His experiences and thoughts on screenwriting, adapting novels, adapting one's own novels (a bad idea), and on the craft itself contain more useful information than a pile of how-to manuals. As in his novels, McMurtry is by turns witty, acerbic, and thoughtful; the pieces are surprisingly stylish in that the bulk of them (17 out of 21) were spun off on monthly deadlines (for American Film magazine, in 1975-77), and McMurtry admittedly can't remember writing most of them. A fine collection, from a fine writer.No Clue: Or Learning to Write for the Movies. --The Hired Pen. --The Deadline Syndrome. --The Telephone Booth Screenwriter. --The Fun of It All. --All the President's Men, Seven Beauties, History, Innocence, Guilt, Redemption, and the Star System. --The Screenplay as Non-Book: A Consideration. --Pencils West: Or a Theory for the Shoot-'Em Up. --"Mary Hartman, Mary Hartman" and the Movie-Less Novelists. --O Ragged Time Knit Up Thy Ravell'd Sleave. --The Situation in Criticism: Reviewers, Critics, Professors. --Character, the Tube, and the Death of Movies. --The Disappearance of Love. --Woody Allen, Keith Carradine, Lily Tomlin, and the Disappearance of Grace. --The Last Picture Shows. --The Seasons of L.A.. --The Last Movie Column. --The Last Picture Show: A Last Word. --Approaching Cheyenne ... Leaving Lumet. Oh, Pshaw!. --Movie-Tripping: My Own Rotten Film Festival. --A Walk in Pasadena with Di-Annie and Mary Alice

    

    Into this tumultuous age of constant warfare came three remarkable individuals: Oda Nobunaga (1534-1582), Toyotomi Hideyoshi (1537-1598), and Tokugawa Ieyasu (1543-1616). Each would play a unique role in the re-unification of the disparate, fragmented collection of warring provinces which constituted Japan in the sixteenth and early seventeenth-centuries. This new narrative history of the sengoku era draws together the epic strands of their three stories for the first time. It offers a coherent survey of the Azuchi-Momoyama Period (1568-1600) under both Nobunaga and Hideyoshi, followed by the founding years of the Tokugawa shogunate (1600-1616). Every pivotal battle fought by each of these three hegemons is explored in depth from Okehazama (1560) and Nagashino (1575) to Sekigahara (1600) and the Two Sieges of Osaka Castle (1614-15). In addition, the political and administrative underpinnings of their rule is also examined, as well as the marginal role played by western foreigners ('nanban') and the Christian religion in early modern Japanese society. In its scope, the story of Japan's three unifiers ('the Fool', 'the Monkey', and 'the Old Badger') is a sweeping saga encompassing acts of unimaginable cruelty as well as feats of great samurai heroism which were venerated and written about long into the peaceful Edo/Tokugawa period.

    It provides a self-portrait in words of Truffaut 's generous, lively personality as well as his valued opinions on film theory and criticism. Within this collection are letters to Alfred Hitchcock, Louis Malle, Jean-Luc Godard, and many up-and-coming screen-writers Truffaut was eager to nurture. What emerges is an insightful account of both the film industry and one of its most influential, articulate directors.

    A paperback guide to 100 of the funniest bad movies ever made, this book covers a wide range of hopeless Hollywood product, and also including rare Razzie ceremony photos and a complete history of everything ever nominated for Tinsel Town's Tackiest Trophy.

    With intriguing insights from film critics and a wealth of factual details from historians and academics, general editor Stephen Jay Schneider has brought together the data, the drama, and the passions that have inspired movies about time travel, close encounters, distant planets, extraterrestrial monsters, alien invasions, and the many other story ingredients that enliven science fiction films. Plot summaries, cast and credit listings, and 200 dramatic illustrations recapture unforgettable moments from sci-fi hits that include " Alien, The Andromeda Strain, The Empire Strikes Back, The Fly, The Incredible Shrinking Man, Planet of the Apes, Silent Running, The Thing, " and many, many others. Illustrations include dramatic still shots from the films and memorable movie posters. Here is a reference volume that belongs on the bookshelf of every film buff and science fiction fan.

