Written in an informal "how-to-do-it" style, renowned director Edward Dmytyrk shares his expertise and experience in film editing in an anecdotal and philosophical way. In On Film Editing, Dmytryk contends that many technicians and professionals on the film crew-- from the cameraman and his assistants to the producer and director-- must understand film editing to produce a truly polished work. In this book he explains in layman's terms the principles of film editing, using examples and anecdotes from almost five decades in the film industry.

    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.

    Then, in 2012, Linda Lewis, Loretta Young’s daughter-in-law, called, urging me to finally bring this book to full life. I’ll be forever grateful to Loretta Young, a guarded woman by nature, who finally decided to tell a very personal story. In doing so, she enlisted the help of her three sisters and life-long friends. These people have all passed on, but their voices remain vividly in the present.Excerpts pertaining to Loretta’s relationship with Clark GableGable arrived at Loretta’s train compartment uninvited. She recalled,” I allowed him in as I would have any member of the crew, thinking he was there for a visit. He had other intentions. Very persistent intentions. He wasn’t rough, but I kept saying no, and he wouldn’t take no for an answer.” Loretta received a phone call from Ria Gable a few weeks later. Loretta recalled, "I was in Mama's room and I picked up the phone. Mrs. Gable said, 'This is very presumptuous of me, but you may or may not know that there are rumors flying around town about you and my husband.'”In 1998, when Loretta was eighty-five, she was watching television with Edward Funk. There was the mention of date-rape on the news, and she asked him what exactly did that mean. He explained to the best of his ability. The following day, Loretta called her daughter-in-law, Linda and said. “I know now that there was a word for what happened to me with Clark.”Clark Gable arrived on the set of THE CRUSADES. Loretta recalled, “He waited until I was through and then offered to take me home. We went for a drive up in the Hollywood Hills. He didn’t say much, but it was apparent that he was agitated. With the long silences, I felt very uncomfortable and finally felt the pressure to say something. I blurted out, ‘Would it make any difference if I told you that I wasn’t pregnant?’ He turned and looked at me and then asked, ‘Well, are you or aren’t you?’ I felt like such a fool. I didn’t know why I had said that except that I had tried to think of something to say he wanted to hear, my inherent need to please taken to an illogical length. I had to tell him that I was pregnant. His look toward me was one of total exasperation, and very little was said as he drove me home.” There would be some phone calls in the interim, but it would be more than a year before Loretta would see Clark Gable again. Loretta’s sister, Sally, "I remember taking an odd route to get there (the house in Westwood where Loretta and the baby were in hiding). My mother didn't approve that I was going at all because of all the secrecy, but I was dying to see the baby. She was very big by the time I did. I just loved her looks and kept saying, ‘Oh Loretta, I hope I have a baby that looks just like this.' In response to my enthusiasm about Judy, Loretta referred to Gable’s visit earlier in the week, the first time he had seen his daughter, and said, 'Yes, and do you know after all that has gone on, all that we've gone through, instead of having any interest in his daughter, he tried to knock me down on the bed! Can you imagine, Sally? That bastard! Who the hell does he think he is?' And I thought, 'With all that's happened, she thinks he's a bastard. He didn't understand that Loretta was a human being that had suffered very much.”Loretta acted like she couldn’t have been more flattered that MGM’s two biggest male stars (Clark Gable and Spencer Tracy) would come to see her (on the set of UNGUARDED HOUR). Under her smile she thought differently. She reflected, “I thought how different these two men were.

    Viki King's Inner Movie Method is a specific step-by-step process designed to get the story in the writer's onto the page. This method guides the would-be screenwriter through the writing of a movie. It answers such questions as:How to clarify the idea you don't quite have yetHow to tell if your idea is really a movieHow to move from what you want to say saying itHow to stop getting ready and startOnce you know what to write, the Inner Movie Method will show you how to write it. It also addresses such issues as:How to pay the rent while paying your duesWhat to say to your spouse when you can't come to bedHow to keep going when you think you can'tFor accomplished screenwriters honing their craft, as well as those who never before brought their ideas to paper, How to Write a Movie in 21 Days is an indispensable guide. And Viki King's upbeat, friendly style is like having a first-rate writing partner every step of the way.

    What further sets him apart is his role in bringing to the screen some of the most acclaimed Oscar-winning films of our time: Apocalypse Now, One Flew Over the Cuckoo's Nest, Amadeus, The Silence of the Lambs, Philadelphia, and Sleepless in Seattle are just some of the projects he green-lighted at United Artists, Orion, TriStar, his own Phoenix Pictures. "The ultimate lose-lose situation for a studio executive: to wind up with a commercial bomb and a bad movie." Of course, there are the box office disasters, and the films, as Medavoy says, "for which I should be shot." They, too, have a place in his fascinating memoir -- a pull-no-punches account of financial and political maneuvering, and of working with the industry's brightest star power, including Steven Spielberg, Martin Scorsese, Francis Ford Coppola, Kevin Costner, Robert De Niro, Jodie Foster, Sharon Stone, Michael Douglas, Meg Ryan, and countless others. "Putting together the elements of a film is a succession of best guesses." Medavoy speaks out on how movie studio buyouts have stymied the creative process and brought an end to the "hands-off" golden age of filmmaking. An eyewitness to Hollywood history in the making, he gives a powerful and poignant view of the past and future of a world he knows intimately.

