From the sublime to the bizarre, he writes about 50 classic movies.

    He both dreaded and yearned for a change from the preceding 20 years of "continual motion." Bogarde sought "a place of my own" and found it in a dilapidated farmhouse in the south of France. He writes eloquently of the dual struggle he faced--first dealing with years of neglect to the house and the land; second, with the awful fear that he had made a frightful error. Finally, we share his success in creating a real home, a sanctuary of simplicity and quiet ease where he intends to stay for good. "Bogarde's rare talent for giving resonance to both the small and large moments of life makes this a singularly rich and satisfying memoir." (Publisher's Source)

    Will a phone call from Rome save his fate or seal it?CLIFF BOOTH – Rick’s stunt double, and the most infamous man on any movie set because he’s the only one there who might have gotten away with murder. . . .SHARON TATE – She left Texas to chase a movie-star dream, and found it. Sharon’s salad days are now spent on Cielo Drive, high in the Hollywood Hills.CHARLES MANSON – The ex-con’s got a bunch of zonked-out hippies thinking he’s their spiritual leader, but he’d trade it all to be a rock ‘n’ roll star.HOLLYWOOD 1969 – YOU SHOULDA BEEN THERE

    After the tremendous impact of Public Enemy - in which he notoriously pushed half a grapefruit into Mae Clarke's face - he was typecast as a gangster because of the terrifying violence that seemed to be pent up within him. Years of pitched battle with Warner Brothers finally liberated him from those roles, and he went on to star in such triumphs as the musicals Yankee Doodle Dandy (winning the 1942 Oscar for best actor) and Love Me or Leave Me. Even so, one of his greatest later roles involved a return to crime - as the psychopathic killer in the terrifying White Heat. He retired from films in 1961 after making Billy Wilder's One, Two, Three, only to return twenty years later for Ragtime. But however much Cagney personified violence and explosive energy on the screen, in life he was a quiet, introspective, and deeply private man, a poet, painter, and environmentalist, whose marriage to his early vaudeville partner was famously loyal and happy. His story is one of the few Hollywood biographies that reflect a fulfilled life as well as a spectacular career.

    Here you'll meet, among many others, the 20s film idols snorting cocaine from an illuminated glass dance floor on the bank of the Thames, the model who escaped Soho's gangsters to become the queen of the nudie flicks and the genteel Scottish comedienne who, at the age of fifty-five, reinvented herself as a star of exploitation cinema, and fondly remembers 'the one where I drilled in people's heads and ate their brains'. Welcome to the lost worlds of British cinema.

    Phrases like "phone home" and the music score from Jaws are now part of our cultural script, appearing in commercials, comedy routines, and common conversation.Yet few scholars have devoted time to studying Spielberg's vast output of popular films despite the director's financial and aesthetic achievements. Spanning twenty-five years of Spielberg's career, Steven Spielberg: Interviews explores the issues, the themes, and the financial considerations surrounding his work. The blockbuster creator of E.T., Jaws, and Schindler's List talks about dreams and the almighty dollar."I'm not really interested in making money," he says. "That's always come as the result of success, but it's not been my goal, and I've had a tough time proving that to people."Ranging from Spielberg's twenties to his mid-fifties, the interviews chart his evolution from a brash young filmmaker trying to make his way in Hollywood, to his spectacular blockbuster triumphs, to his maturation as a director seeking to inspire the imagination with meaningful subjects.The Steven Spielberg who emerges in these talks is a complex mix of businessman and artist, of arrogance and insecurity, of shallowness and substance. Often interviewers will uncover the director's human side, noting how changes in Spielberg's personal life -- marriage, divorce, fatherhood, remarriage -- affect his movies. But always the interviewers find keys to the story-telling and filmmaking talent that have made Spielberg's characters and themes shape our times and inhabit our dreams."Every time I go to a movie, it's magic, no matter what the movie's about," he says. "Whether you watch eight hours of Shoah or whether it's Ghostbusters, when the lights go down in the theater and the movie fades in, it's magic."

    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.

    Dalloway -- a postmodern masterpiece whose minimal action takes place on a single June day in postwar London. The Hours progresses in fuguelike fashion: First we meet Clarissa Vaughan, a New York book editor dubbed "Mrs Dalloway" by her longtime friend and former lover Richard. Next, Cunningham presents Woolf herself, beginning work in 1923 on what is to become Mrs. Dalloway. And finally we are introduced to Laura Brown, a California housewife who is avidly reading Woolf's novel. Scenes from these three narratives are presented in recurrent identical succession: "Mrs. Dalloway," Mrs. Woolf, Mrs. Brown -- all bristling with connections and startling parallels. The "Mrs. Dalloway" strand is particularly rich, filled as it is with one-to-one correspondences to Woolf's novel. But the deepest and most important thing that The Hours shares with Mrs. Dalloway is "the feeling," as Woolf called it, "that it was very, very dangerous to live even one day." Cunningham's three women proceed through the day, through the hours, trying to keep themselves psychologically intact, like someone carrying a glass of water filled to the brim through a crowd and endeavoring not to spill it. They hesitate before plunging into the day because they know how hard it is to live in the world and remain identical with oneself. And they puzzle over a universal dilemma: how to bring the self into the world without its getting broken in the process. In The Hours, Michael Cunningham has explored this dilemma with an impressive and moving subtlety worthy of his great precursor. Benjamin Kunkel

    "Christmas films" come in many shapes and sizes and exist across many genres. Some, like It's a Wonderful Life and A Christmas Story, are perennials, while others, such as Die Hard, have only gradually become yuletide favorites. But they all have one thing in common: they use themes evoked by the holiday period - nostalgia, joy, togetherness, dysfunction, commercialism, or cynicism - as a force in their storytelling.Turner Classic Movies: Christmas in the Movies showcases the very best among this uniquely spirited strain of cinema. Each film is profiled on what makes it a "Christmas movie," along with behind-the-scenes stories of its production, reception, and legacy. Complemented by a trove of color and black-and-white photos, Turner Classic Movies: Christmas in the Movies is a glorious salute to a collection of the most treasured films of all time.Among the 30 films included: The Shop Around the Corner, Holiday Inn, Meet Me in St. Louis, It's a Wonderful Life, Miracle on 34th Street, White Christmas, A Christmas Story, National Lampoon's Christmas Vacation, Home Alone, Little Women,and The Nightmare Before Christmas.

