In this lavish tribute to Pickford (1892-1979), her enormous and wide-ranging body of work is illustrated with fabulous film stills, rare production shots, and personal photographs -- most never before published -- from the Academy of Motion Picture Arts and Sciences' Margaret Herrick Library.Today's audiences have little knowledge of Pickford's films, let alone of her enormous behind-the-scenes power as one of Hollywood's pioneering producers and cofounder of United Artists. This first illustrated filmography of Pickford's career accords her achievements the recognition they deserve. Noted film historian Kevin Brownlow draws on interviews with Pickford and her circle to provide entertaining film-by-film commentaries full of wonderful anecdotes about the silent era.

    With a worldly generosity, LaGuardia knowingly and sensitively explores a famous man haunted by same-sexuality. His writing fearlessly penetrates the dark areas of the human psyche. (Many unpublished photographs).

    Rich in gossip, it is also an eyewitness report of Hollywood in transition. In the summer of 1924, Valeria Belletti and her friend Irma visited California, but instead of returning home to New York, the twenty-six-year-old Valeria decided to stay in Los Angeles. She moved into the YWCA, landed a job as Samuel Goldwyn's personal and social secretary and proceeded to trip over history in the making. As she recounts in her dozens of letters to Irma, Valeria Belletti encountered every type of Hollywood player in the course of her working day: moguls, directors, stars, writers, and hopeful extras. She shares news about Valentino's affairs, Sam Goldwyn's bootlegger, the development of the “talkies,” her own role in helping to cast Gary Cooper in his first major part and much more—often in hilarious detail. She writes of her living and working conditions, her active social life, and her hopes for the future—all the everyday concerns of a young working woman during the jazz age. Alternating sophistication with naiveté, Valeria’s letters intimately document a personal journey while giving us a unique portrait of a fascinating era.

    Originally published in Paris, this is a collection of Hollywood's darkest and best kept secrets from the pen of Kenneth Anger, a former child movie actor who grew up to become one of America's leading underground film-makers.

    Now, for the first time ever, Vanity Fair presents a one-of-a-kind collection featuring thirteen behind-the- scenes stories on some of cinema's most iconic films-including pictures as varied as All About Eve, Cleopatra, Sweet Smell of Success, Rebel Without a Cause, and Saturday Night Fever. For pop-culture fanatics and movie buffs alike, Vanity Fair's Tales of Hollywood is an irresistible glimpse at how classic films-and box office bombs-are made.

    America's sweetheart. But behind the dazzle was a young woman thrown in the star making machine and hoping for personal happiness.

    Selznick was a unique figure in the golden Hollywood studio era. He produced some of the greatest and most memorable American films ever made--notably, Rebecca, A Star Is Born, Anna Karenina, A Farewell to Arms, and, above all, Gone With the Wind. Selznick's absolute power and artistic control are evidenced in his impassioned, eloquent, witty, and sometimes rageful memos to directors, writers, stars and studio executives, writings that have become almost as famous as his films. Newsweek wrote, I can't imagine how a book on the American movie business could be more illuminating, more riveting or more fun to read than this collection of David Selznick's memos.

    

    The long-awaited memoir from the Academy Award–winning director of such legendary films as The French Connection, The Exorcist, and To Live and Die in LA, The Friedkin Connection takes readers from the streets of Chicago to the suites of Hollywood and from the sixties to today, with autobiographical storytelling as fast-paced and intense as any of the auteur's films.William Friedkin, maverick of American cinema, offers a candid look at Hollywood, when traditional storytelling gave way to the rebellious and alternative; when filmmakers like him captured the paranoia and fear of a nation undergoing a cultural nervous breakdown.The Friedkin Connection includes 16 pages of black-and-white photographs.

