Unlike any earlier films, Godard's work shifts fluidly from fiction to documentary, from criticism to art. The man himself also projects shifting images--cultural hero, fierce loner, shrewd businessman. Hailed by filmmakers as a--if not the--key influence on cinema, Godard has entered the modern canon, a figure as mysterious as he is indispensable.In Everything Is Cinema, critic Richard Brody has amassed hundreds of interviews to demystify the elusive director and his work. Paying as much attention to Godard's technical inventions as to the political forces of the postwar world, Brody traces an arc from the director's early critical writing, through his popular success with Breathless, to the grand vision of his later years. He vividly depicts Godard's wealthy conservative family, his fluid politics, and his tumultuous dealings with women and fellow New Wave filmmakers.Everything Is Cinema confirms Godard's greatness and shows decisively that his films have left their mark on screens everywhere.

    Producer Michael Deeley, an urbane Englishman in Hollywood, had to fight wars to get these movies made, from defending the legendary sex scene of Don't Look Now from a disapproving Warren Beatty to seizing control of Convoy from a cocaine-ridden Sam Peckinpah. This is a no-holds-barred look at the true stories behind some of the greatest cult movies ever made.

    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.

    A true auteur, Anderson is known for the visual artistry, inimitable tone, and idiosyncratic characterizations that make each of his films—Bottle Rocket, Rushmore, The Royal Tenenbaums, The Life Aquatic with Steve Zissou, The Darjeeling Limited, Fantastic Mr. Fox, and Moonrise Kingdom—instantly recognizable as “Andersonian.”The Wes Anderson Collection is the first in-depth overview of Anderson’s filmography, guiding readers through his life and career. Previously unpublished photos, artwork, and ephemera complement a book-length conversation between Anderson and award-winning critic Matt Zoller Seitz. The interview and images are woven together in a meticulously designed book that captures the spirit of his films: melancholy and playful, wise and childish—and thoroughly original.

    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.

    In Paul Thomas Anderson: Masterworks, Anderson’s entire career—from Hard Eight (1996), Boogie Nights (1997), Magnolia (1999), Punch Drunk Love (2002), There Will Be Blood (2007), The Master (2012), Inherent Vice (2014), and Phantom Thread (2017) to his music videos for Radiohead to his early short films—is examined in illustrated detail for the first time.   Anderson’s influences, his style, and the recurring themes of alienation, reinvention, ambition, and destiny that course through his movies are analyzed and supplemented by firsthand interviews with Anderson’s closest collaborators—including producer JoAnne Sellar, actor Vicky Krieps, and composer Jonny Greenwood—and illuminated by film stills, archival photos, original illustrations, and an appropriately psychedelic design aesthetic. Masterworks is a tribute to the dreamers, drifters, and evil dentists who populate his world.

    Skal chronicles one of our most popular and pervasive modes of cultural expression. He explores the disguised form in which Hollywood's classic horror movies played out the traumas of two world wars and the Depression; the nightmare visions of invasion and mind control catalyzed by the Cold War; the preoccupation with demon children that took hold as thalidomide, birth control, and abortion changed the reproductive landscape; the vogue in visceral, transformative special effects that paralleled the development of the plastic surgery industry; the link between the AIDS epidemic and the current fascination with vampires; and much more. Now with a new Afterword by the author that looks at horror's popular renaissance in the last decade, The Monster Show is a compulsively readable, thought-provoking inquiry into America's obsession with the macabre.

    His endlessly touching and romantic films -- always tinged by a touch of reflective sadness -- made him one of France's favorite and most successful directors. This book traces Truffaut's career and includes rare images drawn from his archives.

    He started out as an actor (he debuted on the stage in his sixth-grade production of Finian’s Rainbow); he watched actors work (he went to the theater every week from the age of thirteen and saw every important show on, or off, Broadway for the next decade); he studied acting, starting at sixteen, with Stella Adler (his work with her became the foundation for all he would ever do as an actor and a director).Now, in his new book, Who the Hell’s in It, Bogdanovich draws upon a lifetime of experience, observation and understanding of the art to write about the actors he came to know along the way; actors he admired from afar; actors he worked with, directed, befriended. Among them: Lauren Bacall, Humphrey Bogart, James Cagney, John Cassavetes, Charlie Chaplin, Montgomery Clift, Marlene Dietrich, Henry Fonda, Ben Gazzara, Audrey Hepburn, Boris Karloff, Dean Martin, Marilyn Monroe, River Phoenix, Sidney Poitier, Frank Sinatra, and James Stewart.Bogdanovich captures—in their words and his—their work, their individual styles, what made them who they were, what gave them their appeal and why they’ve continued to be America’s iconic actors.On Lillian Gish: “the first virgin hearth goddess of the screen . . . a valiant and courageous symbol of fortitude and love through all distress.” On Marlon Brando: “He challenged himself never to be the same from picture to picture, refusing to become the kind of film star the studio system had invented and thrived upon—the recognizable human commodity each new film was built around . . . The funny thing is that Brando’s charismatic screen persona was vividly apparent despite the multiplicity of his guises . . . Brando always remains recognizable, a star-actor in spite of himself. ” Jerry Lewis to Bogdanovich on the first laugh Lewis ever got onstage: “I was five years old. My mom and dad had a tux made—I worked in the borscht circuit with them—and I came out and I sang, ‘Brother, Can You Spare a Dime?’ the big hit at the time . . . It was 1931, and I stopped the show—naturally—a five-year-old in a tuxedo is not going to stop the show? And I took a bow and my foot slipped and hit one of the floodlights and it exploded and the smoke and the sound scared me so I started to cry. The audience laughed—they were hysterical . . . So I knew I had to get the rest of my laughs the rest of my life, breaking, sitting, falling, spinning.”John Wayne to Bogdanovich, on the early years of Wayne’s career when he was working as a prop man: “Well, I’ve naturally studied John Ford professionally as well as loving the man. Ever since the first time I walked down his set as a goose-herder in 1927. They needed somebody from the prop department to keep the geese from getting under a fake hill they had for Mother Machree at Fox. I’d been hired because Tom Mix wanted a box seat for the USC football games, and so they promised jobs to Don Williams and myself and a couple of the players. They buried us over in the properties department, and Mr. Ford’s need for a goose-herder just seemed to fit my pistol.”These twenty-six portraits and conversations are unsurpassed in their evocation of a certain kind of great movie star that has vanished. Bogdanovich’s book is a celebration and a farewell.From the Hardcover edition.

