The Big Show is the only book ever to offer an unguarded, behind-the-scenes glimpse of this singular event, along with remarkable insight into how the Oscars reflect the high-stakes politics of Hollywood, our obsession with celebrities (not to mention celebrities’ obsession with themselves), and the cinematic state of the union.

    This discussion with the great Swedish director ranges from Bergman's childhood memories to his admiration for Strindberg to his relationship with the stars whom he made famous - Liv Ullmann, Harriet Andersson, Max von Sydow and Bibi Andersson, among others. Originally published in 1973, this work covers Bergman's career from his early films through the works: The Seventh Seal, Wild Strawberries, Persona, The Passion of Anna.

    Renowned for her natural talent and haunting beauty, Waheeda Rehman’s career spans an astonishing array of key films in Indian cinema, including Pyaasa, Abhijan, Mujhe Jeene Do, Guide, Teesri Kasam and Rang De Basanti.In this engaging book of conversations with Nasreen Munni Kabir, Waheeda Rehman proves to be a lively raconteur, speaking about her life and work with refreshing honesty, humour and insight: from the devastating loss of her parents when she was young to making a life in cinema on her own terms, from insightful accounts of working with extraordinary film practitioners like Guru Dutt, Raj Khosla, Satyajit Ray, Raj Kapoor, Dev Anand and Vijay Anand to her friendship with stars like Nargis and Nanda.A slice of cinema history told through compelling anecdotes and astute observations, Conversations with Waheeda Rehman provides a rare view of a much-adored and award-winning actress of Indian cinema.

    The legendary Jay Ward and Bill Scott produced the gleeful wonder and cumulative joy that transcended the crude drawings and occasionally muddy sound. Jay Ward was the magnificent visionary, the outrageous showman, while Bill Scott was the genial, brilliant head writer, coproducer, and all-purpose creative whirlwind. With exclusive interviews, original scripts, artwork, story notes, letters and memos, Keith Scott has written the definitive history of Jay Ward Productions.The Moose That Roared tells the story of a rare and magical relationship between two artists wildly, exuberantly ahead of their time, and a fascinating account of the struggle to bring their vision of bad puns and talking animals to unforgettable life.

    Cinema is full of neurotic personalities, but few things are more transfixing than a woman losing her mind onscreen. Horror as a genre provides the most welcoming platform for these histrionics: crippling paranoia, desperate loneliness, masochistic death-wishes, dangerous obsessiveness, apocalyptic hysteria. Unlike her male counterpart - 'the eccentric' - the female neurotic lives a shamed existence, making these films those rare places where her destructive emotions get to play. Named after the U.S.-retitling of Carlos Aured's The Blue Eyes of the Broken Doll, House of Psychotic Women is an examination of these characters through a daringly personal autobiographical lens. Anecdotes and memories interweave with film history, criticism, trivia and confrontational imagery to create a reflective personal history and an examination of female madness, both onscreen and off. This sharply-designed book with a 32-page full-colour section is packed with rare stills, posters, pressbooks and artwork that combine with family photos and artifacts to form a titillating sensory overload, with a filmography that traverses the acclaimed and the obscure in equal measure. Films covered include The Entity, The Corruption of Chris Miller, Singapore Sling, 3 Women, Toys Are Not for Children, Repulsion, Let's Scare Jessica to Death, The Haunting of Julia, Secret Ceremony, Cutting Moments, Out of the Blue, Mademoiselle, The Piano Teacher, Possession, Antichrist and hundreds more!

    Now, with Disney-Miramax's imminent release of Princess Mononoke,, Miyazaki's masterwork and one of the top-grossing film in all Japanese history, this "animation master" is about to take America and the world by storm.Mixing first-hand interview and personal insights with critical evaluations of art, plot, production qualities, and literary themes, McCarthy provides a film-by-film appraisal that examines technique as well as message. She reveals Miyazaki to be not just a master of the art of animation, but a meticulous craftsman who sees his work as a medium for shaping the humanistic and environmental concerns of our times.An overview of the artist and his early career is followed by in-depth examinations of seven major Miyazaki films: Nausicaä of the Valley of Wind, Laputa: Castle in the Sky, Castle of Cagliostro, My Neighbor Totoro, Kiki's Delivery Service, Porco Rosso, and Princess Mononoke. Included are design and technical data, story synopses and character sketches, personnel and filmography data, and critical evaluation. Illustrations throughout, in color and black and white, show the detail and vigor of Miyazaki's art.Written for anime fans as well as students of film, literature, and popular culture, McCarthy's book raises animation criticism to a whole new level and is an essential guide to the work of a world-class filmmaker.London-based Helen McCarthy is author of Anime! A Beginner's Guide to Japanese Animation, The Anime Movie Guide, and (with Jonathan Clements) The Erotic Anime Movie Guide. She appears frequently on radio and TV and at conferences around the world.

