This sumptuous hardcover edition, with a foreword by George Lucas, features over 250 pieces of artwork, including all of Drew's most iconic movie images, as well as other highlights from his career, including album, book and comic book covers, stamps, trading cards, promotional artwork and very personal original works. The book comes right up to date, including exclusive San Diego Comic-Con poster art produced for The Walking Dead (2010) and Cowboys & Aliens (2011), with text by his wife Dylan, providing an intimate look at the man and his legacy. The definitive collection of Struzan's work; this is an absolute must-have for any movie buff and an unrivalled slice of both art and cinema history.

    This funny and irreverent how to takes young would be filmmakers fromt he moment of inspiration to a finished short film amd beyond.

    From the opening chase above Tatooine in A New Hope to the Battle of Endor in Jedi, this book presents the visual inspiration behind now-iconic moments. Readers can finally see a full set of storyboards by legendary artist Joe Johnston, as well as early boards for Episode IV by Alex Tavoularis and for Episode V by Ivor Beddoes, rarely seen Episode VI boards by Roy Carnon, and Ralph McQuarrie’s never-before-seen storyboards for Episode V.

    From his growing up in the Fonda household, to his mother's suicide and its ultimate effect on the family, to his own wild Adventures -- and sordid misadventures -- with some of the world's best-known actors and icons, this is a personal reflection and a deeply introspective look at one of the most talented and fascinating celebrities of our time. Don't Tell Dad is sure to be the most talked-about book of the spring, and your customers will want to experience it to the fullest in Peter Fonda's own words from HarperAudio -- Publishing simultaneously in April with the hardcover edition of Don't Tell Dad from Hyperion Books.-- This audiocassette edition of Don't Tell Dad will be read by Peter Fonda himself -- Peter Fonda is the star and co-writer of the classic Easy Rider, a film widely considered the quintessential film of the '60s.-- Peter Fonda is also the star of Ulee's Gold, one of the most critically-acclaimed films of 1997.-- Peter Fonda is part of one of the most well-known celebrity families of our time -- he is the son of Henry Fonda, brother of Jane Fonda, and father of Bridget Fonda.

    From the history of the art form to techniques, and then the films themselves, The Film Book provides an overview of cinematic styles and genres; the industry's greatest and most influential directors, and their key works; as well as looking at filmmaking around the world, from Hollywood to Bollywood.

    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.

    Silent-film comedy pioneer Mack Sennett forbade his screenwriters from writing anything down, for fear they’d get inflated ideas about themselves as creative artists. The great midcentury director John Ford was known to answer studio executives’ complaints that he was behind schedule by tearing a handful of random pages from his script and tossing them over his shoulder. And Ken Russell was so contemptuous of Paddy Chayefsky’s screenplay for Altered States that Chayefsky insisted on having his name removed from the credits.Of course, popular impressions aside, screenwriters have been central to moviemaking since the first motion picture audiences got past the sheer novelty of seeing pictures that moved at all. Soon they wanted to know: What happens next? In this truly fresh perspective on the movies, veteran Oscar-winning screenwriter Marc Norman gives us the first comprehensive history of the men and women who have answered that question, from Anita Loos, the highest-paid screenwriter of her day, to Robert Towne, Quentin Tarantino, Charlie Kaufman, and other paradigm-busting talents reimagining movies for the new century.The whole rich story is here: Herman Mankiewicz and the telegram he sent from Hollywood to his friend Ben Hecht in New York: “Millions are to be grabbed out here and your only competition is idiots.” The unlikely sojourns of F. Scott Fitzgerald and William Faulkner as Hollywood screenwriters. The imposition of the Production Code in the early 1930s and the ingenious attempts of screenwriters to outwit the censors. How the script for Casablanca, “a disaster from start to finish,” based on what James Agee judged to be “one of the world’s worst plays,” took shape in a chaotic frenzy of writing and rewriting—and how one of the most famous denouements in motion picture history wasn’t scripted until a week after the last scheduled day of shooting—because they had to end the movie somehow.Norman explores the dark days of the Hollywood blacklist that devastated and divided Hollywood’s screenwriting community. He charts the rise of the writer-director in the early 1970s with names like Coppola, Lucas, and Allen and the disaster of Michael Cimino’s Heaven’s Gate that led the studios to retake control. He offers priceless portraits of the young William Hurt, Steven Spielberg, and Steven Soderbergh. And he describes the scare of 2005 when new technologies seemed to dry up the audience for movies, and the industry—along with its screenwriters—faced the necessity of reinventing itself as it had done before in the face of sound recording, color, widescreen, television, and other technological revolutions.Impeccably researched, erudite, and filled with unforgettable stories of the too often overlooked, maligned, and abused men and women who devised the ideas that others brought to life in action and words on-screen, this is a unique and engrossing history of the quintessential art form of our time.

