. . . The material interestingly helps clarify Fellini's film work, and his fans will enjoy this stimulating and intellectual 'biography.'"--Library JournalOne of the greatest Italian filmmakers, Federico Fellini (1920-1993) created such masterpieces as La Strada, La Dolce Vita, 8 1/2, Juliet of the Spirits, Satyricon, and Amarcord. His prodigious body of work evokes Pirandello, existentialism, "the silence of God," as well as show business. Critics have accused him of being a charlatan, hypocrite, clown, and demon, and have hailed him as a magician, poet, genius, and prophet. Fellini on Fellini is a fascinating collection of his articles, interviews, essays, reminiscences, and table talk, carefully arranged to chart the progress of his life and work. There are boyhood memories of his hometown, Remini, and his highly improbable beginnings as a scriptwriter for Rossellini; letters to Jesuit priests and Marxist critics defending his first international success, La Strada; anecdotes and revelations about the making of La Dolca Vita, 8 1/2, and The Clowns; and insights into all aspects of filmmaking. Here, Fellini reveals, as no one else can, a rich digest of his brilliant and controversial career.

    And what a story it is: Through hundreds of original interviews, contemporary newspaper accounts, police reports, court testimony, and more, Legs McNeil and coauthors Jennifer Osborne and Peter Pavia trace today's billion-dollar industry from its makeshift, mob-connected origins to the Internet age. Along the way we encounter porn stars such as Linda Lovelace, John Holmes, Traci Lords, and Savannah -- along with countless mainstream stars, politicians, FBI agents, and more.Epic, hilarious, and moving, The Other Hollywood contributes to the porn industry the one thing missing in all previous accounts: a vivid, tragicomic, irresistible humanity.

    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.

    Inspired by questions from his workshops, lectures, and emails, Blake listened and provides new tips, tactics, and techniques to solve your writing problems and create stories that resonate: - The 7 warning signs you might have a great idea ─ or not - The sure-fire template for can’t-miss loglines - The difference between structure and formula  - The Transformation Machine that allows you to track your hero’s growth step-by-step - The 5 questions to keep your story’s spine straight - The 5-Point Finale to finish any story - The Save the Cat!® Greenlight Checklist that gets to the heart of every development issue  - The right way to hear notes, deal with problematic producers, and dive into the rewrite with the right attitude - Why and when an agent will appear - How to discover the potential for greatness in any story - How to avoid panic, doubt, and self-recrimination… and what it takes to succeed and dare to achieve your dreams Get ready to face trouble like a pro… and strike back! ------------------------ In his 20-year career as a screenwriter and producer, Blake Snyder sold dozens of scripts, including co-writing Blank Check, which became a hit for Disney, and Nuclear Family for Steven Spielberg. His book, Save the Cat!® The Last Book on Screenwriting You'll Ever Need, was published in May 2005, and is now in its twentieth printing. Blake conducted sold-out workshops and seminars around the globe and consulted for Disney and DreamWorks. Along with guiding screenwriters, novelists and other creative thinkers, Blake's method has become the "secret weapon" of many development executives, managers, and producers for its precise, easy, and honest appraisal of what it takes to write and develop stories in any media. Blake Snyder passed away in August, 2009, but he lives on in his films and his books, in the advice that will never grow old, with the spirit that will continue to thrive and inspire.

    Since 1969, when he became the only American among the otherwise all-British Monty Python team. Terry Gilliam's work has won plaudits and acclaim for its originality and imagination. His films are renowned for the quality of performances from some of Hollywood's top acting talent, such as Robert de Niro, Brad Pitt, Robin Williams and Johnny Depp.For the first time, this book traces thirty years of the work and art of Terry Gilliam, from his pre-Python days through to the astounding adaptation of Hunter S. Thompson's Fear and Loathing in Las Vegas, released in 1998.Using Gilliam's own drawings, storyboard and scripts, this book builds to a complete overview of the director's work, examining in detail his striking visual sense ad labyrinthing stories of Man against bureaucracy (Brazil, Twelve Monkeys), triumphant tales of imagination winning over mediocrity (Time Bandits, The Adventures of Baron Munchausen, The Fisher King) and, of course, something completely different (Monty Python and the Holy Grail).

    This edition features a new and expanded colour section, completely updated DVD information, and several brand new reviews of Takashi Miike films that were unavailable for coverage at the time of the book's initial production.