    and Fosse comes the revelatory account of the making of a modern American masterpiece Chinatown is the Holy Grail of 1970s cinema. Its twist ending is the most notorious in American film and its closing line of dialogue the most haunting. Here for the first time is the incredible true story of its making.In Sam Wasson's telling, it becomes the defining story of the most colorful characters in the most colorful period of Hollywood history. Here is Jack Nicholson at the height of his powers, as compelling a movie star as there has ever been, embarking on his great, doomed love affair with Anjelica Huston. Here is director Roman Polanski, both predator and prey, haunted by the savage death of his wife, returning to Los Angeles, the scene of the crime, where the seeds of his own self-destruction are quickly planted. Here is the fevered dealmaking of "The Kid" Robert Evans, the most consummate of producers. Here too is Robert Towne's fabled script, widely considered the greatest original screenplay ever written. Wasson for the first time peels off layers of myth to provide the true account of its creation.Looming over the story of this classic movie is the imminent eclipse of the '70s filmmaker-friendly studios as they gave way to the corporate Hollywood we know today. In telling that larger story, The Big Goodbye will take its place alongside classics like Easy Riders, Raging Bulls and The Devil's Candy as one of the great movie-world books ever written.Praise for Sam Wasson:"Wasson is a canny chronicler of old Hollywood and its outsize personalities...More than that, he understands that style matters, and, like his subjects, he has a flair for it." - The New Yorker "Sam Wasson is a fabulous social historian because he finds meaning in situations and stories that would otherwise be forgotten if he didn't sleuth them out, lovingly." - Hilton Als

    The film united Britain's leading actor, Laurence Olivier, with Hollywood's most glamorous sex symbol, Marilyn Monroe - and clashes between them entered film legend.For one glorious week, the world's biggest star sought comfort in the arms of the set's most junior employee. This is the frank, fresh and comic story of how Clark came to share Monroe's confidences - and her bed!This edition combines Colin Clark’s acclaimed 'The Prince, the Showgirl and Me' (191995) and his 'My Week with Marilyn' (2005).'More illuminating than the millions of words and pictures pumped out to expose or dish the dirt on the Monroe legend.' - Sunday TelegraphClark’s extraordinary experiences on and off set have now been turned into a major film starring Michelle Williams, Eddie Redmayne, Judi Dench, Emma Watson, Kenneth Branagh and Dominic Cooper.

    She tells of the friendships she made with many of her leading men and with women such as Joan Crawford whom she met as a youngster in a chorus line and Eleanor Roosevelt, whose President husband had a well-known crush on Myrna. Myrna Loy was not only an actress but also a woman who had political interests, championing the UN and Democratic presidential candidates from Truman onward, and was even for a time a "Washington wife". In her memoirs she presents a personal analysis of post-war politics up to and including Ronald Reagan.

    Its cast includes actors, writers, musicians and composers, producers and directors, racketeers and labor leaders, journalists and politicians in the turbulent decade from World War II to Korea.

    (1897–1953) and Joseph L. Mankiewicz (1909–1993) wrote, produced, and directed over 150 pictures. With Orson Welles, Herman wrote the screenplay for Citizen Kane and shared the picture’s only Academy Award. Joe earned the second pair of his four Oscars for writing and directing All About Eve, which also won Best Picture. Despite triumphs as diverse as Monkey Business and Cleopatra, and Pride of the Yankees and Guys and Dolls, the witty, intellectual brothers spent their Hollywood years deeply discontented and yearning for what they did not have—a career in New York theater. Herman, formerly an Algonquin Round Table habitué, New York Times and New Yorker theater critic, and playwright-collaborator with George S. Kaufman, never reconciled himself to screenwriting. He gambled away his prodigious earnings, was fired from all the major studios, and drank himself to death at fifty-five. While Herman drifted downward, Joe rose to become a critical and financial success as a writer, producer, and director, though his constant philandering with prominent stars like Joan Crawford, Judy Garland, and Gene Tierney distressed his emotionally fragile wife who eventually committed suicide. He wrecked his own health using uppers and downers in order to direct Cleopatra by day and finish writing it at night, only to be very publicly fired by Darryl F. Zanuck, an experience from which he never fully recovered. For this first dual portrait of the Mankiewicz brothers, Sydney Ladensohn Stern draws on interviews, letters, diaries, and other documents still in private hands to provide a uniquely intimate behind-the-scenes chronicle of the lives, loves, work, and relationship between these complex men.

    A backstage glimpse of the realities of the new Hollywood focuses on the film releases and strategies of the summer of 1998, showing why Godzilla was fated to fail and how Spielberg triumphed.