The author shares his memories of his father and provides an overview of Groucho's career, his family life, and the turmoil of his final years.

    The arc of Lyle Talbot’s career is in fact the story of American entertainment. Born in 1902, Lyle left his home in small-town Nebraska in 1918 to join a traveling carnival. From there he became a magician’s assistant, an actor in a traveling theater troupe, a romantic lead in early talkies, then an actor in major Warner Bros. pictures with stars such as Humphrey Bogart and Carole Lombard, then an actor in cult B movies, and finally a part of the advent of television, with regular roles on The Adventures of Ozzie and Harriet and Leave It to Beaver. Ultimately, his career spanned the entire trajectory of the industry.In her captivating, impeccably researched narrative—a charmed combination of Hollywood history, social history, and family memoir—Margaret Talbot conjures warmth and nostalgia for those earlier eras of ’10s and ’20s small-town America, ’30s and ’40s Hollywood. She transports us to an alluring time, simpler but also exciting, and illustrates the changing face of her father’s America, all while telling the story of mass entertainment across the first half of the twentieth century.

    Norma Jeane Baker’stransformation into one of the most emulated and iconic Hollywood stars is anepic American story—one that careens from a troubled childhood into the brightnational spotlight before descending into an irrevocable depression. In thisstunning, one-of-a-kind volume, David Wills offers a captivating photographicjourney through Monroe’s meteoric rise and tragic downfall. Featuring thehighest-quality images of Marilyn available anywhere in the world, from candids to film stills to modeling headshots, the images inMarilyn Monroe: Metamorphosis will reawaken casual fans and collectorsalike to Marilyn Monroe at her living best.

    Victoria Loustalot (author of This Is How You Say Goodbye) offers a fresh spin on what made Audrey Hepburn so popular on film and off, what she had to say about life and living it fully, and why we still have such a strong emotional connection with her. With seldom-seen photos and quotes from Audrey and those who loved her throughout, Living Like Audrey turns the spotlight on this remarkable woman's defining characteristics and contains lessons on how we all can be a little "more Audrey" in our daily lives.

     This is the life story of an actress, a beautiful redheaded actress who lived and played in a glittering era now gone but fondly remembered. Although she attained moments of great fame and happiness, she never knew security. Like her father, the well-known clown, she went through life with a feather on her nose.—Print Ed.

    The collection is assembled by the editors of the Third Edition of Film Noir: An Enclyclopedic Reference to the American Style, now regarded as the standard work on the subject.

    Thomas Nelson's perceptive and comprehensive study of Kubrick rescues him from the hostility of auteurist critics and discovers the roots of a Kubrickian aesthetic, which Nelson defines as the "aesthetics of contingency."After analyzing how this aesthetic develops and manifests itself in the early works, Nelson devotes individual chapters to Lolita, Dr. Stangelove, 2001: A Space Odyssey, A Clockwork Orange, Barry Lyndon, and The Shining.For this expanded edition, Nelson has added chapters on Full Metal Jacket and Eyes Wide Shut, and, in the wake of the director's death, reconsidered his body of work as a whole. By placing Kubrick in a historical and theoretical context, this study is a reliable guide into--and out of--Stanley Kubrick's cinematic maze.

    Winner of eight Oscars for costume design, the author describes some of the hundreds of productions she worked on and gives her personal impressions of the actors and actresses for whom she created costumes.

    Miraculously, he got it. For one year Dunne went everywhere there was to go and talked to everyone worth talking to within the studio. He tracked every step of the creation of pictures like "Dr. Dolittle," "Planet of the Apes," and "The Boston Strangler." The result is a work of reportage that, thirty years later, may still be our most minutely observed and therefore most uproariously funny portrait of the motion picture business.Whether he is recounting a showdown between Fox's studio head and two suave shark-like agents, watching a producer's girlfriend steal a silver plate from a restaurant, or shielding his eyes against the glare of a Hollywood premiere where the guests include a chimp in a white tie and tails, Dunne captures his subject in all its showmanship, savvy, vulgarity, and hype. Not since F. Scott Fitzgerald and Nathanael West has anyone done Hollywood better."Reads as racily as a novel...(Dunne) has a novelist's ear for speech and eye for revealing detail...Anyone who has tiptoed along those corridors of power is bound to say that Dunne's impressionism rings true."--Los Angeles Times

    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.

