Van Sant says we can see how badly Damon drives by watching the film's last scene, in which he is actually driving the car with the camera mounted on it. But Damon and company write better than he drives; this script contains some of the boldest, best monologues since Pulp Fiction.Van Sant and cast member Robin Williams helped the young actors tame the tigers in their cranial tanks, trimming the script into a precision instrument. Though the stills from the film are not perfectly matched to their places in the script, this story remains as much a joy to read as it is towatch on the big screen.

    Over the course of his career, he has remained true to a vision of the innocent lost in darkness and confusion, balancing hallucination and surrealism with a sense of Americana that is as pure and simple as his compelling storylines. In this volume, Lynch speaks openly about his films as well as about his lifelong commitment to painting, his work in photography, his television projects, and his musical collaborations with Angelo Badalamenti.

    With a slipcase, vellum overlays, a die-cut window, and a gatefold, this stunning book brings the exotic locales, fairy tale romance, adventure, and excitement of the film home.For 80 years, the mystery of Anastasia has bewitched people the world over. Now, Twentieth Century Fox, with producers/directors Don Bluth and Gary Goldman, brings the story to life in a astounding new way. Animators for Disney for years before opening up their own company, Bluth and Goldman created the popular films The Secret of NIMH, The Pebble and the Penguin, Thumbelina, A Troll in Central Park, All Dogs Go to Heaven, and with, Steven Spielberg's Amblin Entertainment, The Land Before Time and An American Tail.

    In this chronicle of Hollywood and the art of making movies, Peter Bogdanovich (director, screenwriter, actor and critic) interviews 16 directors, including: Robert Aldrich; George Cukor; Howard Hawks; Alfred Hitchcock; Fritz Lang; Sidney Lumet; Otto Preminger; and Josef von Sternberg.

    Author royalties donated to the Motion Picture and Television Fund.

    She was the first woman to twice win an Academy Award for screenwriting. From 1916 to 1946 she wrote over two hundred scripts covering every conceivable genre for stars such as Mary Pickford, Gary Cooper, Greta Garbo, Marion Davies, Rudolph Valentino, Clark Gable, Marion Davies, Rudolph Valentino, Clark Gable, and Marie Dressler. Irving Thalberg "adored her and trusted her completely, " William Randolph Hearst named her for the head of west coast production for his Cosmopolitan studios, and in 1928, Sam Goldwyn raised her salary to an unparalleled $3,000 a week. Her stories were directed by George Cukor, John Ford, Alan Dwan, and King Vidor, and she went on to direct and produce a dozen films on her own. On top of all this, she painted, sculpted, spoke several languages fluently, and played "concert caliber" piano. Though she married four times, had two sons, and a dozen lovers, Frances's life story is mostly the story of her female friendships. As talented, successful, and prolific as Frances Marion was, these relationships were as legendary as her scripts. Without Lying Down is an eminently readable and meticulously documented portrait of a previously hidden era that was arguably one of the most creative and supportive for women in American history.

    

    Clerks was the independent film success story of 1994, winning the Prix de la Jeunesse and the International Critics Week Award at Cannes, and the Filmmakers' Trophy at Sundance. Set in the everyday world of a New Jersey QuickStop and its adjacent video store, the film revolves around the obsessions, love lives, and friendships of the clerks. Janet Maslin of the New York Time called it "a buoyant comedy...and exuberant display of ingenuity," and Kenneth Turan of the Los Angeles Times raves, "Clerks is boisterous and irreverently funny...an example of what is best and most hopeful about the American independent film scene."

    This work also covers various political and social subtexts of the movies.

    Here is the unspeakable stuff of which Barker's vision was formed: a wonderfully eclectic and wide-ranging collection of nightmares from the literature and film. Meet serial killers and serious authors, outlaw directors and rebel artists, legendary monsters and movie stars from Psycho to Silence of the Lambs. From exorcisms to zombie dances, chaos to cannibalism, Lovecraft to Elm Street, Dracula to Deuteronomy, discover the dark and grisly world of Clive Barker.

    But over the years, Humphrey Bogart has remained an enigma, despite what we have learned of him from wife Lauren Bacall's own fond memories and from the various biographies that have appeared over the years since his death in 1957. With Bogart, this wonderful enigma is brought under the light as never before. Although authors Ann M. Sperber and Eric Lax never met, Bogart is a unique collaboration, combining the strengths of two prize-winning biographers. Sperber, the author of the New York Times best-selling Pulitzer-Prize finalist Murrow: His Life and Times (1986), spent seven years before her death in 1994 amassing a vast archive of original research on the life and times of Humphrey Bogart, including more than 200 interviews she conducted with people who had known and worked with him, including Katharine Hepburn and John Huston. Eric Lax, whose Woody Allen was a national bestseller in 1991, took over the project after Sperber's death and spent two years completing it. The result is the definitive portrait of the actor who merged his screen anti-heroism with his own staunch personal integrity in a manner new to Hollywood, fashioning a persona as timely today, forty years after his death, as it was during his own life.

