From his childhood in Oklahoma City and his first job in a Hollywood mail room to the ownership of his own public relations firm and his work as a personal manager and television producer, Bernstein's life is chronicled in his own words. In addition to his rise to greatness, Bernstein also describes the relationships he had with stars and relates the stories behind some of the crazy stunts he pulled to garner attention, such as paying women to throw hotel keys at Tom Jones, having Entertainment Tonight host Mary Hart's legs insured for one million dollars, and getting married underwater for an episode of Lifestyles of the Rich and Famous. Written with style and a sense of humor, this autobiography shares the intimate details of Jay Bernstein's fascinating life.

    With an array of stunning performances in blockbusters as diverse as Big, The Da Vinci Code, Forrest Gump, Philadelphia, and Saving Private Ryan to his name, he has an outstanding reputation as one of the world's greatest leading men. Yet behind the many roles lies an intensely complex figure. This wonderful portrait of a dedicated family man and professional explores Tom Hanks' fractured childhood, the breakdown of his first marriage, his friendship with Princess Diana, his relationship with Bill Clinton, his moral and political stances, his family life, and the highs and lows of his stellar career.

    Len Deighton, author of the classic espionage novel 'The Ipcress File', knew both sides intimately. An acquaintance of Ian Fleming’s (who had praised Deighton’s debut novel in the 'Sunday Times') Deighton was also close to the man who was to become Fleming’s nemesis – Kevin McClory, a veteran of the British film industry. The history of Bond’s development under the arc lights becomes, in Deighton’s expert hands, a saga-like story of inflated egos and poisonous vendettas, exotic locations and claustrophobic courtooms, all involving household names. As an eye witness to the protracted disputes that complicated Bond’s depiction both on screen and on the page, Deighton is in a unique position to tell what he saw. Candid, comical, always steely-eyed, this hefty slice of cinematic memoir reads with all the high-powered pace of a Len Deighton thriller.

    1962) did not go to film school and hates being defined as an auteur. He prefers to see himself as a craftsman, dutifully going about the art and business of making film. Trouble is, it's hard to be self-effacing when you are the director responsible for Se7en, Fight Club, and The Social Network. Along with Quentin Tarantino, Fincher is the most accomplished of the Generation X filmmakers to emerge in the early 1990s.This collection of interviews highlights Fincher's unwavering commitment to his craft as he evolved from an entrepreneurial music video director (Fincher helped Madonna become the undisputed queen of MTV) into an enterprising feature filmmaker. Fincher landed his first Hollywood blockbuster at twenty-seven with Alien3, but that film, handicapped by cost overruns and corporate mismanagement, taught Fincher that he needed absolute control over his work. Once he had it, with Se7en, he achieved instant box-office success and critical acclaim, as well as a close partnership with Brad Pitt that led to the cult favorite Fight Club.Fincher became circumspect in the 2000s after Panic Room, shooting ads and biding his time until Zodiac, when he returned to his mantra that -entertainment has to come hand in hand with a little bit of medicine. Some people go to the movies to be reminded that everything's okay. I don't make those kinds of movies. That, to me, is a lie. Everything's not okay.- Zodiac reinvigorated Fincher, inspiring a string of films--The Curious Case of Benjamin Button, The Social Network, and The Girl with the Dragon Tattoo--that enthralled audiences and garnered his films dozens of Oscar nominations.

    Illustrated throughout with behind-the-scenes photos.

    Beginning with his early days in Brooklyn and his college years in Texas, where he dreamed of becoming an actor, this book follows his career as one of the earliest members of the famed Actors Studio and as a Tony Award winner for his work on Broadway. Wallach has worked with such stars as Marlon Brando, Paul Newman, Marilyn Monroe, Gregory Peck, and Henry Fonda, and his many movies include The Magnificent Seven, How the West Was Won, the iconic The Good, the Bad and the Ugly, and, most recently, Mystic River. For more than fifty years Eli Wallach has held a special place in film and theater, and in a tale rich with anecdotes, wit, and remarkable insight he recounts his magical life in a world unlike any other.

    Phrases like "phone home" and the music score from Jaws are now part of our cultural script, appearing in commercials, comedy routines, and common conversation.Yet few scholars have devoted time to studying Spielberg's vast output of popular films despite the director's financial and aesthetic achievements. Spanning twenty-five years of Spielberg's career, Steven Spielberg: Interviews explores the issues, the themes, and the financial considerations surrounding his work. The blockbuster creator of E.T., Jaws, and Schindler's List talks about dreams and the almighty dollar."I'm not really interested in making money," he says. "That's always come as the result of success, but it's not been my goal, and I've had a tough time proving that to people."Ranging from Spielberg's twenties to his mid-fifties, the interviews chart his evolution from a brash young filmmaker trying to make his way in Hollywood, to his spectacular blockbuster triumphs, to his maturation as a director seeking to inspire the imagination with meaningful subjects.The Steven Spielberg who emerges in these talks is a complex mix of businessman and artist, of arrogance and insecurity, of shallowness and substance. Often interviewers will uncover the director's human side, noting how changes in Spielberg's personal life -- marriage, divorce, fatherhood, remarriage -- affect his movies. But always the interviewers find keys to the story-telling and filmmaking talent that have made Spielberg's characters and themes shape our times and inhabit our dreams."Every time I go to a movie, it's magic, no matter what the movie's about," he says. "Whether you watch eight hours of Shoah or whether it's Ghostbusters, when the lights go down in the theater and the movie fades in, it's magic."

