Embraced as a cultural touchstone, the 1993 film would also make Matthew McConaughey’s famous phrase—alright, alright, alright—ubiquitous. But it started with a simple idea: Linklater thought people might like to watch a movie about high school kids just hanging out and listening to music on the last day of school in 1976.    To some, that might not even sound like a movie. But to a few studio executives, it sounded enough like the next American Graffiti to justify the risk. Dazed and Confused underperformed at the box office and seemed destined to disappear. Then something weird happened: Linklater turned out to be right. This wasn’t the kind of movie everybody liked, but it was the kind of movie certain people loved, with an intensity that felt personal. No matter what their high school experience was like, they thought Dazed and Confused was about them.Alright, Alright, Alright is the story of how this iconic film came together and why it worked. Combining behind-the-scenes photos and insights from nearly the entire cast, including Matthew McConaughey, Parker Posey, Ben Affleck, Joey Lauren Adams, and many others, and with full access to Linklater’s Dazed archives, it offers an inside look at how a budding filmmaker and a cast of newcomers made a period piece that would feel timeless for decades to come.

    Strangelove, 2001: Space Odyssey. A Clockwork Orange, The Shining, and Full Metal Jacket, is arguably one of the greatest American filmmakers. Yet, despite being hailed as “a giant” by Orson Welles, little is known about the reclusive director. Stanley Kubrick—the first full-length study of his life—is based on assiduous archival research as well as new interviews with friends, family, and colleagues.Film scholar Vincent LoBRutto provides a comprehensive portrait of the director, from his high school days, in the Bronx and his stint as a photographer for Look magazine, through the creation of his wide-ranging movies, including the long-awaited Eyes Wide Shut. The author provides behind-the-scenes details about writing, filming, financing, and reception of the director’s entire output, paying close attention to the technical innovations and to his often contentious relationships with actors. This fascinating biography exposes the enigma that is Stanley Kubrick while placing him in context of film history.

    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.

    This revised edition contains material on GoodFellas, Cape Fear, The Age of Innocence, and other projects up to Casino.

    An inspiration to all would-be screenwriters, this book is about living the screenwriter's life -- the habits, writing environments, creative processes, daily passions, and obsessions.In The 101 Habits of Highly Successful Screenwriters, author Karl Iglesias has interviewed 14 top contemporary Hollywood screenwriters who offer their experience, insight, and advice to aspiring screenwriters everywhere.

    This is the only book that focuses exclusively on the relationship between the director and cinematographer.

    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.

    For Deleuze, philosophy cannot be a reflection of something else; philosophical concepts are, rather, the images of thought, to be understood on their own terms. Here he puts this view of philosophy to work in understanding the concepts—or images—of film.Cinema, to Deleuze, is not a language that requires probing and interpretation, a search for hidden meanings; it can be understood directly, as a composition of images and signs, pre-verbal in nature. Thus he offers a powerful alternative to the psychoanalytic and semiological approaches that have dominated film studies.Drawing upon Henri Bergson’s thesis on perception and C. S. Peirce’s classification of images and signs, Deleuze is able to put forth a new theory and taxonomy of the image, which he then applies to concrete examples from the work of a diverse group of filmmakers—Griffith, Eisenstein, Pasolini, Rohmer, Bresson, Dreyer, Stroheim, Buñuel, and many others. Because he finds movement to be the primary characteristic of cinema in the first half of the twentieth century, he devotes this first volume to that aspect of film. In the years since World War II, time has come to dominate film; that shift, and the signs and images associated with it, are addressed in Cinema 2: The Time-Image.

    Jack Warner called her "an explosive little broad with a sharp left." Humphrey Bogart once remarked, "Unless you're very big she can knock you down." Bette Davis was a force of nature--an idiosyncratic talent who nevertheless defined the words "movie star" for more than half a century and who created an extraordinary body of work filled with unforgettable performances. In Dark Victory, the noted film critic and biographer Ed Sikov paints the most detailed picture ever delivered of this intelligent, opinionated, and unusual woman who was--in the words of a close friend--"one of the major events of the twentieth century." Drawing on new interviews with friends, directors, and admirers, as well as archival research and a fresh look at the films, this stylish, intimate biography reveals Davis's personal as well as professional life in a way that is both revealing and sympathetic. With his wise and well-informed take on the production and accomplishments of such movie milestones as Jezebel, All About Eve, and Now, Voyager, as well as the turbulent life and complicated personality of the actress who made them, Sikov's Dark Victory brings to life the two-time Academy Award-winning actress's unmistakable screen style, and shows the reader how Davis's art was her own dark victory.

