The short comic story by Dan Clowes was originally published in his comic book series Eightball, but it is presented here with an entirely new narrative only tangentially resembling the original comic. For this book, the strip will be presented in full-color for the first time. This scrapbook/screenplay also features the shooting script for the film adaptation, including several scenes edited out from the final cut. It also boasts two full-color sections jammed with photos, artwork, and many other surprises.

    From the medieval mock-epic Monty Python and the Holy Grail to the mythic, paranoid worlds of The Fisher King, Twelve Monkeys and Fear and Loathing in Las Vegas, Gilliam has pursued a totally personal, uncompromising vision. This has led to legendary battles with studios and financiers, notably over The Adventures of Baron Munchausen and Brazil, which is now widely considered a classic. Gilliam is a famously candid commentator on his own work, and in these specially recorded interviews he reflects on how his Midwestern childhood and early career as an animator prepared him to undertake his extraordinary adventures in cinema.

    . . a seminal work of cinema description and analysis and therefore an essential purchase for most libraries." —From the Starred Review in Library JournalRaymond Borde (1920 - 2004), founder of the Cinémathèque de Toulouse, wrote extensively on film history.; among his short films is a study of the artist Pierre Molinier.Etienne Chaumeton was the film critic of the Toulouse newspaper La Dépêche until his death.

    ​Screenwriter Jamie Nash takes up Snyder’s torch to lay out a step-by-step approach using Blake’s principles so that both new and experienced writers can learn how to: -Use all the nuances, tricks, and techniques of pilot-writing (The Opening Pitch, The Guided Tour, The Whiff of Change) with examples from today’s hottest series -Discover the Super-Secret Keep It On The Downlow TV Pitch Template that combines all the critical points of your amazing TV series into one easy-to-read-over-lunch high-level document -Define the 9 TV Franchise Types -Crack your story using the Save the Cat! beat sheet -Devise high-level series concepts with multi-season potential -Map out and organize TV pilots and multi-season shows -Break down the best and most diverse TV series using examples from Atlanta, Barry, Ozark, The Marvelous Mrs. Maisel, What We Do in the Shadows, Black-ish, The Mandalorian, Law and Order: SVU and more -Create layered characters who are driven by complex internal struggles It’s time for Save the Cat! Writes for TV to help you create your binge-worthy TV series!

    In 25 years, Kaufman, along with partner Michael Herz, has built Troma Studios up from a company struggling to find its voice in a field crowded with competitors to its current--and legendary--status as a lone survivor, a bastion of true cinematic independence, and the world's greatest collection of camp on film.As entertaining and funny as it is informative and insightful, Make Your Own Damn Movie! places Kaufman's radically low-budget, independent-studio style of filmaking directly in the reader's hands. Thus we learn how to: develop and write a knock-out screenplay; raise funding; find locations and cast actors; hire a crew; obtain equipment, permits, and music rights (all for little or no money); make incredible special effects for $0.79 each; charm, schmooze, and network while on the film-festival circuit; and, finally, make a bad actor act so bad it's actually good.From scriptwriting and directing to financing and marketing, this book is brimming with utterly off-the-wall, decidedly maverick, yet consistently proven advice on how to fully develop one's idea for an independent film.

    The Art of Star Wars: The Force Awakens will take you there, from the earliest gathering of artists and production designers at Lucasfilm headquarters in San Francisco to the fever pitch of production at Pinewood Studios to the conclusion of post-production at Industrial Light & Magic—all with unprecedented access. Exclusive interviews with the entire creative team impart fascinating insights in bringing director J.J. Abrams’s vision to life; unused “blue sky” concept art offers glimpses into roads not traveled.   Bursting with hundreds of stunning works of art, including production paintings, concept sketches, storyboards, blueprints, and matte paintings, this visual feast will delight Star Wars fans and cineastes for decades to come. The Art of Star Wars: The Force Awakens is the definitive expression of how the latest chapter in the Star Wars saga was dreamed into being.ALSO AVAILABLE FROM ABRAMS IN FALL 2016:The Making of Star Wars: The Force Awakens by Mark Cotta Vaz. Forewords by J.J. Abrams and Kathleen Kennedy. ISBN: 978-1-4197-2022-2

    Within an hour he was dead - victim of a lethal cocktail of drugs. His name was River Phoenix and he was 23 years old. His short but incident packed life is a tale of modern Hollywood. He was the antithesis of the traditional hard-living Hollywood star of the past. A strict vegetarian and environmentalist, his later acting roles were not the stereotypical brat pack roles of his contemporaries. And yet to the surprise and dismay of friends and fans alike he succumbed to the corrupting influence of Hollywood.River Phoenix: A Short Life is the first biography of this talented but tragic young star. It explores the contradictions of a life that encompassed the hippy philosophy of his unconventional parents, the abnormal pressures of child stardom on TV, leading inevitably to the big time as a brat pack hopeful in Hollywood. However, there was real talent in this young actor which was recognised by upcoming directors and established names. His performance in Sidney Lumet's Running On Empty and his role as a male prostitute in My Own Private Idaho established his credentials as a serious actor with the potential for greatness.The death of River Phoenix cut a promising career short. Phoenix crossed the boundaries between film and rock music - he had his own band - but he could not avoid the pressures of the system without the crutch of hard drugs.