    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 covers such characters as Buster Keaton, Charlie Chaplin, Harold Lloyd and Laurel and Hardy.

    Explores the epic human drama behind the making of the five movies nominated for Best Picture in 1967-Guess Who's Coming to Dinner, The Graduate, In the Heat of the Night, Doctor Doolittle, and Bonnie and Clyde-and through them, the larger story of the cultural revolution that transformed Hollywood, and America, forever.

    New in this edition are entries to describe such film hits as "Lord of the Rings", "Mystic River", "Fahrenheit 9/11", and "Million Dollar Baby". But in fact, this volume's team of critics goes back to 1902, describing such films as "The Great Train Robbery", and progressing chronologically across the decades to cover the best cinematic dramas, comedies, westerns, musicals, suspense and horror films, gangster classics, "films noirs", sci-fi epics, documentaries, and adaptations of novels and stage plays made by filmmakers around the world. Movie fans will find descriptions of great musicals like "Singing in the Rain", westerns like "High Noon", science-fiction classics like "Star Wars", dramas like "Chinatown" and "Schindler's List", and international classics from master directors who include Fellini, Antonioni, Resnais, Truffaut, Eisenstein, Kurosawa, and many others.Each entry includes a full list of cast and credits, awards won by the film, an essay summarizing the story line and screen-history, and still shots of the film's memorable scenes. At the back of the book, both an alphabetical index and a genre index will help readers find any film they're looking for. The book is illustrated with hundreds of movie still shots in color and black and white.

     Much has been written about the storied New Hollywood of the 1970s, but at the same time as Martin Scorsese, Steven Spielberg, and Francis Ford Coppola were making their first classic movies, a parallel universe of directors gave birth to the modern horror film-aggressive, raw, and utterly original. Based on unprecedented access to the genre's major players, The New York Times's critic Jason Zinoman's Shock Value delivers the first definitive account of horror's golden age. By the late 1960s, horror was stuck in the past, confined mostly to drive-in theaters and exploitation houses, and shunned by critics. Shock Value tells the unlikely story of how the much-disparaged horror film became an ambitious art form while also conquering the multiplex. Directors such as Wes Craven, Roman Polanski, John Carpenter, and Brian De Palma- counterculture types operating largely outside the confines of Hollywood-revolutionized the genre, exploding taboos and bringing a gritty aesthetic, confrontational style, and political edge to horror. Zinoman recounts how these directors produced such classics as Rosemary's Baby, Carrie, The Texas Chainsaw Massacre, and Halloween, creating a template for horror that has been imitated relentlessly but whose originality has rarely been matched. This new kind of film dispensed with the old vampires and werewolves and instead assaulted audiences with portraits of serial killers, the dark side of suburbia, and a brand of nihilistic violence that had never been seen before. Shock Value tells the improbable stories behind the making of these movies, which were often directed by obsessive and insecure young men working on shoestring budgets, were funded by sketchy investors, and starred porn stars. But once The Exorcist became the highest grossing film in America, Hollywood took notice. The classic horror films of the 1970s have now spawned a billion-dollar industry, but they have also penetrated deep into the American consciousness. Quite literally, Zinoman reveals, these movies have taught us what to be afraid of. Drawing on interviews with hundreds of the most important artists in horror, Shock Value is an enthralling and personality-driven account of an overlooked but hugely influential golden age in American film.

     Accidentally Wes Anderson began as a personal travel bucket list, a catalog of visually striking and historically unique destinations that capture the imagined worlds of Wes Anderson. Now, inspired by a community of more than one million Adventurers, Accidentally Wes Anderson tells the stories behind more than 200 of the most beautiful, idiosyncratic, and interesting places on Earth. This book, authorized by Wes Anderson himself, travels to every continent and into your own backyard to identify quirky landmarks and undiscovered gems: places you may have passed by, some you always wanted to explore, and many you never knew existed. Fueled by a vision for distinctive design, stunning photography, and unexpected narratives, Accidentally Wes Anderson is a passport to inspiration and adventure. Perfect for modern travelers and fans of Wes Anderson's distinctive aesthetic, this is an invitation to look at your world through a different lens.