    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.

    Did screenwriter Danny Rubin know what he was doing when he wrote it? That it would star Bill Murray and become a hit? That it would become a touchstone for major religions? That psychologists would come to prescribe the movie to their patients? Follow this unique screenplay's exciting journey through agents, directors, studios, stars and the writer's own confused brain to emerge as one of the most delightful and profoundly affecting comedies of all time. For movie lovers and screenwriters alike, "How To Write Groundhog Day" includes the original screenplay, notes, scene sketches, and a personal tour of the Hollywood writing process from this popular screenwriting teacher.

    It seeks to answer a simple question: why is there such a thing as style? The question may be simple but there is no easy answer, and Professor Gombrich's brilliant and wide-ranging exploration of the history and psychology of pictorial representation leads him into countless crucial areas. Gombrich examines, questions and re-evaluates old and new ideas on such matters as the imitation of nature, the function of tradition, the problem of abstraction, the validity of perspective and the interpretation of expression: all of which reveal that pictorial representation is far from being a straightforward matter. First published more than 40 years ago, Art and Illusion has lost none of its vitality and importance. In applying the findings of experimental science to a nuanced understanding of art and in tackling complex ideas and theoretical issues, Gombrich is rigorous.Yet he always retains a sense of wonder at the inexhaustible capacity of the human brain, and at the subtlety of the relationships involved in seeing the world and in making and seeing art. With profound knowledge and his exceptional gift for clear exposition, he advances each argument as an hypothesis to be tested. The problems of representation are forever fundamental to the history of art: Art and Illusion remains an essential text for anyone interested in understanding the complexities of art. For the sixth edition Professor Gombrich has written an entirely new 12-page preface, in which he makes use of the distinction between an image and a sign, so as to clarify his intentions in writing the book in the first place.

    Cited as an influence by such envelope-pushing directors as Spike Jonze and P. T. Anderson, Altman has created a genre all his own, notable for its improvised, overlapping dialogue and creative cinematography. One of the key moviemakers of the 1970s--commonly considered the heyday of American film--Altman's irrepressible combination of unorthodox vision and style is most clearly evidenced in the fourteen movies he released across that decade. By fine-tuning his talent in a diverse array of genres, including westerns, thrillers, and loopy, absurdist comedies--all subtly altered to fit his signature métier--he cemented his place as one of our most esteemed directors.In these conversations with David Thompson, Altman reflects on his start in industrial filmmaking, as well as his tenure in television directing Alfred Hitchcock Presents and Bonanza, and his big break in feature films as the director of the enormously popular M*A*S*H, a project for which he was the last possible resort behind fourteen other directors. The resulting portrait reveals a quixotic man whose films continue to delight and challenge audiences, both in the United States and beyond.

    Hundreds of film stills, many in color, plus dialogue, quotations, and other sources add to and illustrate each chapter's overriding theme.

    An experimental, violent prison unit. The death of an American city, as seen through a complex police investigation. A lawless frontier town trying to talk its way into the United States. A corrupt cop who rules his precinct like a warlord. The survivors of a plane crash trying to make sense of their disturbing new island home. A high school girl by day, monster fighter by night. A spy who never sleeps. A space odyssey inspired by 9/11. An embattled high school football coach. A polished ad exec with a secret. A chemistry teacher turned drug lord.These are the subjects of 12 shows that started a revolution in TV drama: The Sopranos. Oz. The Wire. Deadwood. The Shield. Lost. Buffy the Vampire Slayer. 24. Battlestar Galactica. Friday Night Lights. Mad Men. Breaking Bad.These 12 shows, and the many more they made possible, ushered in a new golden age of television — one that made people take the medium more seriously than ever before. Alan Sepinwall became a TV critic right before this creative revolution began, was there to chronicle this incredible moment in pop culture history, and along the way “changed the nature of television criticism,” according to Slate. The Revolution Was Televised is the story of these 12 shows, as told by Sepinwall and the people who made them, including David Chase, David Simon, David Milch, Damon Lindelof and Carlton Cuse, Vince Gilligan and more.