His consolation is that he gets to romance an elegant female spy, but he soon learns that the game of international intrigue is played for high stakes. Ernest Lehman provides an introduction to this souvenir volume, published to coincide with the centenary of Hitchcock's birth, in which he describes the course of his cherishable collaboration with the master of suspense.

    10 Things I Hate About You is a 1999 American romantic comedy film. It is directed by Gil Junger and stars Heath Ledger, Julia Stiles, Joseph Gordon-Levitt, Larisa Oleynik, David Krumholtz, and Larry Miller. A loose adaptation of Shakespeare's The Taming of the Shrew set in a modern American high school, the screenplay was written by Karen McCullah Lutz and Kirsten Smith. The film's title is a reference to a poem written by the film's female lead to describe her bittersweet romance with the male lead. The film was released March 31, 1999, and it was a breakout success for stars Stiles and Ledger. The film marks the directing debut of Junger.

    Hollywood studios had large stables of contract and stock players from all walks of life and in all shapes, sizes and ages. This great population of personalities formed the league of character actors. They played the sidekicks and best friends of the stars who headlined the movies in which they appeared. They also portrayed parents, grandparents, oddball relatives, wise-cracking neighbors, smart-aleck store clerks and loveable barkeeps. Lest we forget the sinister side of this society, villains also claimed a stake in this assembly of saints, sinners and every type in between. These colorful personalities were usually one-dimensional, someone to whom the star could confide secrets or vent frustrations. In many cases they carried the same persona over from one film to the next, perfecting their stereotype so that audiences knew what to expect from them in a positive and affectionate way, collecting their beloved favorites over the years. The Name Below the Title features 20 of the best and most fun examples of the Hollywood character actor during Hollywood's most famous era from the 1930s through the 1950s.

    DeMille lived a life as epic as any of his cinematic masterpieces. As a child DeMille learned the Bible from his father, a theology student and playwright who introduced Cecil and his older brother, William, to the theater. Tutored by impresario David Belasco, DeMille discovered how audiences responded to showmanship: sets, lights, costumes, etc. He took this knowledge with him to Los Angeles in 1913, where he became one of the movie pioneers, in partnership with Jesse Lasky and Lasky’s brother-in-law Samuel Goldfish (later Goldwyn). Working out of a barn on streets fragrant with orange blossom and pepper trees, the Lasky company turned out a string of successful silents, most of them directed by DeMille, who became one of the biggest names of the silent era. With films such as The Squaw Man, Brewster’s Millions, Joan the Woman, and Don’t Change Your Husband, he was the creative backbone of what would become Paramount Studios. In 1923 he filmed his first version of The Ten Commandments and later a second biblical epic, King of Kings, both enormous box-office successes. Although his reputation rests largely on the biblical epics he made, DeMille’s personal life was no morality tale. He remained married to his wife, Constance, for more than fifty years, but for most of the marriage he had three mistresses simultaneously, all of whom worked for him. He showed great loyalty to a small group of actors who knew his style, but he also discovered some major stars, among them Gloria Swanson, Claudette Colbert, and later, Charlton Heston. DeMille was one of the few silent-era directors who made a completely successful transition to sound. In 1952 he won the Academy Award for Best Picture with The Greatest Show on Earth. When he remade The Ten Commandments in 1956, it was an even bigger hit than the silent version. He could act, too: in Billy Wilder’s classic film Sunset Boulevard, DeMille memorably played himself. In the 1930s and 1940s DeMille became a household name thanks to the Lux Radio Theater, which he hosted. But after falling out with a union, he gave up the program, and his politics shifted to the right as he championed loyalty oaths and Sen. Joseph McCarthy’s anticommunist witch hunts. As Scott Eyman brilliantly demonstrates in this superbly researched biography, which draws on a massive cache of DeMille family papers not available to previous biographers, DeMille was much more than his clichéd image. A gifted director who worked in many genres; a devoted family man and loyal friend with a highly unconventional personal life; a pioneering filmmaker: DeMille comes alive in these pages, a legend whose spectacular career defined an era.

    The topics include feminism and the role of women in the drama, the American Dream, business and capitalism, the significance of technology, the legacy that Willy leaves to Biff, and Miller's use of symbolism. The authors of the essays include prominent Arthur Miller scholars such as Terry Otten and the late Steven Centola as well as young, emerging scholars. Some of the essays, particularly the ones written by the emerging scholars, tend to employ literary theory while the ones by the established scholars tend to illustrate the strengths of traditional criticism by interpreting the text closely. It is fascinating to see how scholars at different stages of their academic careers approach a given topic from distinct perspectives and sometimes diverse methodologies. The essays offer insightful and provocative readings of Death of a Salesman in a collection that will prove quite useful to scholars and students of Miller's most famous play.

    The winner of eight Academy Awards including Best Picture, Best Original Song, and Best Original Score, Slumdog Millionaire was the suprise hit of the 2009 season. The film tells the tale of a Mumbai teen who is accused of cheating after winning the Indian version of "Who Wants to Be a Millionaire?" This songbook matches the soundtrack and includes 9 songs: O, Saya * Mausam & Escape * Paper Planes * Ringa Ringa * Latika's Theme * Aaj Ki Raat * Millionaire * Dreams on Fire * Jai Ho.

