Sometime partner of the eccentric Howard Hughes, drinking buddy of William Faulkner and Ernest Hemingway, an inveterate gambler and a notorious liar, Hawks was the most modern of the great masters and one of the first directors to declare his independence from the major studios. He played Svengali to Lauren Bacall, Montgomery Clift, and others, but Hawks's greatest creation may have been himself.As The Atlantic Monthly noted, "Todd McCarthy . . . has gone further than anyone else in sorting out the truths and lies of the life, the skills and the insight and the self-deceptions of the work." "A fluent biography of the great director, a frequently rotten guy but one whose artistic independence and standards of film morality never failed." -- The New York Times Book Review; "Hawks's life, until now rather an enigma, has been put into focus and made one with his art in Todd McCarthy's wise and funny Howard Hawks." -- The Wall Street Journal; "Excellent . . . a respectful, exhaustive, and appropriately smartass look at Hollywood's most versatile director." -- Newsweek.

    A rare, revelatory portrait, as close as you're ever going to get to the Escher drawing that is Christopher Nolan's remarkable brain (Sam Mendes). In chapters structured by themes and motifs (Time; Chaos; Dreams), Shone offers an unprecedented intimate view of the director. Shone explores Nolan's thoughts on his influences, his vision, his enigmatic childhood past--and his movies, from plots and emotion to identity and perception, including his latest blockbuster, the action-thriller/spy-fi Tenet (Big, brashly beautiful, grandiosely enjoyable--Variety).Filled with the director's never-before-seen photographs, storyboards, and scene sketches, here is Nolan on the evolution of his pictures, and the writers, artists, directors, and thinkers who have inspired and informed his films.Fabulous: intelligent, illuminating, rigorous, and highly readable. The very model of what a filmmaking study should be. Essential reading for anyone who cares about Nolan or about film for that matter.--Neal Gabler, author of An Empire of Their Own: How the Jews Invented Hollywood and Walt Disney, The Biography

    "foot soldiers" would hunt him down. He's antagonized almost everyone at the top in Tinseltown. And now, Joe Eszterhas tells everything he knows -- in brief, quotable bursts -- about the business, the history of Hollywood, and how to write screenplays that make millions. Idiosyncratic, gruff and as shaggy as Eszterhas himself, The Devil's Guide to Hollywood makes a character/leitmotif of Eszterhas' fellow Hungarian Zsa Zsa Gabor ("Money is like a sixth sense that makes it possible for you to fully enjoy the other five."), and makes the case that Marilyn Monroe was the sharpest tack in Hollywood ("Hollywood is a place where they'll pay you a thousand dollars for a kiss and fifty cents for your soul. I know, because I turned down the first offer often enough and held out for the fifty cents."). Refreshing, dirty, tough, there's no book like it.

    It covers such characters as Buster Keaton, Charlie Chaplin, Harold Lloyd and Laurel and Hardy.

    With his meticulous notes and impressions of Mario Puzo’s novel, the notebook was referred to by Coppola daily on set while he directed the movie. The Godfather Notebook pulls back the curtain on the legendary filmmaker and the film that launched his illustrious career. Complete with an introduction by Francis Ford Coppola and exclusive photographs from on and off the set, this is a unique, beautiful, and faithful reproduction of Coppola’s original notebook. This publication will change the way the world views the iconic film—and the process of filmmaking at large. A must-have book of the season. Nothing like it has ever been published before.

    Illustrated throughout with behind-the-scenes photos.

    The issues it tackled, from the failures of the drug war and criminal justice system to systemic bias in law enforcement and other social institutions, have become more urgent and central to the national conversation. The show's actors, such as Idris Elba, Dominic West, and Michael B. Jordan, have gone on to become major stars. Its creators and writers, including David Simon and Richard Price, have developed dedicated cult followings of their own. Universities use the show to teach everything from film theory to criminal justice to sociology. Politicians and activists reference it when discussing policy. When critics compile lists of the Greatest TV Shows of All Time, The Wire routinely takes the top spot. It is arguably one of the great works of art America has produced in the 20th century.But while there has been a great deal of critical analysis of the show and its themes, until now there has never been a definitive, behind-the-scenes take on how it came to be made. With unparalleled access to all the key actors and writers involved in its creation, Jonathan Abrams tells the astonishing, compelling, and complete account of The Wire, from its inception and creation through its end and powerful legacy.

    That's because, between 1970 and 1985, American Exploitation movies went berserk. With censorship relaxed, and the gate to excess wide open, horror - the Exploitation genre par excellence - offered a vibrant alternative to the mainstream of American cinema. Luridly titled wonders like The Headless Eyes, Scream Bloody Murder and Hitch Hike to Hell were everywhere, from the drive-ins of Texas to the grindhouses of New York, touting a combination of mind-bruising violence, weird sex and drug-soaked delirium. Massively popular around the world, American exploitation movies added immensely to the richness of the nation's cinema, but they have remained persona non grata in most serious studies of American film. Until now... Built on five years of research, Nightmare USA explores the development of America's subterranean horror film industry, spotlighting some of the wildest films imaginable from an era unchecked by censorship or 'good taste.' Ranging from cult favourites like I Drink Your Blood to stylish mind-benders like Messiah of Evil and ultra-violent shockers like Don't Go in the House, Nightmare USA goes where no other in-depth study has gone before, revealing the fascinating true stories behind classics and obscurities alike. Stephen Thrower, author of Beyond Terror, the definitive book on Italian gore maestro Lucio Fulci, has explored the attics and cellars of American cinema, delved beneath the floorboards, peered between the walls, searching for the strangest, most exotic cine-lifeforms... Nightmare USA is the reader's guide to what lies beyond the mainstream of American horror, dispelling the shadows to meet the men and women behind fifteen years of screen terror: the Exploitation Independents! This massive overview of the Horror genre's development through the 1970s and 1980s features: -- In-depth EXCLUSIVE interviews with twenty-five grindhouse movie makers, many of whom are discussing their work for the first time ever in print. -- Over 175 individual films reviewed, with full cast and crew credits compiled by world-renowned cinema archivist Julian Grainger. -- Vast quantities of previously unpublished stills, posters, press-books, plus behind-the-scenes photographs from the filmmakers' own collections.