    Illustrated with fascinating photographs and drawings of the ship and its passengers, this engaging text tells the story of the supposedly unconquerable vessel that ultimately proved to be all too fallible. Readers interested in the history of sea travel or the human response to disaster will find this book to be an invaluable addition to their library.

    In that period, heralded by the words of Al Jolson in The Jazz Singer, fortunes were made and lost, and the American film industry came fully into its own.

    Hundreds of film stills, many in color, plus dialogue, quotations, and other sources add to and illustrate each chapter's overriding theme.

    It's easy to see why Mr. Martin, who wrote the film...was moved to reinvent this role...Mr. Martin's screenplay is bighearted and funny.' The New York Times

    In one dimension lies the universe and all of its multitude of varied life forms. In another exists an element made not of earth, air, fire or water, but of an anti-energy, anti-life. This "thing", this darkness, waits patiently at the threshold of the universe for an opportunity to extinguish all life and all light. Every five thousand years, the universe needs a hero, and in New York City of the 23rd Century, a good hero is hard to find. The Fifth Element, a timeless story about love and survival, heroes and villains, good and evil, set in a strangely familiar yet intoxicatingly different 23rd Century. The film stars Bruce Willis, Gary Oldman, Ian Holm, Milla Jovovich. The Fifth Element is written directed by Luc Besson, the visually innovative director of La Femme Nikita and The Professional.

    A spectacular tribute to one of the great movie studios in its heyday. 500 illustrations, 100 in full color. Companion to the TNT mini-series coming in March, 1992.

    From Quentin Tarantino, the creator of Pulp Fiction, comes Jackie Brown, a crime caper based about an attractive stewardess who supplements her income by smuggling cash into the country for an illegal arms dealer-until the day federal agents bust her.

    A woman who played children, wide-eyed and gamine. Skipping around in frills and cute curls. That’s how most people remember Mary Pickford. In reality, as Eileen Whitfield makes clear, Mary Pickford is a towering figure in movie history.Born in Toronto in 1892, Pickford began acting as a child, helping support her family after her father’s accidental death. She switched from stage to film at age 17, joining D.W. Griffith’s Biograph company, and became almost unimaginably popular. This allowed her to develop her own production company at Adolph Zukor’s Famous Players, and in 1919 she co-founded (along with D.W. Griffith, Charlie Chaplin, and her husband Douglas Fairbanks) United Artists, seizing not only creative control but also the marketing and distribution of her films.Eileen Whitfield recreates Pickford’s life in meticulously researched detail, from her trying days in turn-of-the-century Toronto to her reign as mistress of Pickfair, the legendary Los Angeles estate at which she and Fairbanks entertained the world’s elite, to her sadly moving demise. Along the way, Whitfield explores the intricate psychology that tied Pickford to her mother throughout her life, and analyzes Pickford’s brilliant innovations in the art of film acting; her profound influence on the movie business (paving the way for such powerful Hollywood women as Jodie Foster and Whoopi Goldberg); and her role in the history of fame (she was the object of a mass adoration that prefigured today’s cult of celebrity).Eight years in the making, Pickford: The Woman Who Made Hollywood is definitive biography. It brings Pickford to life as a complex knot of contradictions and establishes her as a ground-breaking genius, casting new light on one of the influential – and least understood – artists in the history of popular culture.Pickford was the subject of lengthy, appreciative features in The New Yorker and Film Comment, and was the basis of two television documentaries: on the Canadian Broadcasting Corporation’s “Life and Times” and on the History Channel.

    That alien beings are here--now--walking among us in human form. These men are members of an agency dedicated to tracking and policing the movements of these aliens--a top secret organization known only as...Men in Black.James Edwards is a tenacious, streetwise NYPD cop who's recruited by Agent Kay of the Men in Black. He will step into a world where his identity will be erased, where nothing is what it seems on the surface. His first case will threaten to make Earth the battleground for two warring races...and end humanity's rule in a fiery apocalypse.