    There's a foppish wizard named Howl, a vain witch from the wastelands, an anthropomorphic chimney fire and a young girl who carries a most unusual curse. And, of course, there's the moving castle…a towering, omnipresent structure that dominates the landscape. Already a smash success in Japan, Howl's Moving Castle finally comes to U.S. theatres this spring. To coincide with its Stateside release, VIZ is proud to present The Art of Howl's Moving Castle, a hardbound, prestige format book which acts as an essential companion to the film. A generous collection of concept sketches, fully rendered character and background drawings, paintings and cell images, The Art of Howl's Moving Castle brings the movie into your library. Along with the stunning visuals, the book also presents interviews and comments with the production staff, including key points directly from the director.There's more than one way to book passage on the moving castle. See the movie, but don't forget to reserve a copy of the book, as well. The Art of Howl's Moving Castle is a great way to preserve the magic of the next great anime classic from Hayao Miyazaki.Shortly after reaping the rewards from his movie Spirited Away, a project that earned him an Academy Award in 2003, director Hayao Miyazaki set his sites on his next film, Howl's Moving Castle.Based on the novel by British author Diana Wynne Jones, Howl's Moving Castle gave the internationally renowned director an opportunity to bring to life a fantastical time in 19th century Europe when science and magic defined the popular zeitgeist.Veering slightly from its source material, the new Miyazaki movie nonetheless retains all the novel's principal characters. There's a foppish wizard named Howl, a vain witch from the wastelands, an anthropomorphic chimney fire and a young girl who carries a most unusual curse. And, of course, there's the moving castle…a towering, omnipresent structure that dominates the landscape. Already a smash success in Japan, Howl's Moving Castle finally comes to U.S. theatres this spring. To coincide with its Stateside release, VIZ is proud to present The Art of Howl's Moving Castle, a hardbound, prestige format book which acts as an essential companion to the film. A generous collection of concept sketches, fully rendered character and background drawings, paintings and cell images, The Art of Howl's Moving Castle brings the movie into your library. Along with the stunning visuals, the book also presents interviews and comments with the production staff, including key points directly from the director.There's more than one way to book passage on the moving castle. See the movie, but don't forget to reserve a copy of the book, as well. The Art of Howl's Moving Castle is a great way to preserve the magic of the next great anime classic from Hayao Miyazaki.

    Although she made her name as a star of the silent screen, she found her calling as a gossip columnist, where she had the ear of the most powerful force in show business: the public. With a readership of 20,000,000 people, Hopper turned nobodies into stars, and brought stars to their knees. And in this sensational memoir, she tells all. In her career, Hopper crossed some of Hollywood’s biggest bold-faced names, from Joan Crawford and Bette Davis to Charlie Chaplin and Katherine Hepburn, and her feud with rival gossip columnist Louella Parsons became the stuff of legend. In The Whole Truth and Nothing But, we get Hedda’s side of the story—and what a story it is. Hedda Hopper is portrayed by Judy Davis in the Ryan Murphy TV series Feud.

    The first comprehensive biography of the writer/director of the Academy Award-winning "Pulp Fiction" who, in only a few short years, took the film industry by storm and became a critical and commercial phenomenon.

    Full Color ThroughoutFull of color images and maps makes planning as inspiring as the journey itselfColor-coded navigation Easy-To-Use StructureEasy-to-use tools include: color-coded chapters, color thumb tabs, dynamic color spreads on major highlights andEasy-to-read planning sections throughout HighlightsSpecial front-of-book chapter on the top 25 can t-miss experiencesFeatures the must-see attractions and unbeatable experiencesFocuses on key cities and regions ItinerariesCountry-wide itineraries take you step by step though the country broken out by interest, theme and length of tripRegion-specific itineraries help you plan more deeply for the regions you are most interested in Local Experts Major attractions include insights from local experts on what not to miss

