Now he’s back, and this time he’s got all of ‘the films of badass cinema’ in his sights... From Die Hard to The Discrete Charm of the Bourgeoisie, Transformers to Mary Poppins, Vern has an opinion on everything, and he’s not shy about sharing them...

    1935) is one of America's most idiosyncratic filmmakers, with an unparalleled output of nearly one film every year for over three decades. His movies are filled with rapid-fire one-liners, neurotic characters, anguished relationships, and old-time jazz music. Allen's vision of New York--whether in comedies or dramas--has shaped our perception of the city more than any other modern filmmaker. "On the screen," John Lahr wrote in the New Yorker in 1996, "Allen is a loser who makes much of his inadequacy; off-screen, he has created over the years the most wide-ranging oeuvre in American entertainment."Woody Allen: Interviews collects over twenty-five years of interviews with the director of Manhattan, Hannah and Her Sisters, Crimes and Misdemeanors, Bullets Over Broadway, and Annie Hall, for which he won an Oscar. The book's interviews reveal a serious director, often at odds with his onscreen persona as a lovable, slap-stick loser. Allen talks frankly about his rigorous work habits; his biggest artistic influences; the attention he devotes to acting, screenwriting, and directing; and how New York fuels his filmmaking.Along with discussing film techniques and styles, Allen opens up about his love of jazz, his Jewish heritage, and the scandal that arose when he left his longtime partner Mia Farrow for her adopted daughter. Including four interviews from European sources, three of which are now available in English for the first time, Woody Allen: Interviews is a treasure trove of conversations with one of America's most distinctive filmmakers.Robert E. Kapsis is professor of sociology at Queens College and is the author of Hitchcock: The Making of a Reputation. His work has appeared in the Village Voice, Variety, Journal of Popular Film and Video, and Cineaste and at the Museum of Modern Art. Kathie Coblentz is special collections cataloger at the New York Public Library. Kapsis and Coblentz coedited Clint Eastwood: Interviews (University Press of Mississippi).

    It was the U.K.’s worst rail disaster in years. On the morning of October 5, 1999, two rush-hour commuter trains collided just outside London. Hundreds were feared dead. Though he was traveling in the front-most carriage, the novelist Andrew Rosenheim survived the crash. In “The Secrets of Carriage H,” Rosenheim recalls in heart-pounding detail the events of that day and opens up about the emotional rollercoaster that consumed him for months thereafter. Told with the rich textures of a novel and the bare heart of a memoir, “The Secrets of Carriage H” explores the unspoken consequences of survival and offers brutal, sometimes hilarious insight into the human condition. Andrew Rosenheim was born and raised in Chicago, but has lived in England for the last thirty-five years. He worked in publishing for many years at Oxford University Press and then as the Managing Director of Penguin Press. He is the author of seven novels, most recently Fear Itself and The Little Tokyo Informant. His writing has appeared in The Times, The New York Times, the Times Literary Supplement, and many other publications. Married, he lives with his wife and twin daughters near Oxford and is the editor of Kindle Singles in the U.K.Cover design by Evan Twohy.