    Drawing on a wide variety of films and primary source materials including censorship files, critical reviews, promotional materials, fanzines, men's magazines, and popular news weeklies, the book examines the historical figure of the movie monster in relation to various medical, psychological, religious and social models of homosexuality. While recent work within gay and lesbian studies has explored how the genetic tropes of the horror film intersect with popular culture's understanding of queerness, this is the first book to examine how the concept of the monster queer has evolved from era to era. From the gay and lesbian sensibilities encoded into the form and content of the classical Hollywood horror film, to recent films which play upon AIDS-related fears. Monster in the Closet examines how the horror film started and continues, to demonize (or quite literally "monsterize") queer sexuality, and what the pleasures and "costs" of such representations might be both for individual spectators and culture at large.

    Original illustrations by Mike and George Kuchar and a selection of never-before-seen photos. Includes filmography, bibliography and index.

    250 color posters.

    Here are The Swingers Rules, the do's and don'ts of dating in the club scene as explained by Jon Favreau and Vince Vaughn.

    From features, made-for-televsion, and straight-to-video, here are all the films you love and hate; the films you forgot about and never knew existed. Horror and science fiction fans will find films that matter and films that splatter in one critical and humorous guide.Featuring * Thousands of capsulized reviews * A five-star rating system * Hundreds of obscure and rare titles * Video distribution informaton (including mail order) *Cross-references to secondary titles, sequels and tricky retitlings * And more.

    There are production stills and in-depth accounts of the worldwide acclaim and financial success following the release of The Godfather. The study also details the production and release of The Godfather Part II and The Godfather Part III.

    Marked by dramatic extremes of climate and terrain, it is home to black bears, snow leopards, elephants, and flying lizards, and it is the only place in the world where both lions and tigers reside.After a lifetime devoted to the study and conservation of the tiger, Valmik Thapar turns his attention to the plants and animals that share the tiger's domain. How have so many species survived on such a crowded continent, where twenty percent of the world's population exerts intense pressure on the environment? Thapar links the region's tremendous diversity to the reverence shown to nature by Eastern religions, including Hinduism, Buddhism, and Jainism. But fifty years after India's independence, modern and urban values are seriously eroding the subcontinent's ecosystems.Thapar's careful natural history is enriched by his personal anecdotes and musings on spirituality and culture. His own reverence for the wildlife and landscape he encounters and his brilliant photographs make this book an enthralling read, and it is also a moving argument for more vigilant nature conservation on the Indian subcontinent.

    He won an Academy Award "RM" in 1951 for the film version of Streetcar and an Emmy in 1984 for the TV movie Fatal Vision. His memorable performances in major film classics such as Patton, Baby Doll, On the Waterfront, and One-Eyed Jacks earned glowing notices, and he endeared himself to television viewers as veteran detective Mike Stone in "The Streets of San Francisco". Yet Karl Malden has had anything but an easy road to fame.Growing up tough and poor in Gary, Indiana, as the son of a Serbian steelworker, Maiden turned to the mills himself, doing hard, dangerous work to finance his way through acting school. In When Do I Start? he tells of his determined pursuit of Broadway, his involvement with the Group Theater (which brought him to the notice of Elia Kazan and then almost cost him his career during the anticommunist witchhunts of the fifties), his starring roles in two television series, and his rise to movie stardom. Delicious anecdotes about Kazan, Brando, Jessica Tandy, Paul Muni, Vivien Leigh, Montgomery Clift, Michael Douglas, and many others fill the pages of this memoir by a shrewd and witty observer of show business who turns out to be a gifted, natural storyteller.

    Fully indexed by title, stars, and director and thoroughly cross-referenced, this guide to movies on video also features lists of outstanding movies, new interviews, and full-length reviews.

    Disney's Storytime Treasures Library, Volume 1.Pumbaa and TimonThought that Simba was no fun,'Cause since their pal became a kingHis work was never done.Then they found out for themselvesHow good it feels insideTo have a job to call your own,One you can do with pride.

    Sometime partner of the eccentric Howard Hughes, drinking buddy of William Faulkner and Ernest Hemingway, an inveterate gambler and a notorious liar, Hawks was the most modern of the great masters and one of the first directors to declare his independence from the major studios. He played Svengali to Lauren Bacall, Montgomery Clift, and others, but Hawks's greatest creation may have been himself.As The Atlantic Monthly noted, "Todd McCarthy . . . has gone further than anyone else in sorting out the truths and lies of the life, the skills and the insight and the self-deceptions of the work." "A fluent biography of the great director, a frequently rotten guy but one whose artistic independence and standards of film morality never failed." -- The New York Times Book Review; "Hawks's life, until now rather an enigma, has been put into focus and made one with his art in Todd McCarthy's wise and funny Howard Hawks." -- The Wall Street Journal; "Excellent . . . a respectful, exhaustive, and appropriately smartass look at Hollywood's most versatile director." -- Newsweek.