    No one walked like her. No one talked like her. Sexy yet vulnerable, and unexpectedly talented, she was no ordinary screen goddess. Few really knew her. What others wrote, she called "Lies! Lies! Lies!"Here, at last, is Marilyn Monroe's account, in her own singular voice. It was June 1, 1962, her thirty-sixth birthday. Famed photographer and reporter George Barris had come to see Marilyn on the set of what would be her final, unfinished, film. They had met eight years earlier, became friends, and planned to do a picture book and autobiography. Now the time was right. For the next six weeks Barris photographed and interviewed the actress. "Don't believe anything you read about me except this..." she told Barris. And so she began to confide the truth about herself.Barris last talked to Marilyn on August 3, less than twenty-four hours before she was found dead in her apartment. At their last meeting, she was effervescent and eager to embrace life. "I feel I’m just getting started", she said. Barris firmly believes that murder, not suicide, caused Marilyn's untimely end and he could not bring himself to publish her thoughts or the haunting photos of that summer - until now."Marilyn: Her Life In Her Own Words" is a candid memoir enhanced by 150 black-and-white and color photos, many never before published. A highlight is "The Last Photo Shoot": where Marilyn appears luminous without makeup on the beach at Santa Monica and in a North Hollywood house. This moving book brings Marilyn Monroe back - beautiful, flirtatious, and sweet as a first kiss - for one rare and radiant farewell.

    She writes about her childhood dreams of becoming a ballerina. She takes us on a tour of her go-go years in 1960s New York City, the phenomenon of TV’s Rowan & Martin’s Laugh-In, her Oscar-winning debut in Cactus Flower and Hollywood stardom. She writes intimately about the challenges of love, anger and fear, and the importance of compassion and integrity. She speaks openly about her family, her partner Kurt Russell, her children; her faith, her curiosity for that which she doesn’t yet know, and her thirst for knowledge. Most of all, it is a trip back through a life well lived by a woman well loved.

    Featuring a pitch-perfect screenplay, a classic soundtrack, and unforgettable performances by Humphrey Bogart, Ingrid Bergman, and a deep supporting cast, Casablanca was hailed in the New York Times as “a picture that makes the spine tingle and the heart take a leap.” The film won Oscars for best picture, best director, and best screenplay, and would go on to enjoy more revival screenings than any other movie in history. It became so firmly ensconced in the cultural imagination that, as Umberto Eco once said, Casablanca is “not one movie; it is ‘movies.’ ”We’ll Always Have Casablanca is celebrated film historian Noah Isenberg’s rich account of this most beloved movie’s origins. Through extensive research and interviews with filmmakers, film critics, family members of the cast and crew, and diehard fans, Isenberg reveals the myths and realities behind Casablanca’s production, exploring the transformation of the unproduced stage play into the classic screenplay, the controversial casting decisions, the battles with Production Code censors, and the effect of the war’s progress on the movie’s reception. Isenberg particularly focuses on the central role refugees from Hitler’s Europe played in the production (nearly all of the actors and actresses cast in Casablanca were immigrants).Filled with fresh insights into Casablanca’s creation, production, and legacy, We’ll Always Have Casablanca is a magnificent account of what made the movie so popular and why it continues to dazzle audiences seventy-five years after its release.

    Putting him at the center of a new generation of leading men emerging in the early 1990s— including Johnny Depp, Keanu Reeves, Brad Pitt, Nicolas Cage, and Leonardo DiCaprio—Gavin Edwards traces the Academy Award nominee’s meteoric rise, couches him in an examination of the 1990s, and illuminates his lasting legacy on Hollywood and popular culture itself.

    Mary Tyler Moore made her name as Dick Van Dyke’s wife on the eponymous show, a cute, unassuming housewife that audiences loved. But when her writer/producers James Brooks and Allan Burnes dreamed up an edgy show about a divorced woman with a career, network executives replied: Americans won’t watch television about New York City, divorcees, men with mustaches, or Jews. But Moore and her team were committed, and when the show finally aired, in spite of tepid reviews, fans loved it.Jennifer Armstrong introduces readers to the show’s creators; its principled producer, Grant Tinker; and the writers and actors who attracted millions of viewers. As the first situation comedy to employ numerous women as writers and producers, The Mary Tyler Moore Show became a guiding light for women in the 1970s. The show also became the centerpiece of one of greatest evenings of comedy in television history, and Jennifer Armstrong describes how the television industry evolved during these golden years.

    Journalism of the Twentieth Century were chosen by the New York University Department of Journalism and a distinguished panel that included David Brinkley, Pete Hamill, Jeff Greenfield, Mary McGrory, and Morley Safer, Picture had an honored place on that list.

    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