    The newest screenplay from the Oscar®-nominated writers of Election and About Schmidt, Sideways is the tale of two men's adventure in California wine country.Based on Rex Pickett's acclaimed first novel, Sideways tells the story of Miles (Paul Giamatti), a failed novelist, and his soon-to-be-married friend Jack (Thomas Haden Church), a washed-up actor.To salute the remains of their youth, the two men take one last road trip in the week before Jack's wedding.A serious wine enthusiast, Miles is determined to educate his friend on the region's beloved Pinot Noir wines before the week is out.Jack indulges his best friend's passion for the grape but is mainly interested in living his last week of bachelorhood to the hilt.Trouble ensues with wine and women (Virginia Madsen and Sandra Oh), and the duo comes to some profound realizations as they come to terms with maturity.

    Both a history of film theory and an introduction to the work of the most important writers in the field, Andrew's volume reveals the bases of thought of such major theorists as Munsterberg, Arnheim, Eisenstein, Balazs, Kracauer, Bazin, Mitry, and Metz.

    Included are discussions on: cinematic time and space; compositional rules; and types of editing.

    The book is not just a comprehensive guide to current professional practice; it goes beyond to explain the theory behind the practice, so you understand how the rules came about and when it's appropriate to break them. In addition, directors will benefit from the book's focus on the body of knowledge they should share with their Director of Photography. Cinematography presents the basics and beyond, employing clear explanations of standard practice together with substantial illustrations and diagrams to reveal the real world of film production. Recognizing that professionals know when to break the rules and when to abide by them, this book discusses many examples of fresh ideas and experiments in cinematography. Covering the most up-to-date information on the film/digital interface, new formats, the latest cranes and camera support and other equipment, it also illustrates the older tried and true methods.

    Guided by a personal canon of great films, Rosenbaum sees, in the ongoing hostility toward the idea of a canon shared by many within the field of film studies, a missed opportunity both to shape the discussion about cinema and to help inform and guide casual and serious filmgoers alike.In Essential Cinema, Rosenbaum forcefully argues that canons of great films are more necessary than ever, given that film culture today is dominated by advertising executives, sixty-second film reviewers, and other players in the Hollywood publicity machine who champion mediocre films at the expense of genuinely imaginative and challenging works. He proposes specific definitions of excellence in film art through the creation a personal canon of both well-known and obscure movies from around the world and suggests ways in which other canons might be similarly constructed.Essential Cinema offers in-depth assessments of an astonishing range of films: established classics such as Rear Window, M, and Greed; ambitious but flawed works like The Thin Red Line and Breaking the Waves; eccentric masterpieces from around the world, including Irma Vep and Archangel; and recent films that have bitterly divided critics and viewers, among them Eyes Wide Shut and A.I. He also explores the careers of such diverse filmmakers as Robert Altman, Raúl Ruiz, Frank Tashlin, Elaine May, Sam Fuller, Terrence Davies, Edward Yang, Hou Hsiao-hsien, and Orson Welles. In conclusion, Rosenbaum offers his own film canon of 1,000 key works from the beginning of cinema to the present day. A cogent and provocative argument about the art of film, Essential Cinema is also a fiercely independent reference book of must-see movies for film lovers everywhere.

    Having risen through Hammer Horror films to international stardom as Bill Sykes in Oliver!, Reed became, in his own works, 'the biggest star this country has got'. With his legendary off-screen exploits and blunt opinions - especially of his co-stars - he was also one of the most infamous.Bestselling author Cliff Goodwin uses material from first-hand interviews with Reed's family, friends and colleagues and never before seen photographs to explore Reed's eventful career. But he also reveals another side to this unique and complex man.

    Her comments are so fresh and direct, it's as if the movies had only been released last week.

    As in the authors' bestselling "Film Art", concepts and events are illustrated with actual frame enlargements, giving students more realistic points of reference than competing books that use publicity stills.

    A salvage operation on a very public, very expensive train wreck, It Doesn’t Suck argues that Showgirls is much smarter and deeper than it is given credit for. In an accessible and entertaining voice, the book encourages a shift in critical perspective on Paul Verhoeven’s Showgirls, analyzing the film, its reception, and rehabilitation. This in-depth study of a much-reviled movie is a must read for lovers and haters of the 1995 Razzie winner for Worst Picture.