     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.

    The Orphanage was created by three twenty-something visual effects veterans who wanted to make their own feature films and discovered they could do this by utilizing home computers, off the shelf software, and approaching things artistically. This guide details exactly how to do this: from planning and selecting the necessary cameras, software, and equipment, to creating specific special effects (including gunfire, Kung Fu fighting, car chases, dismemberment, and more) to editing and mixing sound and music. Its mantra is that the best, low-budget action moviemakers must visualize the end product first in order to reverse-engineer the least expensive way to get there. Readers will learn how to integrate visual effects into every aspect of filmmaking--before filming, during filming and with "in camera" shots, and with computers in postproduction. Throughout the book, the author makes specific references to and uses popular action movies (both low and big-budget) as detailed examples--including El Mariachi, La Femme Nikita, Die Hard, and Terminator 2. Note from the Publisher: If you have the 3rd printing of The DV Rebel’s Guide, your disc may be missing the data files that accompany the book. If this is the case, please send an email to Peachpit in order to obtain the files at ask@peachpit.com

    One of the great stories of friendship and war, the successful novel War Horse not only inspired the award-winning stage play, but also inspired one of the great directors in film history to commit his talent, vision, and resources to make this extraordinary movie, which was shot in the countryside of England."I first fell in love with the story of War Horse because I was moved by the relationship between a boy and an animal in Michael Morpurgo's novel and the screenplay by Richard Curtis and Lee Hall," writes Steven Spielberg in his foreword. "But, ultimately, I made it because of what the book and the screenplay say about courage. I t is about the courage of the horse Joey and what he endures to survive, and the courage of Albert in his attempt to find his best friend in a time of war. With every frame of this film, it was my hope to issue a call for courage in our daily lives. A call to ‘be brave.'"Additional forewords by producer Kathleen Kennedy, novelist Michael Morpurgo, and co-screenwriter Richard Curtis reveal their feelings about the story and the process of moving it from page to screen. The main body of the book is divided into three sections:Part 1: Joey's Journey—A visual retelling, along with script excerpts and filmmakers' comments, of the journey taken by Joey, the horse trained by his beloved Albert, from the striking verdant countryside of Dartmoor, Devon, to training in the British cavalry, to trench warfare in France.Part 2: The Making of War Horse—An insider's glimpse of the movie-making process highlighted with fascinating insights from the international cast and the crew about the casting, locations, costumes, horse training, and much more.Part 3: The History of War Horses—An illuminating section on the role of horses in battle, illustrated with iconic images from history, vivid drawings, paintings and photographs.This beautiful book is a testament to what can be done when people become impassioned about a goal. As producer Kathleen Kennedy expresses in her foreword: "War Horse was one of those unusual productions that comes together in an incredibly short time, and for all the right reasons. Everyone involved understood the film's potential, the richness of the characters, the depth of emotion, and the strength of the story's message."

    He also delves into Hitchcock’s ideas about gender; his complicated relationships with “his women”—not only Grace Kelly and Tippi Hedren but also his female audiences—as well as leading men such as Cary Grant, and writes movingly of Hitchcock’s devotion to his wife and lifelong companion, Alma, who made vital contributions to numerous classic Hitchcock films, and burnished his mythology. And White is trenchant in his assessment of the Hitchcock persona, so carefully created that Hitchcock became not only a figurehead for his own industry but nothing less than a cultural icon.Ultimately, White’s portrayal illuminates a vital truth: Hitchcock was more than a Hollywood titan; he was the definitive modern artist, and his significance reaches far beyond the confines of cinema.

    The distinguished director, Howard Hawks, discusses his techniques of filmmaking, analyzes the artistry of his movies, and portrays his experiences working in Hollywood.