    I. PUDOVKIN Translated by IVOR MONTAGU Introduction by LEWIS JACOBS BONANZA BOOKS NEW YORK CONTENTS PAGE CONTENTS FILM TECHNIQUE A separate table of contents for FILM ACTING appears at the beginning of that volume. INTRODUCTION BY LEWIS JACOBS iii INTRODUCTION TO THE GERMAN EDITION . . xiii I. THE FILM SCENARIO AND ITS THEORY FOREWORD 1 PART I. THE SCENARIO .... 3 The meaning of the shooting-script The construction of the scenarioThe theme The action-treatment of the theme Conclusion. PART H. THE PLASTIC MATERIAL . . 26 The simplest specific methods of shooting-Method of treatment of the material struc tural-editing Editing of the scene Editing of the sequence Editing of the Scenario-Editing as an instrument of impression rela tional editing. II. FILM DIRECTOR AND FILM MATERIAL PART I. THE PECULIARITIES OF FILM MATERIAL 51 The film and the theatre The methods of the film Film and reality Filmic space and time The material of films Analysis Editing the logic of filmic analysis The necessity to interfere with movement Organisation of the material to be shot Arranging setups The organisation of chance material Filmic form The technique of directorial work. PART H. THE DIRECTOR AND THE SCENARIO 93 The director and the scenarist The environ ment of the film-The characters in the envir iv uUC aiY MO. 7158987 PAGE onment The establishment of the rhythm of the film. PABT III. THE DIRECTOR AND THE ACTOR 105 Two kinds of production The film actor and the film type Planning the acting of the film type The ensemble Expressive movement-Expressive objects The director as creator of the ensemble. PART IV. THE ACTOR IN THE FRAME . 118 The actor and the filmic image The actor and light. PART V. THE DIRECTOR AND THE CAMERA MAN 120 The cameraman and the camera The camera and its viewpoint The shooting of movement The camera compels the spectator to see as the director wishes The shaping of the com position-The laboratory-Collectivism the basis of film-work. III. TYPES INSTEAD OF ACTORS . 137 IV. CLOSE-UPS IN TIME 146 V. ASYNCHRONISM AS A PRINCIPLE OF SOUND FILM 155 VL RHYTHMIC PROBLEMS IN MY FIRST SOUND FILM 166 VII. NOTES AND APPENDICES A. GLOSSARIAL NOTES . 175 B. SPECIAL NOTES 180 C. ICONOGRAPHY OF PUDOVKINs WORKS . 192 D. INDEX OF NAMES .... 196 The numerals in the text refer to Appendix B. INTRODUCTION THERE are few experiences more important in the education of a newcomer to motion pic tures than the discovery of V. I. Pudovkins Film Technique and Film Acting. No more valuable manuals of the practice and theory of film making have been written than these two handbooks by the notable Soviet director. So sound are their points of view, so valid their tenets, so revelatory their analyses, that they remain today, twenty years after their initial appear ance, the foremost books of their kind. First published abroad in 1929 and 1933 respectively, Film Technique and Film Acting brought to the art of film making a code of principles and a rationale that marked the mediums analytic coming of age. Until their publication, the motion picture maker had to eke out on his own any intellectual or artistic considera tions of film craft. No explicit body of principles existed upon which the film maker could draw with confidence. Film technique was a more or less hit or miss affair that existed in a kind of fragmentary state which, in the main, leaned heavily upon theatrical methods. These pioneering books made clear at once that movie making need no longer flounder for a methodol ogy or for its own standards. They elucidated what iv FILM TECHNIQUE AND FILM ACTING were the fundamentals of film art and defined the singular process of expression that distinguished it from all other media. Now film theory and practice could be attacked with greater assurance and efficiency...

    The book was written as an answer to the glut of tired A-Z screenwriting books that have flooded the market over the years. Instead of another extensive How-To guide, Scriptshadow Secrets looks at 50 popular movies from the past six decades and offers 10 (give or take) screenwriting tips from each. The idea is to not only teach screenwriters valuable lessons, but show how those lessons have been incorporated into successful films. This way, writers learn by example, instead of having to take the author's word for it. From Aliens to Pirates Of The Caribbean to The Hangover to The Empire Strikes Back, Secrets teaches you screenwriting lessons from the greatest films of all time. Author Carson Reeves began as a screenwriter himself, yet struggled to figure out the elusive formula for writing a successful screenplay. Then, about seven years ago, he started getting his hands on spec sale scripts and reading them. Within weeks, he'd learned more about screenwriting than he had in the past seven years combined. He then turned his attention from writing to helping others write. This was the genesis behind the Scriptshadow website - a way to teach screenwriting through reading professional screenplays.The site blew up but quickly became controversial, due to Reeves breaking down material that Hollywood considered private. As such, the site's become a "love it or hate it" fixture in both Hollywood and the screenwriting community. Still, the site has tens of thousands of aspiring screenwriters who visit daily and make it the most popular screenwriting site on the web. The site's most popular feature, the "What I learned" section at the end of each review, was the main inspiration behind Scriptshadow Secrets, as Reeves saw how positively writers responded to quick context-relevant tips.

    What began as a solitary ramble through the nooks and crannies of pop culture evolved into a way of life. My Year Of Flops collects dozens of the best-loved entries from the A.V. Club column along with bonus interviews and fifteen brand-new entries covering everything from notorious flops like The Cable Guy and Last Action Hero to bizarre obscurities like Glory Road, Johnny Cash’s poignantly homemade tribute to Jesus. Driven by a unique combination of sympathy and Schadenfreude, My Year Of Flops is an unforgettable tribute to cinematic losers, beautiful and otherwise.

