Throughout the period, Simpson and his partner, Jerry Bruckheimer, were the most successful independent producers in the history of moviemaking, responsible for the hit films Flashdance, Beverly Hills Cop, Top Gun, Crimson Tide, Bad Boys, and The Rock. But at the same time that his vision was driving the Hollywood bottom line, Simpson's lifestyle epitomized the pervasive dark side of the industry's power base. His legendary consumption knew no bounds. And as long as he continued to crank out box-office gold, his every desire was conspicuously indulged - an unrestrained excess that killed him and sent a warning cry throughout the entire industry.

    In this illuminating, in-depth Q & A, “America’s storyteller” lets readers in on his philosophical approach to understanding our nation’s past, as well as a little family secret for overcoming your fears.Tom Roston is a veteran journalist who began his career at The Nation and Vanity Fair magazines, before working at Premiere magazine as a senior editor. He writes a regular blog about nonfiction filmmaking on PBS.org and he is a frequent contributor to The New York Times. He lives with his wife and their two daughters in New York City. Cover design by Adil Dara.

    Now, for the first time, del Toro reveals the inspirations behind his signature artistic motifs, sharing the contents of his personal notebooks, collections, and other obsessions. The result is a startling, intimate glimpse into the life and mind of one of the world's most creative visionaries. Complete with running commentary, interview text, and annotations that contextualize the ample visual material, this deluxe compendium is every bit as inspired as del Toro is himself.Contains a foreword by James Cameron, an afterword by Tom Cruise, and contributions from other luminaries, including Neil Gaiman and John Landis, among others.

    Vale: Four leading figures in social movements discuss the state of Western culture and what led to its demise, with firsthand accounts of their own experiences, including subjects that concern every creative artist and thinker: The Internet and social change; why every one must paint( ); mind control, marketing, branding and consumerism; corporate chain stores and the problem of Amazon; punk rock history; the rise of Do-It-Yourself (D-I-Y) culture production; fame and its downside; sex and relationships.

    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.

    The station manager who hired him was the first to recognize his considerable on-air talent, and helped start what has become a legendary radio career. Often compared to Howard Stern, Carton has hosted a series of highly rated shows, and in 2007 he joined WFAN, where he and Boomer Esiason host an eponymous show every morning for four hours out of a studio in New York City.In this debut book, Carton invites the reader to join him as he recounts tales from his suburban youth, defends his long-held love affair with the New York Jets, reminisces about the shenanigans of some of the highest paid and most celebrated athletes playing today, and reflects on his work as one of radio’s craftiest, most hilarious personalities ever to get behind the microphone.

    O’Bannon also includes his insights on subjects such as the logic of the three-act structure, the role of the producer in screenplay development, and the psychological principle known as “hedonic adaptation,” which has a unique effect on the structuring of screen stories.

    Acclaimed director Judith Weston offers a deeply creative exploration on how to access and stimulate the filmmaker's most precious assets: instincts, imagination, and intuition.

    The dramatic life of the incomparably beautiful and swashbuckling Ava Gardner--one of Hollywood's most beautiful actresses and lover of many men, from bullfighters to Frank Sinatra--by The New York Times bestselling author of ROBERT MITCHUM: Baby, I Don't Care

    Dredged from his subconscious mind, Lynch’s work is primed to act on our own subconscious, combining heightened, contradictory emotions into something familiar but inscrutable. No less than his art, Lynch’s life also evades simple categorization, encompassing pursuits as a musician, painter, photographer, carpenter, entrepreneur, and vocal proponent of Transcendental Meditation.David Lynch: The Man from Another Place, Dennis Lim’s remarkably smart and concise book, proposes several lenses through which to view Lynch and his work: through the age-old mysteries of the uncanny and the sublime, through the creative energies of surrealism and postmodernism, through ideas of America and theories of good and evil. Lynch himself often warns against overinterpretation. And accordingly, this is not a book that seeks to decode his art or annotate his life—to dispel the strangeness of the Lynchian—so much as one that offers complementary ways of seeing and understanding one of the most distinctive bodies of work in modern cinema. Its spirit is true to its subject, in remaining suggestive rather than definitive, in allowing what Lynch likes to call “room to dream,” and in honoring the allure of the unknown and the unknowable.