    He later moved to Hollywood, where he had major box-office successes with Robocop, Total Recall and Basic Instinct.

    Rankin and dozens of the artists, actors and animators he worked with.

    Robert J. Corber argues that a form of gay male identity emerged in the 1950s that simultaneously drew on and transcended left-wing opposition to the Cold War cultural and political consensus. Combining readings of novels, plays, and films of the period with historical research into the national security state, the growth of the suburbs, and postwar consumer culture, Corber examines how gay men resisted the "organization man" model of masculinity that rose to dominance in the wake of World War II. By exploring the representation of gay men in film noir, Corber suggests that even as this Hollywood genre reinforced homophobic stereotypes, it legitimized the gay male "gaze." He emphasizes how film noir’s introduction of homosexual characters countered the national "project" to render gay men invisible, and marked a deep subversion of the Cold War mentality. Corber then considers the work of gay male writers Tennessee Williams, Gore Vidal, and James Baldwin, demonstrating how these authors declined to represent homosexuality as a discrete subculture and instead promoted a model of political solidarity rooted in the shared experience of oppression. Homosexuality in Cold War America reveals that the ideological critique of the dominant culture made by gay male authors of the 1950s laid the foundation for the gay liberation movement of the following decade.

    Zanuck was astonishing and unparalleled. With The Jazz Singer he supervised the innovation of film sound. With The Public Enemy and Little Caesar he reinvented the gangster film. With 42nd Street he reinvigorated the musical. He set the standard for film biography with pictures such as Young Mr. Lincoln and The Story of Alexander Graham Bell . He innovated CinemaScope. And he molded the star images of James Cagney, Shirley Temple, Tyrone Power, Betty Grable, Marilyn Monroe, and Rin Tin Tin.In this major new biography, George F. Custen illuminates Zanuck's evolution into one of the most influential producers in American film. He explains what set him apart from rivals Irving Thalberg and David O. Selznick, how he developed the gritty realism that came to redefine motion pictures, and how he brilliantly predicted and capitalized on changing public tastes.Zanuck was a man of enormous energy and eccentricity, commanding his studio with a sawed-off polo mallet. Dozens of his memorable films—including I Am a Fugitive from a Chain Gang , The Grapes of Wrath, Gentleman's Agreement, All About Eve, The Day the Earth Stood Still , and The Robe —have come to represent the era in which they were made. Hard-boiled or nostalgic, historical or pure Hollywood, Zanuck's films and Zanuck himself have become legends of the cinema. But what exactly was this producer's contribution to the films he made? How did he rise from being a writer of silent serials to become head of production at Warner Brothers by his mid-twenties, and then to form his own studio, Twentieth Century-Fox at age thirty-three?Twentieth Century's Fox tells the whole story—from Zanuck's boyhood to his tumultuous years with the feuding Warners, his battles with the censors and with his own actors, and the legendary acting-out of scenes during story conferences in his famous green office. Along the way, Custen treats us to inside stories about actors such as Edward G. Robinson, Gregory Peck, and Marilyn Monroe. In never-before-published story conference notes, telegrams, and surprisingly candid anecdotes, he reveals how—more than any producer before or since—this diminutive, enigmatic fellow from Wahoo, Nebraska, changed the way we look at film.Custen highlights the studio as the context of production. Zanuck's ability to shape the producer's role and the organizational style during the golden years of the studio system—with its own peculiar methods, clearly delineated rules, and pecking order—was the crucible out of which he forged a unique vision of American film and American culture.

    Films by, featuring or inspired by: William S Burroughs, Allen Ginsberg, Jack Kerouac, Charles Bukowski, Brion Gysin, Anthony Balch, Ron Rice, John Cassavetes, Andy Warhol, Bob Dylan, Klaus Maeck, Gus van Sant, and many others. Including interviews with writers such as Allen Ginsberg, directors such as Robert Frank and actors such as Taylor Mead. Plus detailed examination of key Beat texts and cult classics such as Pull My Daisy, Chappaqua, Towers Open Fire and The Flower Thief; verit

    Peter Cowie's account is based on access to Coppola's archives, and also interviews with him and other relevant people.

    Go behind the scenes of the most talked-about and anticipated motion picture of the decade in acclaimed director Alan Parker's own version of the making of his epic film: Evita. 140 photos.