Louise Brooks left Wichita, Kansas, for New York City at age fifteen and lived the kind of life of which legends are made. From her beginnings as a dancer to her years in Hollywood, Berlin, and beyond, she was hailed and reviled as a new type of woman: independent, intellectually daring, and sexually free. In this widely acclaimed, first and only comprehensive biography, Barry Paris traces Brooks's trajectory from her childhood through her fall into obscurity and subsequent "resurrection" as a brilliant writer and enduring film icon.

    Its notoriety is so great that its title has become a generic term for disaster, for ego run rampant, for epic mismanagement, for wanton extravagance. It was also the film that brought down one of Hollywood’s major studios—United Artists, the company founded in 1919 by Douglas Fairbanks, Mary Pickford, D. W. Griffith, and Charlie Chaplin. Steven Bach was senior vice president and head of worldwide production for United Artists at the time of the filming of Heaven's Gate, and apart from the director and producer, the only person to witness the film’s evolution from beginning to end. Combining wit, extraordinary anecdotes, and historical perspective, he has produced a landmark book on Hollywood and its people, and in so doing, tells a story of human absurdity that would have made Chaplin proud.

    Eliza Doolittle. Holly Golightly. But to her most adoring fan, Audrey Hepburn was best known for her role as “Mummy.” In this heartfelt tribute to his mother, Sean Hepburn Ferrer offers a rare and intimate glimpse into the life of one of Hollywood's brightest stars. Audrey Hepburn, An Elegant Spirit is a stunning compilation of nearly 300 photographs, many straight from the family album and never before published; archival documents, personal correspondence, and mementos; even paintings and illustrations from the actress herself. Sean tells Audrey Hepburn's remarkable story, from her childhood in war-torn Holland to the height of her fame to her autumn years far from the camera and the crush of the paparazzi. Sean introduces us to someone whose grace, charm, and beauty were matched only by her insecurity about her appearance and talent, and who used her hard-won recognition as a means to help children less fortunate than her own. With this unique biography, Sean celebrates his mother's history and humanity—and continues her charitable work by donating proceeds from this book to the Audrey Hepburn Children's Fund.

    Deeds Goes to Town, You Can't Take It with You, Mr. Smith Goes to Washington, Arsenic and Old Lace, and It's a Wonderful Life, he was also an award-winning documentary filmmaker as well as a behind-the-scene force in the Director's Guild, the Motion Picture Academy, and the Producer's Guild. He worked with or knew socially everyone in the movie business from Mack Sennett, Chaplin, and Keaton in the silent era through the illustrious names of the golden age. He directed Clark Gable, Jimmy Stewart, Cary Grant, Gary Cooper, Bing Crosby, Frank Sinatra, Jean Harlow, Claudette Colbert, Bette Davis, and others. Reading his autobiography is like having Capra sitting in your living room, regaling you with his anecdotes. In The Name Above the Title he reveals the deeply personal story of how, despite winning six Academy Awards, he struggled throughout his life against the glamors, vagaries, and frustrations of Hollywood for the creative freedom to make some of the most memorable films of all time.

    Here is a rare opportunity to eavesdrop on two cinematic masters from very different backgrounds as they cover each of Hitch's films in succession. Though this book was initially published in 1967 when Hitchcock was still active, Truffaut later prepared a revised edition that covered the final stages of his career. It's difficult to think of a more informative or entertaining introduction to Hitchcock's art, interests, and peculiar sense of humor. The book is a storehouse of insight and witticism, including the master's impressions of a classic like Rear Window ("I was feeling very creative at the time, the batteries were well charged"), his technical insight into Psycho's shower scene ("the knife never touched the body; it was all done in the [editing]"), and his ruminations on flops such as Under Capricorn ("If I were to make another picture in Australia today, I'd have a policeman hop into the pocket of a kangaroo and yell 'Follow that car!'"). This is one of the most delightful film books in print. --Raphael Shargel

    This book lays to rest the persistent myth that businesspeople and producers stifle artistic talent and reveals instead the genius of a system of collaboration and conflict. Working from industry documents, Schatz traces the development of house styles, the rise and fall of careers, and the making-and unmaking-of movies, from Frankenstein to Spellbound to Grand Hotel. Richly illustrated and highly readable, The Genius of the System gives the definitive view of the workings of the Old Hollywood and the foundations of the New.

    After years of research, with the full cooperation of the Disney family and access to private papers and letters, Bob Thomas produced the definitive biography of the man behind the legend--the unschooled cartoonist from Kansas City who went bankrupt on his first movie venture but became the genius who produced unmatched works of animation. Complete with a rare collection of photographs, Bob Thomas' biography is a fascinating and inspirational work that captures the spirit of Walt Disney.

    Explores the epic human drama behind the making of the five movies nominated for Best Picture in 1967-Guess Who's Coming to Dinner, The Graduate, In the Heat of the Night, Doctor Doolittle, and Bonnie and Clyde-and through them, the larger story of the cultural revolution that transformed Hollywood, and America, forever.

    She went on to work with two of the hottest young directorial talents of the era: Martin Scorsese (Taxi Driver) and Steven Spielberg (Close Encounters of the Third Kind). Phillips blazed a trail as one of the very few females to break into the upper echelons of a notoriously chauvinistic industry.But for all her success, Phillips remained an outsider in the all-male Hollywood club. She had a talent for deal-making, hard-balling and wise-cracking, and a considerable appetite for drink, drugs, and sex. But while these predilections were tolerated and even encouraged among 'the boys', Phillips found herself gradually ostracized. By the late 1980s, she was ready to burn bridges and name names, and the result was this coruscating memoir of her career.Julia Phillips died on January 1, 2002, at the age of 57, but her book will stand as one of the classic exposes of La-La-Land in all its excesses and iniquities.

