The luminous Italian movie star was the first artist to win an Oscar for a foreign language performance, after which she continued a vibrant and varied career that took her from Hollywood to Paris to Italy—and back to Hollywood. In Yesterday, Today, and Tomorrow, Loren shares vivid memories of work, love, and family with winning candor.Born in 1934 and growing up in World War II Italy, Loren’s life of glamour and success was preceded by years of poverty and hardship, when she lived in her grandparents’ house with her single mother and sister, and endured near starvation. She shares how she blossomed from a toothpick-thin girl into a beautiful woman seemingly overnight, getting her start by winning a beauty pageant; and how her first Hollywood film, The Pride and the Passion, ignited a high-profile romance with Cary Grant, who would vie with her mentor, friend, frequent producer, and lover Carlo Ponti to become her husband. Loren also reveals her long-held desire to become a mother, the disappointments she suffered, the ultimate joy of having two sons, and her happiness as a mother and grandmother.From trying times to triumphant ones, this scintillating autobiography paints a multi-dimensional portrait of the woman behind the celebrity, beginning each chapter with a letter, photograph, or object that prompts her memories. In Loren’s own words, this is a collection of “unpublished memories, curious anecdotes, tiny secrets told, all of which spring from a box found by chance, a precious treasure trove filled with emotions, experiences, adventures.” Her wise and candid voice speaks from the pages with riveting detail and sharp humor. Yesterday, Today, and Tomorrow is as elegant, entrancing, and memorable as Sophia Loren herself.

    Almost half a century after Cary Grant’s retirement from the screen, he remains the quintessential romantic comic movie star. He stopped making movies when his daughter was born so that he could be with her and raise her, which is just what he did. Good Stuff is an enchanting portrait of the profound and loving relationship between a daughter and her father, who just happens to be one of America’s most iconic male movie stars.Cary Grant’s own personal childhood archives were burned in World War I, and he took painstaking care to ensure that his daughter would have an accurate record of her early life. In Good Stuff, Jennifer Grant writes of their life together through her high school and college years until Grant’s death at the age of eighty-two. Cary Grant had a happy way of living, and he gave that to his daughter. He invented the phrase “good stuff” to mean happiness. For the last twenty years of his life, his daughter experienced the full vital passion of her father’s heart, and she now—delightfully—gives us a taste of it. She writes of the lessons he taught her; of the love he showed her; of his childhood as well as her own . . . Here are letters, notes, and funny cards written from father to daughter and those written from her to him . . . as well as bits of conversation between them (Cary Grant kept a tape recorder going for most of their time together).She writes of their life at 9966 Beverly Grove Drive, living in a farmhouse in the midst of Beverly Hills, playing, laughing, dining, and dancing through the thick and thin of Jennifer's growing up; the years of his work, his travels, his friendships with “old Hollywood royalty” (the Sinatras, the Pecks, the Poitiers, et al.) and with just plain-old royalty (the Rainiers) . . . We see Grant the playful dad; Grant the clown, sharing his gifts of laughter through his warm spirit; Grant teaching his daughter about life, about love, about boys, about manners and money, about acting and living.Cary Grant was given the indefinable incandescence of charm. He was a pip . . . Good Stuff captures his special quality. It gives us the magic of a father’s devotion (and goofball-ness) as it reveals a daughter’s special odyssey and education of loving, and being loved, by a dad who was Cary Grant.

    Throughout the filming of Quentin Tarantino's brilliant, violent epic, Carradine kept a daily diary—capturing all the action, the genius, the madness, and the magic that combined to make a masterpiece. More than simply an insider's close-up look at the filmmaking process and the astonishing cast and crew—director Tarantino, star Uma Thurman, and all the other artists whose extraordinary skills helped create something glorious—The Kill Bill Diary illuminates the fine points of the serious actor's craft, as a truly unique talent takes us along with him on a quirky, breathtaking, no-holds-barred, and altogether miraculous journey. It is a must-own volume for anyone who loves the movies.