    

    To commemorate its seventy-fifth anniversary in 2014, The Making of Gone With The Wind presents more than 600 items from the archives of David O. Selznick, the film’s producer, and his business partner John Hay “Jock” Whitney, which are housed at the Harry Ransom Center at the University of Texas at Austin. These rarely seen materials, which are also being featured in a major 2014 exhibition at the Ransom Center, offer fans and film historians alike a must-have behind-the-camera view of the production of this classic.Before a single frame of film was shot, Gone With The Wind was embroiled in controversy. There were serious concerns about how the film would depict race and violence in the Old South during the Civil War and Reconstruction. While Clark Gable was almost everyone’s choice to play Rhett Butler, there was no clear favorite for Scarlett O’Hara. And then there was the huge challenge of turning Margaret Mitchell’s Pulitzer Prize–winning epic into a manageable screenplay and producing it at a reasonable cost. The Making of Gone With The Wind tells these and other surprising stories with fascinating items from the Selznick archive, including on-set photographs, storyboards, correspondence and fan mail, production records, audition footage, gowns worn by Vivien Leigh as Scarlett, and Selznick’s own notoriously detailed memos.This inside view of the decisions and creative choices that shaped the production reaffirm that Gone With The Wind is perhaps the quintessential film of Hollywood’s Golden Age and illustrate why it remains influential and controversial decades after it was released.

    

    It is a refreshingly offbeat comedy about young Max Fish, a precocious pupil at a conservative private school. He is a live wire, a teenager full of madcap entrepreneurial schemes that usually in failure. His personal life becomes similarly complicated when he falls for his elegant teacher, Rosemary Cross, and finds himself vying for her favor with Herman Blume-who is portrayed in the film by Bill Murray-the wealthy father of two of his classmates. Max ultimately proves himself a figure of some tenacity as he negotiates the minefield of love, desire, and adolescence.At the Toronto Film Festival, Screen International called Rushmore "a real charmer filled with surprise twists and emotions that avoid sentimentality . . . A little gem."

    She knows that she really likes working in cafes and that, most likely, she does not love her boyfriend Patrick. But Lou doesn't know what's going to lose his job and that in the near future she will need all the strength to overcome the problems piled on her. Will Traynor knows what hit him, the motorcyclist took away his desire to live. And he knows exactly what needs to be done to put an end to all this. But he doesn't know that Lou will soon burst into his world in a riot of colors. And they both don't know that will forever change the lives of each other.

    Ana Lund never knew how true this was until she went away to college. Now, back for winter break just after her first semester away, Ana desperately wants to stay home, but doesn’t know how to tell her parents. Then one day an old friend is in need of a last-minute babysitter, and Ana volunteers.Divorced at twenty-one with a three year old son, Caleb understands Ana’s fear of disappointing her parents, but he also knows that the sooner she talks to them, the better. With his encouragement she’s able to talk to her parents about what she wants, and as she settles back into her life on the island, she and Caleb start to grow closer. Both of them homebodies, they share the same desire for a quiet, uncomplicated life filled with family and friends. But after his disastrous relationship with his ex-wife ended in bitter divorce, Caleb is in no hurry to repeat past mistakes. In the end is love enough? Or are some things just meant to be repeated?

    Irrepressibly vivacious, he spent his life leaping over and into things, from his early Broadway successes to his marriage to the great screen actress Mary Pickford to the way he made Hollywood his very own town. The inventor of the swashbuckler, he wasn’t only an actor—he all but directed and produced his movies, and in founding United Artists with Pickford, Charlie Chaplin, and D. W. Griffith, he challenged the studio system.But listing his accomplishments is one thing and telling his story another. Tracey Goessel has made the latter her life’s work, and with exclusive access to Fairbanks’s love letters to Pickford, she brilliantly illuminates how Fairbanks conquered not just the entertainment world but the heart of perhaps the most famous woman in the world at the time.When Mary Pickford died, she was an alcoholic, self-imprisoned in her mansion, nearly alone, and largely forgotten. But she left behind a small box; in it, worn and refolded, were her letters from Douglas Fairbanks. Pickford and Fairbanks had ruled Hollywood as its first king and queen for a glorious decade. But the letters began long before, when they were both married to others, when revealing the affair would have caused a great scandal.Now these letters form the centerpiece of the first truly definitive biography of Hollywood’s first king, the man who did his own stunts and built his own studio and formed a company that allowed artists to distribute their own works outside the studio system. But Goessel’s research uncovered more: that Fairbanks’s first film appearance was two years earlier than had been assumed; that his stories of how he got into theater, and then into films, were fabricated; that the Pickford-Fairbanks Studios had a specially constructed underground trench so that Fairbanks could jog in the nude; that Fairbanks himself insisted racist references be removed from his films’ intertitles; and the true cause of Fairbanks’s death.Fairbanks was the top male star of his generation, the maker of some of the greatest films of his era: The Thief of Bagdad, Robin Hood, The Mark of Zorro. He was fun, witty, engaging, creative, athletic, and a force to be reckoned with. He shaped our idea of the Hollywood hero, and Hollywood has never been the same since. His story, like his movies, is full of passion, bravado, romance, and desire. Here at last is his definitive biography, based on extensive and brand-new research into every aspect of his career, and written with fine understanding, wit, and verve.

    IT WAS NEVER MEANT TO DIE HERE. Christopher Nolan takes on the infinite canvas of space to deliver a cutting-edge, emotionally charged adventure that will amaze movie audiences of all ages. This is the living blueprint of Nolan's journey. Interstellar, Nolan's much anticipated sci-fi film, opens in November 2014 and stars, among others, Matthew McConaughey, Anne Hathaway, Jessica Chastain, Michael Caine, Casey Affleck, William Devane, Topher Grace, John Lithgow.

    One of his best-loved and most famous plays, it exposes the lies plaguing the family of a wealthy Southern planter of humble origins.