    Sgt. Charles Black is a 35 year veteran of the Iowa State Patrol during those years he has had many experiences and he shares his favorites in this book. In 35 years I have seen a lot of changes from the name of the organization to the primary function. From hearses to ambulances to rescue units with EMT's. From paper list of stolen cars to computers.From no recorders to body cameras. From fist fights to gun fights.But human nature and the effects of drugs and alcohol remain the same.

    A cold-eyed killer who drank nothing stronger than weak tea, he fought with his bare hands, a sharpened shovel and piano wire. He was a larrikin who went by the book, unless the book was wrong. He set his own bar high and expected others to do the same.Stone Cold is the extraordinary story of one of Australia's most fearless fighters. It takes us into the jungles of New Guinea and Borneo and some of the fiercest battles of World War II. It goes to the cold heart of Korea, where Len emerged from the ranks to excel in the epic Battle of Kapyong and play a key role at the Battle of Maryang San. And it drops us into the centre of the American counterinsurgency war in Vietnam with Len's involvement in the CIA's shadowy black ops program, Phoenix.Action-packed and surprising, Stone Cold gives rich life to a warrior soldier and one of Australia's greatest diggers.

    From flights over Antarctica to carrying a spare fifth engine beneath the wing, award-winning aviation writer and airline pilot, Owen Zupp, has detailed the varied journeys of the magnificent Boeing 747. Click below to buy this book and share the journey.

    Unlike many Hollywood stars who do their best to avoid the press, her openness about her complicated and often outlandish life has endeared her to fans worldwide. Her most famous screen roles are covered in this biography, from Gia to Lara Croft, which established her as one of the highest paid actresses in Hollywood. Also explored is her reputation for living on the edge, and Angelina's refreshing honesty around tempestuous romantic relationships, bisexuality, wild partying, and breakdowns and thoughts of suicide. Finally, her recent roles as philanthropist, mother, and half of a Hollywood golden couple with Brad Pitt, are also discussed in this inspiring must-read book for fans of this continually fascinating global superstar.

    

    This study analyzes Chinatown in the context of the figure of the detective in literature and film from Sophocles to Edgar Allan Poe and Alfred Hitchcock.

    In How to Write a Selling Screenplay, he takes writers through the entire process, from developing a story to finding the best agent. Using an annotated version of an often-optioned screenplay of his own, and citing examples from movies ranging from Casablanca and Lethal Weapon to Sling Blade and The English Patient, he discusses how to create three-dimensional characters, find a compelling story, build an airtight plot structure, fine-tune dialogue, and much more. Keane's tips on the difference between writing for film and television, as well as his advice on dealing with Hollywood movers and shakers, make this an essential companion for people writing their first--or their fortieth--screenplay.

    Roberta Munroe screened short film submissions at Sundance for five years, and is an award-winning short filmmaker in her own right. So she knows a thing or two about how not to make a short film. From the first draft of your script to casting, production, editing, and distribution, this is your one-stop primer for breaking into the business. Featuring interviews with many of today's most talented writers, producers, and directors, as well as revealing stories (e.g., what to do when the skinhead crack addict next door begins screaming obscenities as soon as you call "action") from the sets of her own short films, Roberta walks you through the minefield of mistakes that an aspiring filmmaker can make--so that you don't have to make them yourself.

    Hugely prolific in his first decade--Breathless, Contempt, Pierrot le Fou, Alphaville, and Made in USA are just a handful of the seminal works he directed--Godard introduced filmgoers to the generation of stars associated with the trumpeted sexuality of postwar movies and culture: Brigitte Bardot, Jean Seberg, Jean-Paul Belmondo, and Anna Karina.As the sixties wore on, however, Godard's life was transformed. The Hollywood he had idolized began to disgust him, and in the midst of the socialist ferment in France his second wife introduced him to the activist student left. From 1968 to 1972, Europe's greatest director worked in the service of Maoist politics, and continued thereafter to experiment on the far peripheries of the medium he had transformed. His extraordinary later works are little seen or appreciated, yet he remains one of Europe's most influential artists.Drawing on his own working experience with Godard and his coterie, Colin MacCabe, in this first biography of the director, has written a thrilling account of the French cinema's transformation in the hands of Truffaut, Rohmer, Rivette, and Chabrol--critics who toppled the old aesthetics by becoming, legendarily, directors themselves--and Godard's determination to make cinema the greatest of the arts.