    One of the most hilarious, romantic, adventurous, and best-loved movies of all time, The Princess Bride is a touchstone in the lives of generations of moviegoers. Now, for the first time, millions of fans will have the opportunity to own the first book to celebrate the magic, memories, and derring-do of the seminal film.A veritable treasure trove of images from everyone’s most-loved moments as well as never-before-seen behind-the-scenes photographs, script pages, production designs, and reminiscences from cast and crew, this giftable package is a perfect and brand-new way for fans of all ages to relive the film over and over again.The Princess Bride, written by William Goldman, is a timeless story set in the mythic land of Florin, where Princess Buttercup and her true love, Westley, must face kidnappers, vengeful swordsmen, an evil prince, a fire swamp, and rodents of unusual size. Its hilarious and exciting storyline, set within the loving framework of a grandfather reading to his grandson, made the film a box-office hit and pop culture phenomenon. The film starred Cary Elwes, Robin Wright, Mandy Patinkin, André the Giant, Wallace Shawn, Chris Sarandon, Christopher Guest, Billy Crystal, Fred Savage, and Peter Falk. It is best known for being an undeniably loved, oft-quoted piece of American cinematic history.Fans will find it "inconceivable" that it has been twenty-five years since Westley and Inigo Montoya first stormed the castle. This official celebration is a must-have for any of the millions of people who love the film.

    This books reveals the secrets behind each shot’s success, so it can be adapted to the director’s individual scenes.

    Here for the first time an adult cast member writes about the experience of making the show-the challenges, the joys, and the sometimes-turbulent behind-the-scenes relationships. Charlotte, with Andy Demsky, reveal a no-holds-barred, heart-breaking, and ultimately joyful account of fifty years in film and television offers a backstage pass to Hollywood's cocaine-fueled glory years in the 1970s, and includes Charlotte's celebrated work as Mary X in David Lynch's cult classic film, Eraserhead, as well as her later work as Betty Briggs in the highly-rated television series, Twin Peaks. Charlotte recalls working with leading men, from Jimmy Stewart, Elvis Presley, Kevin Bacon, and Kyle MacLachlan. She also details off-stage friendships with Neil Young and Joni Mitchell, as well as with relationships and flings with some of TV, film, and music's biggest names, including Jon Voight, Richard Dreyfuss, Victor French, Tim Considine, Bill Murray, and Jim Morrison. Ultimately, Charlotte's story is that of a survivor. Six years after her career-making role on Little House on the Prairie, she lost everything and was living on vodka and hotdogs. Yet through the darkest periods of her life-divorce, drug-use, cancer, financial ruin, the death of a spouse, and alcoholism-she never lost her humanity or sense of humor. David Lynch writes, "Charlotte Stewart is my kind of girl-a talented, courageous actress-a loyal friend and one who brings happiness to work." Charlotte's story is far from over. She is set to reprise her role of Betty Briggs in the new Twin Peaks series to be seen on Showtime in 2017. Throughout the year, she is a featured celebrity in fan events and festivals for Little House on the Prairie and Twin Peaks both in the U.S. and abroad. Co-author Andy Demsky is a writer and journalist, whose work has been published in the San Francisco Chronicle, Los Angeles Times magazine and Better Homes & Gardens, and he co-wrote Doug Shafer's critically acclaimed memoir, A Vineyard in Napa.

    Here he describes his extraordinary career, acting with stars such as Errol Flynn and John Belushi, and his role in the animated TV Terry Pratchett series.

    But as Karina Longworth reminds us, long before the Harvey Weinsteins there was Howard Hughes—the Texas millionaire, pilot, and filmmaker whose reputation as a cinematic provocateur was matched only by that as a prolific womanizer.His supposed conquests between his first divorce in the late 1920s and his marriage to actress Jean Peters in 1957 included many of Hollywood’s most famous actresses, among them Billie Dove, Katharine Hepburn, Ava Gardner, and Lana Turner. From promoting bombshells like Jean Harlow and Jane Russell to his contentious battles with the censors, Hughes—perhaps more than any other filmmaker of his era—commoditized male desire as he objectified and sexualized women. Yet there were also numerous women pulled into Hughes’s grasp who never made it to the screen, sometimes virtually imprisoned by an increasingly paranoid and disturbed Hughes, who retained multitudes of private investigators, security personnel, and informers to make certain these actresses would not escape his clutches.Vivid, perceptive, timely, and ridiculously entertaining, Seduction is a landmark work that examines women, sex, and male power in Hollywood during its golden age—a legacy that endures nearly a century later.

    Following a close filial relationship as it unfolds week by week, year by year, these letters move through three decades of life: from the vagaries of Groucho's career in film, radio, and television, through two divorces and two remarriages, to Miriam's own often tumultuous young adulthood. In his own inimitable fashion, Groucho advises his daughter about her schoolwork, writing, career, growing up, and growing old. He also discusses theater, film, books, and politics with a candor that will surprise and delight even his most knowledgeable fans. Accompanied by photographs from Miriam's personal albums, Love, Groucho reveals a man deeply concerned with his family, a sometimes firm, always loving father who never hesitated to say exactly what he thought.