    Best known for his highly stylized film noir classics T-Men, He Walked by Night, and The Big Combo, Alton earned a reputation during the 1940s and 1950s as one of Hollywood's consummate craftsmen through his visual signature of crisp shadows and sculpted beams of light. No less renowned for his virtuoso color cinematography and deft appropriation of widescreen and Technicolor, he earned an Academy Award in 1951 for his work on the musical An American in Paris. First published in 1949, and long out of print since then, Painting With Light remains one of the few truly canonical statements on the art of motion picture photography, an unrivalled historical document on the workings of the postwar, American cinema. In simple, non-technical language, Alton explains the job of the cinematographer and explores how lighting, camera techniques, and choice of locations determine the visual mood of film. Todd McCarthy's introduction, written especially for this edition, provides an overview of Alton's biography and career and explores the influence of his work on contemporary cinematography.

    In 1964 the Ciment family left middle-class Montreal for the fringe desert communities of Los Angeles, where their always unstable father lost the last vestiges of his sanity. Terrified and broke, in a world he could neither understand nor control, he came apart. When the family finally threw him out, he lived for weeks in his car at the foot of their driveway.Ciment turned herself into a girl for whom a father is unnecessary-a tough girl who survived any way she could. She and her brother Jack helped support the family by working for a shady market researcher, quickly learning to supply their own answers to burning questions like, "Did we like Swanson TV dinners? If so, why? On a scale of one to ten, how would we rate the new Talking Barbie? Arrow wax? Dr. Ross's dog food?" She became a gang girl, a professional forger, and a Times Square porn model. Using a friend's SAT score she cheated her way into art school, and seduced and eventually married her art teacher, a married man thirty years her senior. By turns comic, tragic, and heartrending, Half a Life is a bold, unsentimental portrait of the artist as a girl from nowhere, making herself up from scratch, acting up, and finally overcoming the consequences of being the child of a father incapable of love and responsibility.

    The first comprehensive biography of the writer/director of the Academy Award-winning "Pulp Fiction" who, in only a few short years, took the film industry by storm and became a critical and commercial phenomenon.

    Then he discovered the mountains. Making up for lost time, Bullock soon became one of Britain's best climbers, learning his trade in Scotland and Wales, before travelling from Pakistan to Peru.

    For the first time, Live Fast, Die Young tells the complete story of the explosive making of Rebel, a film that has rocked every generation since its release. Set against a backdrop of the Atomic Age and an old Hollywood studio system on the verge of collapse, it vividly evokes the cataclysmic, immensely influential meeting of four of Hollywood's most passionate artists. When James Dean, Natalie Wood, Sal Mineo, and director Nicholas Ray converged, each was at a crucial point in his or her career. The young actors were grappling with fame, their burgeoning sexuality, and increasingly reckless behavior. As Ray engaged his cast in physical melees and psychosexual seductions of startling intensity, the on- and off-set relationships between his ambitious young actors ignited, sending a shock wave through the film. Through interviews with the surviving members of the cast and crew and firsthand access to both personal and studio archives, Lawrence Frascella and Al Weisel reveal Rebel's true drama -- the director's affair with sixteen-year-old Wood, his tempestuous "spiritual marriage" with Dean, and his role in awakening the latent homosexuality of Mineo, who would become the first gay teenager to appear on film. Complete with thirty photographs, including ten never-before-seen photos by famed Dean photographer Dennis Stock, Live Fast, Die Young tells the absorbing inside story of an unforgettable and absolutely essential American film -- a story that is, in many ways, as provocative as the film itself.