    

    Conceived, written, and directed by a little-known filmmaker named George Lucas, the movie originally called The Star Wars quickly drew blocks-long lines, bursting box-office records and ushering in a new way for movies to be made, marketed, and merchandised. It is now one of the most adored-and successful-movie franchises of all time.Now, the author of the bestselling biography Jim Henson delivers a long-awaited, revelatory look into the life and times of the man who created Luke Skywalker, Han Solo, and Indiana Jones.If Star Wars wasn't game-changing enough, Lucas went on to create another blockbuster series with Indiana Jones, and he completely transformed the world of special effects and the way movies sound. His innovation and ambition forged Pixar and Lucasfilm, Industrial Light & Magic, and THX sound.Lucas's colleagues and competitors offer tantalizing glimpses into his life. His entire career has been stimulated by innovators including Steven Spielberg and Francis Ford Coppola, actors such as Harrison Ford, and the very technologies that enabled the creation of his films-and allowed him to keep tinkering with them long after their original releases. Like his unforgettable characters and stories, his influence is unmatched.

    The public not only found Laurel's serene simpleton and Hardy's pompous buffoon hilarious, but they also thought of them as friends. Laurel and Hardy may have been nitwits, but they were loveable nitwits.Another Nice Mess: The Laurel and Hardy Story explores the lives and careers of Laurel and Hardy. The book examines how the comedians teamed up and it explains why, nearly half a century after their deaths, their films continue to enchant people all over the world.Raymond Valinoti, Jr.. is a resident of Berkeley Heights, NJ. He has a Master's in Library Science from Rutgers University and is a freelance researcher. His articles on film have been published in the magazines Midnight Marquee and Films of the Golden Age. He also writes film reviews for an online news publication, The Alternative Press.

    You’re a bonafide Brat Pack devotee—and you’re not alone.The films of the Brat Pack—from Sixteen Candles to Say Anything—are some of the most watched, bestselling DVDs of all time. The landscape that the Brat Packmemorialized—where outcasts and prom queens fall in love, preppies and burn-outs become buds, and frosted lip gloss, skinny ties, and exuberant optimism made us feel invincible—is rich with cultural themes and significance, and has influenced an entire generation who still believe that life always turns out the way it is supposed to.You Couldn’t Ignore Me If You Tried takes us back to that era, interviewing key players, such as Molly Ringwald, Anthony Michael Hall, Ally Sheedy, Judd Nelson, Andrew McCarthy, and John Cusack, and mines all the material from the movies to the music to the way the films were made to show how they helped shape our visions for romance, friendship, society, and success.

    This detailed filmography covers these and 225 more. Section One provides an introduction and a brief history of the decade. Beginning with 1970 and proceeding chronologically by year of its release in the United States, Section Two offers an entry for each film. Each entry includes several categories of information: Critical Reception (sampling both '70s and later reviews), Cast and Credits, P.O.V., (quoting a person pertinent to that film's production), Synopsis (summarizing the film's story), Commentary (analyzing the film from Muir's perspective), Legacy (noting the rank of especially worthy '70s films in the horror pantheon of decades following). Section Three contains a conclusion and these five appendices: horror film cliches of the 1970s, frequently appearing performers, memorable movie ads, recommended films that illustrate how 1970s horror films continue to impact the industry, and the 15 best genre films of the decade as chosen by Muir.

    Partly because horror continues to evolve radically--every time the genre is deemed dead, it seems to come up with another twist--it has been one of the most often-dissected genres. Here, author Kendall Phillips selects ten of the most popular and influential horror films--including Dracula, Night of the Living Dead, Halloween, The Silence of the Lambs, and Scream, each of which has become a film landmark and spawned countless imitators, and all having implications that transcend their cinematic influence and achievement. By tracing the production history, contemporary audience response, and lasting cultural influence of each picture, Phillips offers a unique new approach to thinking about the popular attraction to horror films, and the ways in which they reflect both cultural and individual fears. Though stylistically and thematically very different, all of these movies have scared millions of eager moviegoers. This book tries to figure out why.

    200 b/w illustrations. Two 16-page 4-color inserts.

    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.

    Clarke created this cinematic masterpiece.Regarded as a masterpiece today, 2001: A Space Odyssey received mixed reviews on its 1968 release. Despite the success of Dr. Strangelove, director Stanley Kubrick wasn’t yet recognized as a great filmmaker, and 2001 was radically innovative, with little dialogue and no strong central character. Although some leading critics slammed the film as incomprehensible and self-indulgent, the public lined up to see it. 2001’s resounding commercial success launched the genre of big-budget science fiction spectaculars. Such directors as George Lucas, Steven Spielberg, Ridley Scott, and James Cameron have acknowledged its profound influence.Author Michael Benson explains how 2001 was made, telling the story primarily through the two people most responsible for the film, Kubrick and science fiction legend Arthur C. Clarke. Benson interviewed Clarke many times, and has also spoken at length with Kubrick’s widow, Christiane; with visual effects supervisor Doug Trumbull; with Dan Richter, who played 2001’s leading man-ape; and many others.A colorful nonfiction narrative packed with memorable characters and remarkable incidents, Space Odyssey provides a 360-degree view of this extraordinary work, tracking the film from Kubrick and Clarke’s first meeting in New York in 1964 through its UK production from 1965-1968, during which some of the most complex sets ever made were merged with visual effects so innovative that they scarcely seem dated today. A concluding chapter examines the film’s legacy as it grew into it current justifiably exalted status.

    Now in its second edition, the text has been completely revised and expanded to meet the needs of today's students and film enthusiasts. Some 150 key genres, movements, theories and production terms are explained and analyzed with depth and clarity. Entries include: * auteur theory* Blaxploitation* British New Wave* feminist film theory* intertextuality* method acting* pornography* Third World Cinema* Vampire movies.