    Join award-winning filmmaker Ron Howard and audience-favorite actor Clint Howard as they frankly and fondly share their unusual family story of navigating and surviving life as sibling child actors.“What was it like to grow up on TV?” Ron Howard has been asked this question throughout his adult life. In The Boys, he and his younger brother, Clint, examine their childhoods in detail for the first time. For Ron, playing Opie on The Andy Griffith Show and Richie Cunningham on Happy Days offered fame, joy, and opportunity—but also invited stress and bullying. For Clint, a fast start on such programs as Gentle Ben and Star Trek petered out in adolescence, with some tough consequences and lessons.With the perspective of time and success—Ron as a filmmaker, producer, and Hollywood A-lister, Clint as a busy character actor—the Howard brothers delve deep into an upbringing that seemed normal to them yet was anything but. Their Midwestern parents, Rance and Jean, moved to California to pursue their own showbiz dreams. But it was their young sons who found steady employment as actors. Rance put aside his ego and ambition to become Ron and Clint’s teacher, sage, and moral compass. Jean became their loving protector—sometimes over-protector—from the snares and traps of Hollywood.By turns confessional, nostalgic, heartwarming, and harrowing, The Boys is a dual narrative that lifts the lid on the Howard brothers’ closely held lives. It’s the journey of a tight four-person family unit that held fast in an unforgiving business and of two brothers who survived “child-actor syndrome” to become fulfilled adults.

    From his early days as a taxi dancer in New York City to his near apotheosis as the ultimate Hollywood heartthrob, Rudolph Valentino (often to his distress) occupied a space squarely at the center of controversy. In this thoughtful retelling of Valentino' s short and tragic life–the first fully documented biography of the star–Emily W. Leider looks at the Great Lover' s life and legacy, and explores the events and issues that made him emblematic of the Jazz Age. Valentino's androgynous sexuality was a lightning rod for fiery and contradictory impulses that ran the gamut from swooning adoration to lashing resentment. He was reviled in the press for being too feminine for a man; yet he also brought to the screen the alluring, savage lover who embodied women's darker, forbidden sexual fantasies.In tandem, Leider explores notions of the outsider in American culture as represented by Valentino's experience as an immigrant who became a celebrity. As the silver screen's first dark-skinned romantic hero, Valentino helped to redefine and broaden American masculine ideals, ultimately coming to represent a graceful masculinity that trumped the deeply ingrained status quo of how a man could look and act.

    It was empty except for one heavy-set, gray bearded, grizzled guy who looked like he just rode his donkey into town after a long day of panning for silver in them thar hills. He ordered a Jack Daniels straight up, and that's when I overheard the young guy with the earring behind the bar asking him if he had ID. At first the old sea captain just laughed. But the guy with the twinkle in his ear asked again. At this point it became apparent that he was serious. Dan Haggerty's dad fired back, "You've got to be kidding me, son." The bartender replied, "New policy. Everyone has to show their ID." Then I watched Burl Ives reluctantly reach into his dungarees and pull out his military identification card from World War II. It's a sad and eerie harbinger of our times that the Oprah-watching, crystal-rubbing, Whole Foods-shopping moms and their whipped attorney husbands have taken the ability to reason away from the poor schlub who makes the Bloody Marys. What we used to settle with common sense or a fist, we now settle with hand sanitizer and lawyers.Adam Carolla has had enough of this insanity and he's here to help us get our collective balls back.In Fifty Years We'll All Be Chicks . . . And Other Complaints from an Angry Middle-Aged White Guy is Adam's comedic gospel of modern America. He rips into the absurdity of the culture that demonized the peanut butter and jelly sandwich, turned the nation's bathrooms into a lawless free-for-all of urine and fecal matter, and put its citizens at the mercy of a bunch of minimum wagers with axes to grind. Peppered between complaints, Carolla shares candid anecdotes from his day-to-day life as well as his past—Sunday football at Jimmy Kimmel's house, his attempts to raise his kids in a society that he mostly disagrees with, his big showbiz break, and much, much more. Brilliantly showcasing Adam's spot-on sense of humor, this book cements his status as a cultural commentator/comedian/complainer extraordinaire.

    They seem to be afraid that I’m going to piss in the potted palm and slap them on the ass.”—Marlon Brando“I should have been dead ten times over. I believe in miracles. It’s an absolute miracle that I’m still around.”—Dennis Hopper“You only lie to two people in your life: your girlfriend and the police.”—Jack Nicholson“The best time to get married is noon. That way, if things don’t work out, you haven’t blown the whole day.”—Warren Beatty They’re the baddest bad-asses Hollywood as ever seen: Marlon Brando, Dennis Hopper, Warren Beatty, and Jack Nicholson. They are men to whom rules did not apply; normal standards of behavior were simply too wearisome to worry about. These are men who brawled, boozed, snorted, and screwed their way into legendhood—but along the way they changed acting and the way movies were made forever. Hollywood Hellraisers is a whistle-stop tour of jaw-dropping sexual activity, misbehavior of an Olympic standard, all-out excess, and genuine madness. It’s a wonder Hollywood survived.