    The true origins of her birth, her fairy-tale discovery in Hollywood, and her career struggles at Metro-Goldwyn-Mayer are revealed for the first time. Garson combined an everywoman quality with grace, charm, and refinement. She won the Academy Award in 1941 for her role in Mrs. Miniver, and for the next decade she reigned as the queen of MGM. Co-star Christopher Plummer remem

    Dalloway -- a postmodern masterpiece whose minimal action takes place on a single June day in postwar London. The Hours progresses in fuguelike fashion: First we meet Clarissa Vaughan, a New York book editor dubbed "Mrs Dalloway" by her longtime friend and former lover Richard. Next, Cunningham presents Woolf herself, beginning work in 1923 on what is to become Mrs. Dalloway. And finally we are introduced to Laura Brown, a California housewife who is avidly reading Woolf's novel. Scenes from these three narratives are presented in recurrent identical succession: "Mrs. Dalloway," Mrs. Woolf, Mrs. Brown -- all bristling with connections and startling parallels. The "Mrs. Dalloway" strand is particularly rich, filled as it is with one-to-one correspondences to Woolf's novel. But the deepest and most important thing that The Hours shares with Mrs. Dalloway is "the feeling," as Woolf called it, "that it was very, very dangerous to live even one day." Cunningham's three women proceed through the day, through the hours, trying to keep themselves psychologically intact, like someone carrying a glass of water filled to the brim through a crowd and endeavoring not to spill it. They hesitate before plunging into the day because they know how hard it is to live in the world and remain identical with oneself. And they puzzle over a universal dilemma: how to bring the self into the world without its getting broken in the process. In The Hours, Michael Cunningham has explored this dilemma with an impressive and moving subtlety worthy of his great precursor. Benjamin Kunkel

    Relates the life of the secretly gay Hollywood director who guided to stardom such legendary actresses as Garbo, Bergman, Garland, and Hepburn.

    One of the most hilarious, romantic, adventurous, and best-loved movies of all time, The Princess Bride is a touchstone in the lives of generations of moviegoers. Now, for the first time, millions of fans will have the opportunity to own the first book to celebrate the magic, memories, and derring-do of the seminal film.A veritable treasure trove of images from everyone’s most-loved moments as well as never-before-seen behind-the-scenes photographs, script pages, production designs, and reminiscences from cast and crew, this giftable package is a perfect and brand-new way for fans of all ages to relive the film over and over again.The Princess Bride, written by William Goldman, is a timeless story set in the mythic land of Florin, where Princess Buttercup and her true love, Westley, must face kidnappers, vengeful swordsmen, an evil prince, a fire swamp, and rodents of unusual size. Its hilarious and exciting storyline, set within the loving framework of a grandfather reading to his grandson, made the film a box-office hit and pop culture phenomenon. The film starred Cary Elwes, Robin Wright, Mandy Patinkin, André the Giant, Wallace Shawn, Chris Sarandon, Christopher Guest, Billy Crystal, Fred Savage, and Peter Falk. It is best known for being an undeniably loved, oft-quoted piece of American cinematic history.Fans will find it "inconceivable" that it has been twenty-five years since Westley and Inigo Montoya first stormed the castle. This official celebration is a must-have for any of the millions of people who love the film.

    Here, the author argues that the film is both a quantum leap and a logical step in the director's career, and it's a film that speaks powerfully of contemporary concerns.

    An anthology devoted entirely to its writings, in English translation, is long overdue.The selections in this volume are drawn from the colorful first decade of Cahiers, 1951-1959, when a group of young iconoclasts rocked the world of film criticism with their provocative views on international cinema--American, Italian, and French in particular. They challenged long-established Anglo-Saxon attitudes by championing American popular movies, addressing genres such as the Western and the thriller and the aesthetics of technological developments like CinemaScope, emphasizing mise en scene as much as thematic content, and assessing the work of individual filmmakers such as Hawks, Hitchcock, and Nicholas Ray in terms of a new theory of the director as author, auteur, a revolutionary concept at the time. Italian film, especially the work of Rossellini, prompted sharp debates about realism that helped shift the focus of critical discussion from content toward style. The critiques of French cinema have special interest because many of the journal's major contributors and theorists--Godard, Truffaut, Rohmer, Rivette, Chabrol--were to become some of France's most important film directors and leaders of the New Wave.Translated under the supervision of the British Film Institute, the selections have for the most part never appeared in English until now. Jim Hillier has organized them into topical groupings and has provided introductions to the parts as well as the whole. Together these essays, reviews, discussions, and polemics reveal the central ideas of the Cahiers of the 1950s not as fixed doctrines but as provocative, productive, often contradictory contributions to crucial debates that were to overturn critical thinking about film.

    The book is complete with historical annotation, with 340 research notes and 97 reactions and commentaries by Norman Mailer, Tom Wicker, Gerald R. Ford, and many others.

    Trekking boldly through haunts and horrors from The Frankenstein Monster, The Wolf Man, Count Dracula, and The Invisible Man, to The Mummy, Paula the Ape Woman, The Creeper, and The Inner Sanctum, the authors offer a definitive study of the 86 films produced during this era and present a general overview of the period. Coverage of the films includes complete cast lists, credits, storyline, behind-the-scenes information, production history, critical analysis, and commentary from the cast and crew (much of it drawn from interviews by Tom Weaver, whom USA Today calls ?the king of the monster hunters?). Unique to this edition are a new selection of photographs and poster reproductions and an appendix listing additional films of interest.