    It has been celebrated for its beauty and mystery, its realistic depiction of space travel and dazzling display of visual effects, the breathtaking scope of its story, which reaches across millions of years, and the thought-provoking depth of its meditation on evolution, technology and humanity's encounters with the unknown. 2001 has been described as the most expensive avant-garde movie ever made and as a psychedelic trip, a unique expression of the spirit of the 1960s and as a timeless masterpiece. Peter Krämer's insightful study explores the complex origins of the film, the unique shape it took and the extraordinary impact it made on contemporary audiences. Drawing on new research in the Stanley Kubrick Archive at the University of the Arts London, Krämer challenges many of the widely-held assumptions about the film. He argues that 2001 was Kubrick's attempt to counter the deep pessimism of his previous film, Dr Strangelove (1964), which culminates in the explosion of a nuclear 'doomsday' device, with a more hopeful vision of humanity's future, facilitated by the intervention of mysterious extra-terrestrial artifacts. This study traces the project's development from the first letter Kubrick wrote to his future collaborator Arthur C. Clarke in March 1964 all the way to the dramatic changes Kubrick made to the film shortly before its release by MGM in April 1968. Krämer shows that, despite – or, perhaps, because of – Kubrick's daring last-minute decision to turn the film itself into a mysterious artifact, 2001 was an instant success with both critics and general audiences, and has exerted enormous influence over Hollywood's output of science fiction movies ever since. The book argues that 2001 invites us to enjoy and contemplate its sounds and images over and over again, and, if we are so inclined, to take away from it an important message of hope.

    For the first time, Live Fast, Die Young tells the complete story of the explosive making of Rebel, a film that has rocked every generation since its release. Set against a backdrop of the Atomic Age and an old Hollywood studio system on the verge of collapse, it vividly evokes the cataclysmic, immensely influential meeting of four of Hollywood's most passionate artists. When James Dean, Natalie Wood, Sal Mineo, and director Nicholas Ray converged, each was at a crucial point in his or her career. The young actors were grappling with fame, their burgeoning sexuality, and increasingly reckless behavior. As Ray engaged his cast in physical melees and psychosexual seductions of startling intensity, the on- and off-set relationships between his ambitious young actors ignited, sending a shock wave through the film. Through interviews with the surviving members of the cast and crew and firsthand access to both personal and studio archives, Lawrence Frascella and Al Weisel reveal Rebel's true drama -- the director's affair with sixteen-year-old Wood, his tempestuous "spiritual marriage" with Dean, and his role in awakening the latent homosexuality of Mineo, who would become the first gay teenager to appear on film. Complete with thirty photographs, including ten never-before-seen photos by famed Dean photographer Dennis Stock, Live Fast, Die Young tells the absorbing inside story of an unforgettable and absolutely essential American film -- a story that is, in many ways, as provocative as the film itself.

    His best-known films, Blue; White; Red; The Double Life of Veronique; and The Decalogue, remain watershed events in lmmaking history. Author Annette Insdorf, Kieslowskis close friend and translator, offers a revealing portrait of his life and monumental body of work. From the gold-bathed images of The Double Life of Veronique to the emotionally dark, visually haunting Blue, Kieslowskis films explore personal and social issues with inimitable brilliance. This paperback edition includes an updated introduction with information on the much anticipated release of Heaven (March 2002) which Kieslowski wrote and planned to film, before he died unexpectedly in March 1996.

    1962) did not go to film school and hates being defined as an auteur. He prefers to see himself as a craftsman, dutifully going about the art and business of making film. Trouble is, it's hard to be self-effacing when you are the director responsible for Se7en, Fight Club, and The Social Network. Along with Quentin Tarantino, Fincher is the most accomplished of the Generation X filmmakers to emerge in the early 1990s.This collection of interviews highlights Fincher's unwavering commitment to his craft as he evolved from an entrepreneurial music video director (Fincher helped Madonna become the undisputed queen of MTV) into an enterprising feature filmmaker. Fincher landed his first Hollywood blockbuster at twenty-seven with Alien3, but that film, handicapped by cost overruns and corporate mismanagement, taught Fincher that he needed absolute control over his work. Once he had it, with Se7en, he achieved instant box-office success and critical acclaim, as well as a close partnership with Brad Pitt that led to the cult favorite Fight Club.Fincher became circumspect in the 2000s after Panic Room, shooting ads and biding his time until Zodiac, when he returned to his mantra that -entertainment has to come hand in hand with a little bit of medicine. Some people go to the movies to be reminded that everything's okay. I don't make those kinds of movies. That, to me, is a lie. Everything's not okay.- Zodiac reinvigorated Fincher, inspiring a string of films--The Curious Case of Benjamin Button, The Social Network, and The Girl with the Dragon Tattoo--that enthralled audiences and garnered his films dozens of Oscar nominations.

    The book highlights the shared conflicts as American and Japanese pop cultures dramatically intersect.