    By night he spent it as fast as he could, on drugs, sex, and international globe-trotting. From the binge that sank a 170-foot motor yacht and ran up a $700,000 hotel tab, to the wife and kids waiting at home, and the fast-talking, hard-partying young stockbrokers who called him king and did his bidding, here, in his own inimitable words, is the story of the ill-fated genius they called . . .THE WOLF OF WALL STREETIn the 1990s Jordan Belfort, former kingpin of the notorious investment firm Stratton Oakmont, became one of the most infamous names in American finance: a brilliant, conniving stock-chopper who led his merry mob on a wild ride out of the canyons of Wall Street and into a massive office on Long Island. Now, in this astounding and hilarious tell-all autobiography, Belfort narrates a story of greed, power, and excess that no one could invent.Reputedly the prototype for the film Boiler Room, Stratton Oakmont turned microcap investing into a wickedly lucrative game as Belfort’s hyped-up, coked-out brokers browbeat clients into stock buys that were guaranteed to earn obscene profits—for the house. But an insatiable appetite for debauchery, questionable tactics, and a fateful partnership with a breakout shoe designer named Steve Madden would land Belfort on both sides of the law and into a harrowing darkness all his own.From the stormy relationship Belfort shared with his model-wife as they ran a madcap household that included two young children, a full-time staff of twenty-two, a pair of bodyguards, and hidden cameras everywhere—even as the SEC and FBI zeroed in on them—to the unbridled hedonism of his office life, here is the extraordinary story of an ordinary guy who went from hustling Italian ices at sixteen to making hundreds of millions. Until it all came crashing down . . .

    Characteristically, he pulls no punches, whether he’s talking about movies, women or the media. Even when it comes to his own films, he embraces his failures as much his successes and dissects them with rare honesty and humility.Refreshingly contrarian and politically incorrect, this book discloses a perspective as colourful and larger than life as Indian films. It is not for RGV fans alone but for all those passionate about cinema and the people associated with it.

    and ultimately walk the streets of Hollywood as an alcoholic prostitute. But, as she says throughout, she is not ashamed of her life. She achieved rare success in the Hollywood system and went down in an archconservative era, when McCarthy threatened the country's free speech and Hollywood producers ran terrified of even a whiff of scandal. When Payton's boyfriend, actor Tom Neal, pounded a concussion into his effete romantic rival Franchot Tone, the whole incident went public and made Payton the Hollywood bad girl - too bad, as it turned out, for Warner Brothers to handle. Describing her downfall, Payton also talks about her relationships with Cagney, Sinatra, Peck and other big names. Lost for decades after its original 1963 release, I Am Not Ashamed leapt back into the limelight when Jack Nicholson lent it to Jessica Lange to help her prepare for her part in The Postman Always Rings Twice. Now Holloway House Publications has finally released this classic Hollywood tell-all.

    Beginning with the classic Live and Let Die, running through Moonraker and A View to a Kill, Moore brought his finely honed wit and wry charm to one of Hollywood's most beloved and long-lasting characters. Still, James Bond was only one in a lifetime of roles stretching back to Hollywood's studio era, and encompassing stardom in theater and television on both sides of the Atlantic. From The Saint to Maverick, Warner Brothers to MGM, Hollywood to London to extreme locations the world over, Roger Moore's story is one of the last of the classic Hollywood lives as yet untold.Until now. From the dying days of the studio system and the birth of television, to the quips of Noël Coward and David Niven, to the bedroom scenes and outtakes from the Bond movies, Moore has seen and heard it all. Nothing is left out—especially the naughty bits. The "special effects" by which James Bond unzipped a dress with a magnet; the spectacular risks in The Spy Who Loved Me's opening scene; and Moore's preparation for facing down villains (he would imagine they all have halitosis): the stories in My Word is My Bond are priceless.Throughout his career, Moore hobnobbed with the glamorous and powerful, counting Elizabeth Taylor, Jane Seymour, and Cary Grant among his contemporaries and friends. Included are stories of a foul-mouthed Milton Berle, a surly Richard Burton, and a kindhearted Richard Kiel, infamous as Bond enemy Jaws.As much as it is Moore's own exceptional story, My Word is My Bond is a treasure trove of Hollywood history.