     Much has been written about the storied New Hollywood of the 1970s, but at the same time as Martin Scorsese, Steven Spielberg, and Francis Ford Coppola were making their first classic movies, a parallel universe of directors gave birth to the modern horror film-aggressive, raw, and utterly original. Based on unprecedented access to the genre's major players, The New York Times's critic Jason Zinoman's Shock Value delivers the first definitive account of horror's golden age. By the late 1960s, horror was stuck in the past, confined mostly to drive-in theaters and exploitation houses, and shunned by critics. Shock Value tells the unlikely story of how the much-disparaged horror film became an ambitious art form while also conquering the multiplex. Directors such as Wes Craven, Roman Polanski, John Carpenter, and Brian De Palma- counterculture types operating largely outside the confines of Hollywood-revolutionized the genre, exploding taboos and bringing a gritty aesthetic, confrontational style, and political edge to horror. Zinoman recounts how these directors produced such classics as Rosemary's Baby, Carrie, The Texas Chainsaw Massacre, and Halloween, creating a template for horror that has been imitated relentlessly but whose originality has rarely been matched. This new kind of film dispensed with the old vampires and werewolves and instead assaulted audiences with portraits of serial killers, the dark side of suburbia, and a brand of nihilistic violence that had never been seen before. Shock Value tells the improbable stories behind the making of these movies, which were often directed by obsessive and insecure young men working on shoestring budgets, were funded by sketchy investors, and starred porn stars. But once The Exorcist became the highest grossing film in America, Hollywood took notice. The classic horror films of the 1970s have now spawned a billion-dollar industry, but they have also penetrated deep into the American consciousness. Quite literally, Zinoman reveals, these movies have taught us what to be afraid of. Drawing on interviews with hundreds of the most important artists in horror, Shock Value is an enthralling and personality-driven account of an overlooked but hugely influential golden age in American film.

    20,000 first printing. Tour.

    My Own Private Idaho charts the pilgrimage of a narcoleptic hustler who is searching for his long-lost mother in a world absent of love.

    Titanic and the Making of James Cameron by former Hollywood Reporter journalist Paula Parisi recounts the making of this modern classic motion picture from conception to completion, offering a fascinating, detailed, behind-the-scenes look at its stars, including Kate Winslet and Leonardo DiCaprio, its crew, and its genius director. Republished in time to commemorate the centennial anniversary of the catastrophic sinking of the gargantuan ocean liner, Titanic and the Making of James Cameron is a must-read for Titanic fans and for true movie buffs everywhere.

    As the guys at Cahiers du Cinema say, au contraire! Hollywood's spigot of stupidity shows no sign of slowing, and cheesy films continue to flood our multiplexes and gunk up our home entertainment centers at an alarming rate. This dire situation calls for a specialist. A professional. An expert in wading through motion pictures so vile that they aren't released; they escape. We need Mike Nelson! Hey, settle down there, pal--you got him!In more than sixty laugh-out-loud reviews and essays featuring his unique combination of erudite wit and shameless clowning, this screenscarred veteran takes us deep into the recesses of cinematic cheese. He examines legendary showbiz families like Culkin, Baldwin, and Estevez; uncovers an ancient quatrain in which Nostradamus foretells the coming of David Hasselhoff; makes the case for the Food Network and the Three Stooges; and skewers all kinds of movies, including Lost in Space, Twister, Anaconda, The Postman, Spring Break, My Best Friend's Wedding, The Bridges of Madison County, The Blair Witch Project, and many, many more. Here is a film critic for the rest of us: the outrageous, hilarious Mike Nelson.

    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.

    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.

    He also made comedies, musical fantasies, detective films, and documentaries. He was an exceptionally versatile artist who won almost every major prize in cinema, including a lifetime achievement Oscar in 1992. This is the best-known biography of the film giant, based on extensive interviews with Ray himself, his actors, collaborators, and a deep knowledge of Bengali culture. This second edition contains extensive new material covering Ray's final three films made in 1989-1991, a discussion of his artistic legacy, and the most comprehensive bibliography of Ray's own writings.