    Mark Cousins’s chronological journey through the worldwide history of film is told from the point of view of filmmakers and moviegoers. Weaving personalities, film technology, and production with engaging descriptions of groundbreaking scenes, Cousins uses his experience as film historian, producer, and director to capture the shifting trends of movie history. We learn how filmmakers influenced each other; how contemporary events influenced them; how they challenged established techniques and developed new technologies to enhance their medium. Striking images reinforce the reader’s understanding of cinematic innovation, both stylistic and technical. The images reveal astonishing parallels in global filmmaking, thus introducing the less familiar worlds of African, Asian, and Middle Eastern cinema, as well as documenting the fortunes of the best Western directors. The Story of Film presents Silent (1885-1928), Sound (1928-1990), and Digital (1990-present), spanning the birth of the moving image; the establishment of Hollywood; the European avant-garde movements, personal filmmaking; world cinema; and recent phenomena like Computer Generated Imagery and the ever-more “real” realizations of the wildest of imaginations. The Story of Film explores what has today become the world’s most popular artistic medium.

    The most innovative and creative screenwriting book yet, from an author who knows first-hand what it takes to get a movie made.Based on an award-winning website hailed as "smart enough for professional screenwriters and accessible enough for aspiring screenwriters", Crafty Screenwriting is the first book not only to offer a successful screenwriter's tricks of the trade, but to explain what development executives really mean when they complain that the "dialogue is flat," or "the hero isn't likeable." Fresh, provocative, and funny, Alex Epstein diagnoses problem that other screenwriting books barely address, and answers questions they rarely ask, like "Why is it sometimes dangerous to know your characters too well before you start writing," or "Why does your script have to be so much better than the awful pictures that get made every day?" As a development executive who has accepted and rejected countless screenplays, and a produced screenwriter himself, Epstein can take you into the heart of the most important question of all: "Is this a movie?" A crucial book for anyone who has ever wondered what it takes to get their movie made.

    With their music and acting careers heating up they’re unstoppable. Now learn all about Kevin, Joe, and Nick— from their childhood to their rise to fame plus all of their favorite things, hobbies, and love lives!

    For "The People's Princess," Larry King asked many people who knew Diana, some officially and some more personally, for their favorite memories. Sir Richard Branson recalls Diana sitting in the cockpit of one of his private planes with baby Prince William on her lap; as they flew past Windsor Castle she announced, "On our right you have Grandma's house!" Heather Mills, who, like Diana, has been a tireless campaigner for charitable causes, recalls Diana's work to eradicate the scourge of land mines, as well as the time she was photographed shaking hands with an AIDS patient in a London hospital, doing so much to counteract the stigma associated with the disease at the time. British radio and television personality Chris Tarrant recalls how clearly nervous he was upon meeting Diana for the first time, and how she put him at ease with an incredibly rude joke about Kermit the Frog. Photographer Tim Graham remembers Diana lying on the floor with baby William in order to coax a smile from the young prince. And her chief bodyguard recalls how happy and at peace she seemed on the day he agreed to her simple request: to be allowed to walk, truly alone for once, along a beautiful, deserted beach. Some of these recollections are warm and intimate, celebrating Diana for her ability to make a human connection with everyone she met, others are perceptive and revealing, even about Diana's human failings and frailties. Together, they coalesce into a multifaceted portrait of a woman that the world has long desired to know a little better.

    But Olivier was as elusive in life as he was on the stage, a bold and practiced pretender who changed names, altered his identity, and defied characterization. In this mesmerizing book, acclaimed biographer Terry Coleman draws for the first time on the vast archive of Olivier’s private papers and correspondence, and those of his family, finally uncovering the history and the private self that Olivier worked so masterfully all his life to obscure. Beginning with the death of his mother at age eleven, Olivier was defined throughout his life by a passionate devotion to the women closest to him. Acting and sex were for him inseparable: through famous romances with Vivien Leigh and Joan Plowright and countless trysts with lesser-known mistresses, these relationships were constantly entangled with his stage work, each feeding the other and driving Olivier to greater heights. And the heights were great: at every step he was surrounded by the foremost celebrities of the time, on both sides of the Atlantic—Richard Burton, Greta Garbo, William Wyler, Katharine Hepburn. The list is as long as it is dazzling.Here is the first comprehensive account of the man whose autobiography, written late in his life, told only a small part of the story. In Olivier, Coleman uncovers the origins of Olivier’s genius and reveals the methods of the century’s most fascinating performer.

    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.

    --from "Before"Jason Shinder's last poems are his moving testimonies to poetry, love, and friendship. With power, clarity, and disarming humor, the poems confront grief and mortality with a humility and fortitude that come only "with hope, stupid hope." Stupid Hope is Shinder's wry, penetrating, and wise farewell.

    Here is a rare opportunity to eavesdrop on two cinematic masters from very different backgrounds as they cover each of Hitch's films in succession. Though this book was initially published in 1967 when Hitchcock was still active, Truffaut later prepared a revised edition that covered the final stages of his career. It's difficult to think of a more informative or entertaining introduction to Hitchcock's art, interests, and peculiar sense of humor. The book is a storehouse of insight and witticism, including the master's impressions of a classic like Rear Window ("I was feeling very creative at the time, the batteries were well charged"), his technical insight into Psycho's shower scene ("the knife never touched the body; it was all done in the [editing]"), and his ruminations on flops such as Under Capricorn ("If I were to make another picture in Australia today, I'd have a policeman hop into the pocket of a kangaroo and yell 'Follow that car!'"). This is one of the most delightful film books in print. --Raphael Shargel