    Loved by fans and reviled by critics for its iconic psychopaths, gory special effects, brainless teenagers in peril, and more than a bit of soft-core sex, the slasher film secured its legacy as a cultural phenomenon and continues to be popular today. This work traces the evolution of the slasher film from 1978 when it was a fledgling genre, through the early 1980s when it was one of the most profitable and prolific genres in Hollywood, on to its decline in popularity around 1986. An introduction provides a brief history of the Grand Guignol, the pre-cinema forerunner of the slasher film, films such as Psycho and The Texas Chainsaw Massacre, and cinematic trends that gave rise to the slasher film. Also explained are the slasher film's characteristics, conventions, and cinematic devices, such as the "final girl," the omnipotent killer, the relationship between sex and death, the significant date or setting, and the point-of-view of the killer. The chapters that follow are devoted to the years 1978 through 1986 and analyze significant films from each year. The Toolbox Murders, When a Stranger Calls, the Friday the 13th movies, My Bloody Valentine, The Slumber Party Massacre, Psycho II, and April Fool's Day are among those analyzed. The late 90s resurrection of slasher films, as seen in Scream and I Know What You Did Last Summer, is also explored, as well as the future direction of slasher films.

    Moving Pictures is his fascinating remembrance of growing up amidst the glamour, swank, courage, triumphs, defeats, cabals, and double-crosses of an industry in the making. His utterly candid account includes unsparing portraits of outsized characters in all their power, venality, charm, pettiness, and vindictiveness. As a book on the early days of the movies in Hollywood, this one is hard to beat. Abundantly illustrated with black-and-white photographs.

    O’Bannon also includes his insights on subjects such as the logic of the three-act structure, the role of the producer in screenplay development, and the psychological principle known as “hedonic adaptation,” which has a unique effect on the structuring of screen stories.

    Taking what he knew from vaudeville--ingenuity, athleticism, audacity and wit--Keaton applied his hand to the new medium of film, proving himself a prodigious acrobat and brilliant writer, gagman, director and actor in more than 100 films. Between 1920 and 1929, he rivaled Fatty Arbuckle, Harold Lloyd, and even Charlie Chaplin as the master of silent comedy by writing, directing, and starring in more than 30 films. The book celebrates Keaton in his prime--as an antic genius, equal parts auteur, innovator, prankster and daredevil--while also revealing the pressures in his personal and professional life that led to a collapse into drunkenness and despair before his triumphant second act as a television pioneer and Hollywood player in everything from beach movies to Beckett. McPherson describes the life of Keaton--in front of the camera and behind the scenes--with the kind of exuberance and narrative energy displayed by the shrewd, madcap films themselves.

    The competition continued when someone had the bright idea to put the two of them together on television to critique the coming attractions. In the process of becoming legendary, they also came to know and love each other while continuing to put a stick in the eye. This is their funny and engaging story, as told by scores of people who were involved with them and their show over the years. In the end they stood tallest when they stood together.

    Mann, the highly-acclaimed author of Wisecracker: The Life and Times of William Haines, now takes us on a wild roller-coaster ride through the 20th century, led by a sassy, chain-smoking 107-year-old actress named Florence Lawrence. Masterfully blending fact with fiction, Mann has reimagined this very real historical figure. From her vaudeville childhood as "Baby Flo, The Child Wonder Whistler" to the snowy Bronx backlot where she shot her first motion picture, the lovely Florence Lawrence commanded -- and demanded -- attention. By 1910, she was the legendary, enigmatic Biograph Girl -- the world's very first movie star.Sixty years later, the fiercely competitive Sheehan twins discover a feisty, mysterious old lady named Flo Bridgewood...a woman who turns out to be none other than the renowned Biograph Girl -- who supposedly died decades before. When the Sheehan brothers find her, she's relaunched into a new and unorthodox stardom. But Flo soon discovers that the times -- and nature of celebrity -- have changed dramatically from the beginning of the century to the end.

    The author wickedly remembers and delectably recounts the scandals, gossip and glorious intimacies of the golden age of Hollywood.

    He came to mainstream prominence as a machine more human than his creators in Blade Runner, terrified us as a hitchhiker bent on his own death and the death of anyone who got in his way in The Hitcher, and unforgettably portrayed a lonely king roaming the night as a wolf and pining for the love of a hawk during the day in Ladyhawke.Rutger Hauer has dazzled audiences for years with his creepy, inspiring, and villainous portrayals of everyone from a cold-blooded terrorist in Nighthawks to a blind martial arts master in Blind Fury, but his movie career was nothing compared to his real-life adventures of riding horses, sword fighting, and leaving home at fifteen to scrub decks on a freighter and explore the world.From poverty to working with a traveling theater troupe to his breakout European performance in Turkish Delight and working with legendary directors such as Paul Verhoeven (RoboCop and Basic Instinct) and Ridley Scott (Alien and Gladiator), Hauer has collected All Those Moments here.

    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