From his marriage to Ali McGraw, his cocaine bust, the accusations of murder, the friendships with the likes of Jack Nicholson and Dustin Hoffman, to his legendary court case and bust up with Francis Ford Coppola, this is the tell-all autobiography from Robert Evans, the legendary Hollywood producer (The Godfather, Rosemary's Baby and Chinatown) who's lived the Hollywood dream.

    After years of research, with the full cooperation of the Disney family and access to private papers and letters, Bob Thomas produced the definitive biography of the man behind the legend--the unschooled cartoonist from Kansas City who went bankrupt on his first movie venture but became the genius who produced unmatched works of animation. Complete with a rare collection of photographs, Bob Thomas' biography is a fascinating and inspirational work that captures the spirit of Walt Disney.

    In doing so, he adapted such popular novels as The Killing, Lolita, A Clockwork Orange, and The Shining and selected a wide variety of genres for his films -- black comedy (Dr. Strangelove), science fiction (2001: A Space Odyssey), and war (Paths of Glory and Full Metal Jacket). Because he was peerless in unveiling the intimate mysteries of human nature, no new film by Kubrick ever failed to spark debate or to be deeply pondered.Kubrick (1928-1999) has remained as elusive as the subjects of his films. Unlike many other filmmakers he was not inclined to grant interviews, instead preferring to let his movies speak for themselves. By allowing both critics and moviegoers to see the inner workings of this reclusive filmmaker, this first comprehensive collection of his relatively few interviews is invaluable. Ranging from 1959 to 1987 and including Kubrick's conversations with Gene Siskel, Jeremy Bernstein, Gene D. Phillips, and others, this book reveals Kubrick's diverse interests -- nuclear energy and its consequences, space exploration, science fiction, literature, religion, psychoanalysis, the effects of violence, and even chess -- and discloses how each affects his films. He enthusiastically speaks of how advances in camera and sound technology made his films more effective.Kubrick details his hands-on approach to filmmaking as he discusses why he supervises nearly every aspect of production. "All the hand-held camerawork is mine," he says in a 1972 interview about A Clockwork Orange. "In addition to the fun of doing the shooting myself, I find it virtually impossible to explain what I want in a hand-held shot to even the most talented and sensitive camera operator. "Neither guarded nor evasive, the Kubrick who emerges from these interviews is candid, opinionated, confident, and articulate. His incredible memory and his gift for organization come to light as he quotes verbatim sections of reviews, books, and articles. Despite his reputation as a recluse, the Kubrick of these interviews is approachable, witty, full of anecdotes, and eager to share a fascinating story.

    Lynch responds to each recollection and reveals the inner story of the life behind the art.

    And why —Come hell or high waterThrough thick and through thinFor better and for worseBut not quite until death did we part —It was great fun. — K. H.

    But for someone who should have been hailed as a pioneer in the genre there was little information available. For, as O’Meara soon discovered, Patrick’s contribution had been claimed by a jealous male colleague, her career had been cut short and she soon after had disappeared from film history. No one even knew if she was still alive.As a young woman working in the horror film industry, O’Meara set out to right the wrong, and in the process discovered the full, fascinating story of an ambitious, artistic woman ahead of her time. Patrick’s contribution to special effects proved to be just the latest chapter in a remarkable, unconventional life, from her youth growing up in the shadow of Hearst Castle, to her career as one of Disney’s first female animators. And at last, O’Meara discovered what really had happened to Patrick after The Creature’s success, and where she went.A true-life detective story and a celebration of a forgotten feminist trailblazer, Mallory O’Meara’s The Lady from the Black Lagoon establishes Patrick in her rightful place in film history while calling out a Hollywood culture where little has changed since.

    It’s also one of the only accounts; incredibly, there has never been an authoritative biography of Lee. Following a decade of research that included conducting more than one hundred interviews with Lee’s family, friends, business associates, and even the actress in whose bed Lee died, Polly has constructed a complex, humane portrait of the icon. Polly explores Lee’s early years as a child star in Hong Kong cinema; his actor father’s struggles with opium addiction and how that turned Bruce into a troublemaking teenager who was kicked out of high school and eventually sent to America to shape up; his beginnings as a martial arts teacher, eventually becoming personal instructor to movie stars like James Coburn and Steve McQueen; his struggles as an Asian-American actor in Hollywood and frustration seeing role after role he auditioned for go to a white actors in eye makeup; his eventual triumph as a leading man; his challenges juggling a sky-rocketing career with his duties as a father and husband; and his shocking end that to this day is still shrouded in mystery. Polly breaks down the myths surrounding Bruce Lee and argues that, contrary to popular belief, he was an ambitious actor who was obsessed with the martial arts—not a kung-fu guru who just so happened to make a couple of movies. This is an honest, revealing look at an impressive yet imperfect man whose personal story was even more entertaining and inspiring than any fictional role he played onscreen.

    Described by one reviewer as “like getting stabbed in the head,” the $6 million film earned a grand total of $1,800 at the box office and closed after two weeks. Now in its tenth anniversary year, The Room is an international phenomenon to rival The Rocky Horror Picture Show. Thousands of fans wait in line for hours to attend screenings complete with costumes, audience rituals, merchandising, and thousands of plastic spoons.Readers need not have seen The Room to appreciate its costar Greg Sestero’s account of how Tommy Wiseau defied every law of artistry, business, and interpersonal relationships to achieve the dream only he could love. While it does unravel mysteries for fans, The Disaster Artist is more than just an hilarious story about cinematic hubris: It is ultimately a surprisingly inspiring tour de force that reads like a page-turning novel, an open-hearted portrait of a supremely enigmatic man who will capture your heart.

