of social, political, and cultural conditions, Hollywood was under siege: from the Justice Department, which pressed for big film companies to divest themselves of their theater holdings; from the middleclass, whose retreat to family entertainment inside the home drastically decreased the filmgoing audience; and from the House Un-American Activities Committee, which was attempting to purge the country of dissenting political views. In this difficult context, however, some of the most talented filmmakers of all time, including John Ford, Alfred Hitchcock, Vincente Minnelli, Nicholas Ray, and Billy Wilder produced some of their most remarkable work.Bringing together original essays by ten respected scholars in the field, American Cinema of the 1950s explores the impact of the cultural environment of this decade on film, and the impact of film on the American cultural milieu. Contributors examine the signature films of the decade, including From Here to Eternity, Sunset Blvd., Singin' in the Rain, Shane, Rear Window, and Rebel Without a Cause, as well as lesser-known but equally compelling films, such as Dial 1119, Mystery Street, Suddenly, Summer Stock, The Last Hunt, and many others.Provocative, engaging, and accessible to general readers as well as scholars, this volume provides a unique lens through which to view the links between film and the prevailing social and historical events of the decade.