    Since all journalists and writers were barred from the shooting of the movie Close Encounters of the Third Kind, actor Bob Balaban's diary is a rare on-the-spot account of the making of Steven Spielberg's classic sci-fi film.

    His films have been nominated for fifty-two Academy Awards, including five movies for Best Picture, and have won twelve. Winkler’s new film Creed II, starring Michael B. Jordan and Sylvester Stallone, opening fall 2018, will be followed by Martin Scorsese’s The Irishman, a major mafia saga for Netflix starring Robert De Niro, Al Pacino, and Joe Pesci. In A Life in Movies, his charming and insightful memoir, Winkler tells the stories of his career through his many films as a producer and then as a writer and director, charting the changes in Hollywood over the past decades. Winkler started in the famous William Morris mailroom and made his first film—starring Elvis—in the last days of the old studio system. Beginning in the late 1960s, and then for decades to come, he produced a string of provocative and influential films, making him one of the most critically lauded, prolific, and commercially successful producers of his era. This is an engrossing and candid book, a beguiling exploration of what it means to be a producer, including purchasing rights, developing scripts, casting actors, managing directors, editing film, and winning awards.Filled with tales of legendary and beloved films, as well as some not-so-legendary and forgotten ones, A Life in Movies takes readers behind the scenes and into the history of Hollywood.

    He started out as an actor (he debuted on the stage in his sixth-grade production of Finian’s Rainbow); he watched actors work (he went to the theater every week from the age of thirteen and saw every important show on, or off, Broadway for the next decade); he studied acting, starting at sixteen, with Stella Adler (his work with her became the foundation for all he would ever do as an actor and a director).Now, in his new book, Who the Hell’s in It, Bogdanovich draws upon a lifetime of experience, observation and understanding of the art to write about the actors he came to know along the way; actors he admired from afar; actors he worked with, directed, befriended. Among them: Lauren Bacall, Humphrey Bogart, James Cagney, John Cassavetes, Charlie Chaplin, Montgomery Clift, Marlene Dietrich, Henry Fonda, Ben Gazzara, Audrey Hepburn, Boris Karloff, Dean Martin, Marilyn Monroe, River Phoenix, Sidney Poitier, Frank Sinatra, and James Stewart.Bogdanovich captures—in their words and his—their work, their individual styles, what made them who they were, what gave them their appeal and why they’ve continued to be America’s iconic actors.On Lillian Gish: “the first virgin hearth goddess of the screen . . . a valiant and courageous symbol of fortitude and love through all distress.” On Marlon Brando: “He challenged himself never to be the same from picture to picture, refusing to become the kind of film star the studio system had invented and thrived upon—the recognizable human commodity each new film was built around . . . The funny thing is that Brando’s charismatic screen persona was vividly apparent despite the multiplicity of his guises . . . Brando always remains recognizable, a star-actor in spite of himself. ” Jerry Lewis to Bogdanovich on the first laugh Lewis ever got onstage: “I was five years old. My mom and dad had a tux made—I worked in the borscht circuit with them—and I came out and I sang, ‘Brother, Can You Spare a Dime?’ the big hit at the time . . . It was 1931, and I stopped the show—naturally—a five-year-old in a tuxedo is not going to stop the show? And I took a bow and my foot slipped and hit one of the floodlights and it exploded and the smoke and the sound scared me so I started to cry. The audience laughed—they were hysterical . . . So I knew I had to get the rest of my laughs the rest of my life, breaking, sitting, falling, spinning.”John Wayne to Bogdanovich, on the early years of Wayne’s career when he was working as a prop man: “Well, I’ve naturally studied John Ford professionally as well as loving the man. Ever since the first time I walked down his set as a goose-herder in 1927. They needed somebody from the prop department to keep the geese from getting under a fake hill they had for Mother Machree at Fox. I’d been hired because Tom Mix wanted a box seat for the USC football games, and so they promised jobs to Don Williams and myself and a couple of the players. They buried us over in the properties department, and Mr. Ford’s need for a goose-herder just seemed to fit my pistol.”These twenty-six portraits and conversations are unsurpassed in their evocation of a certain kind of great movie star that has vanished. Bogdanovich’s book is a celebration and a farewell.From the Hardcover edition.

    She writes about learning the art and craft of acting, about her Academy Award-winning portrayal of Maerose Prizzi in Prizzi's Honour, about her collaborations with many of the greatest directors in Hollywood, including Woody Allen, Wes Anderson, Richard Condon, Bob Rafelson, Francis Ford Coppola and Stephen Frears. She writes movingly and beautifully about the death of her father, the legendary director John Huston and her marriage to sculptor Robert Graham.

    Described by one reviewer as “like getting stabbed in the head,” the $6 million film earned a grand total of $1,800 at the box office and closed after two weeks. Now in its tenth anniversary year, The Room is an international phenomenon to rival The Rocky Horror Picture Show. Thousands of fans wait in line for hours to attend screenings complete with costumes, audience rituals, merchandising, and thousands of plastic spoons.Readers need not have seen The Room to appreciate its costar Greg Sestero’s account of how Tommy Wiseau defied every law of artistry, business, and interpersonal relationships to achieve the dream only he could love. While it does unravel mysteries for fans, The Disaster Artist is more than just an hilarious story about cinematic hubris: It is ultimately a surprisingly inspiring tour de force that reads like a page-turning novel, an open-hearted portrait of a supremely enigmatic man who will capture your heart.

    A backstage glimpse of the realities of the new Hollywood focuses on the film releases and strategies of the summer of 1998, showing why Godzilla was fated to fail and how Spielberg triumphed.