    He has been reviewing films for the Chicago Sun-Times since 1967, and was the first film critic ever to win a Pulitzer Prize. He has appeared on television for four decades, including twenty-three years as cohost of Siskel & Ebert at the Movies.In 2006, complications from thyroid cancer treatment resulted in the loss of his ability to eat, drink, or speak. But with the loss of his voice, Ebert has only become a more prolific and influential writer. And now, for the first time, he tells the full, dramatic story of his life and career.Roger Ebert's journalism carried him on a path far from his nearly idyllic childhood in Urbana, Illinois. It is a journey that began as a reporter for his local daily, and took him to Chicago, where he was unexpectedly given the job of film critic for the Sun-Times, launching a lifetime's adventures.In this candid, personal history, Ebert chronicles it all: his loves, losses, and obsessions; his struggle and recovery from alcoholism; his marriage; his politics; and his spiritual beliefs. He writes about his years at the Sun-Times, his colorful newspaper friends, and his life-changing collaboration with Gene Siskel. He remembers his friendships with Studs Terkel, Mike Royko, Oprah Winfrey, and Russ Meyer (for whom he wrote Beyond the Valley of the Dolls and an ill-fated Sex Pistols movie). He shares his insights into movie stars and directors like John Wayne, Werner Herzog, and Martin Scorsese.This is a story that only Roger Ebert could tell. Filled with the same deep insight, dry wit, and sharp observations that his readers have long cherished, this is more than a memoir-it is a singular, warm-hearted, inspiring look at life itself."I believe that if, at the end, according to our abilities, we have done something to make others a little happier, and something to make ourselves a little happier, that is about the best we can do. To make others less happy is a crime. To make ourselves unhappy is where all crime starts. We must try to contribute joy to the world. That is true no matter what our problems, our health, our circumstances. We must try. I didn't always know this, and am happy I lived long enough to find it out."-from LIFE ITSELF

    Here, for the first time, Sam Wasson presents the woman behind the little black dress that rocked the nation in 1961. The first complete account of the making of Breakfast at Tiffany's, Fifth Avenue, 5 A.M. reveals little-known facts about the cinema classic: Truman Capote desperately wanted Marilyn Monroe for the leading role; director Blake Edwards filmed multiple endings; Hepburn herself felt very conflicted about balancing the roles of mother and movie star. With a colorful cast of characters including Truman Capote, Edith Head, Givenchy, "Moon River" composer Henry Mancini, and, of course, Hepburn herself, Wasson immerses us in the America of the late fifties before Woodstock and birth control, when a not-so-virginal girl by the name of Holly Golightly raised eyebrows across the country, changing fashion, film, and sex for good. Indeed, cultural touchstones like Sex and the City owe a debt of gratitude to Breakfast at Tiffany's.In this meticulously researched gem of a book, Wasson delivers us from the penthouses of the Upper East Side to the pools of Beverly Hills, presenting Breakfast at Tiffany's as we have never seen it before—through the eyes of those who made it. Written with delicious prose and considerable wit, Fifth Avenue, 5 A.M. shines new light on a beloved film and its incomparable star.

    "A first rate book and a joy to read...It's doubtful that a complete understanding of the director's artistry can be obtained without reading this book...Also indispensable for budding directors are the addenda, in which Kurosawa lays out his beliefs on the primacy of a good script, on scriptwriting as an essential tool for directors, on directing actors, on camera placement, and on the value of steeping oneself in literature, from great novels to detective fiction."—Variety"For the lover of Kurosawa's movies...this is nothing short of must reading...a fitting companion piece to his many dynamic and absorbing screen entertainments."—Washington Post Book World

    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.

    Despite only a year and a half of schooling, Harpo, or perhaps his collaborator, is the best writer of the Marx Brother. Highly recommended." -Library Journal "A funny, affectionate and unpretentious autobiography done with a sharply professional assist from Rowland Barber." -New York Times Book Review

    Eight autobiographical essays by Brooks, on topics ranging from her childhood in Kansas and her early days as a Denishawn and Ziegfeld Follies dancer to her friendships with Martha Graham, Charles Chaplin, W. C. Fields, Humphrey Bogart, and others are collected here. Originally published: New York: Knopf, 1982.

    In the 1950s he was one of the few American filmmakers, with Paths of Glory, to achieve the gravitas of European cinema. To 1960s audiences he was the man who made Dr. Strangelove, the influential anti-war movie, and the counterculture favorite 2001: A Space Odyssey. In the 1970s he created his hymn to urban violence, A Clockwork Orange, and in the 1980s distilled the nature of private madness and collective insanity in The Shining and Full Metal Jacket.Yet little is still known of the man and the influence exerted by his private life on his public art. Born in the Bronx, Kubrick has lived since 1961 in seclusion in rural England. From in-depth interviews with a range of people who have known the man best, from his childhood to the present, John Baxter has extracted the most complete account available of Kubrick's life: the conflicts with partners and stars, the failure to make Napoleon, the failed marriages and broken friendships, the use and abuse of writers and other creative collaborators.Kubrick emerges from this detailed and complex telling as a man both sensitive and ruthless, petulant and generous: a man who adulates reason but whose films reflect the wildest excesses of passion and who, above all, has dared to live life on his terms, whatever the price.