    Leslie Nielsen is a true veteran of the Hollywood scene and one of America's funniest slap-stick film star. He is well-known in Britain for his movies and appearances in cider commercials and the movie "Naked Gun 33 1/3" is on its way from Paramount. From the frozen wilds of northern Canada to New York, Los Angeles, and the flashiest bars all around the world, Leslie Nielsen tells the dramatic, heart-wrenching, explosively erotic, sleazy, entirely truthful, and hilarious story of his life.

    Next he directed four consecutive hit plays, won back-to-back Tonys, ushered in a new era of Hollywood moviemaking with Who's Afraid of Virginia Woolf?, and followed it with The Graduate, which won him an Oscar and became the third-highest-grossing movie ever. At thirty-five, he lived in a three-story Central Park West penthouse, drove a Rolls-Royce, collected Arabian horses, and counted Jacqueline Kennedy, Elizabeth Taylor, Leonard Bernstein, and Richard Avedon as friends.Where he arrived is even more astonishing given where he had begun: born Igor Peschkowsky to a Jewish couple in Berlin in 1931, he and his younger brother were sent to America on a ship in 1939. The young immigrant boy caught very few breaks. He was bullied and ostracized--an allergic reaction had rendered him permanently hairless--and his father died when he was just twelve, leaving his mother alone and overwhelmed.The gulf between these two sets of facts explains a great deal about Nichols's transformation from lonely outsider to the center of more than one cultural universe--the acute powers of observation that first made him famous; the nourishment he drew from his creative partnerships, most enduringly with May; his unquenchable drive; his hunger for security and status; and the depressions and self-medications that brought him to terrible lows. It would take decades for him to come to grips with his demons. In an incomparable portrait that follows Nichols from Berlin to New York to Chicago to Hollywood, Mark Harris explores, with brilliantly vivid detail and insight, the life, work, struggle, and passion of an artist and man in constant motion. Among the 250 people Harris interviewed: Elaine May, Meryl Streep, Stephen Sondheim, Robert Redford, Glenn Close, Tom Hanks, Candice Bergen, Emma Thompson, Annette Bening, Natalie Portman, Julia Roberts, Lorne Michaels, and Gloria Steinem.Mark Harris gives an intimate and evenhanded accounting of success and failure alike; the portrait is not always flattering, but its ultimate impact is to present the full story of one of the most richly interesting, complicated, and consequential figures the worlds of theater and motion pictures have ever seen. It is a triumph of the biographer's art.

    No one walked like her. No one talked like her. Sexy yet vulnerable, and unexpectedly talented, she was no ordinary screen goddess. Few really knew her. What others wrote, she called "Lies! Lies! Lies!"Here, at last, is Marilyn Monroe's account, in her own singular voice. It was June 1, 1962, her thirty-sixth birthday. Famed photographer and reporter George Barris had come to see Marilyn on the set of what would be her final, unfinished, film. They had met eight years earlier, became friends, and planned to do a picture book and autobiography. Now the time was right. For the next six weeks Barris photographed and interviewed the actress. "Don't believe anything you read about me except this..." she told Barris. And so she began to confide the truth about herself.Barris last talked to Marilyn on August 3, less than twenty-four hours before she was found dead in her apartment. At their last meeting, she was effervescent and eager to embrace life. "I feel I’m just getting started", she said. Barris firmly believes that murder, not suicide, caused Marilyn's untimely end and he could not bring himself to publish her thoughts or the haunting photos of that summer - until now."Marilyn: Her Life In Her Own Words" is a candid memoir enhanced by 150 black-and-white and color photos, many never before published. A highlight is "The Last Photo Shoot": where Marilyn appears luminous without makeup on the beach at Santa Monica and in a North Hollywood house. This moving book brings Marilyn Monroe back - beautiful, flirtatious, and sweet as a first kiss - for one rare and radiant farewell.

    This book follows him through the process of setting up a new TV programme, punctuated with conversations with his agent.