Eventually, the barkeep-turned-actor would grace the small screen opposite Cybill Shepherd in the ABC series "Moonlighting" and, with a few turns of luck, the big screen in the unlikely role of John McClane. Bruce Willis would then forever be recognized as the world's ultimate anti-hero, a blue-collar Everyman with the worst luck, always surrounded by terrorists taking over something or other. And, in this definitive oral history of "Die Hard," writers, actors, producers, and studio executives reveal behind-the-scenes stories, from the curious origins of the film's title, to the script's evolution from a depressing ‘70s character study to an optimistic Reagan-era blockbuster, to the seminal negotiations between 20th Century Fox and Willis's then-agent which sent his client's career into the stratosphere, to details of moguls Lawrence Gordon and Joel Silver’s famously tumultuous relationship while developing some of the '80s most successful franchises. Brian Abrams’ first book, "Party Like a President: True Tales of Inebriation, Lechery, and Mischief from the Oval Office" (Workman Publishing), was released in February 2015 and earned attention from The Tonight Show Starring Jimmy Fallon, NPR, and Vanity Fair. His Kindle Singles, "AND NOW...An Oral History of 'Late Night with David Letterman,' 1982-1993" and "Gawker: An Oral History" became #1 bestsellers in 2014 and in 2015. He is editor-in-chief of the news and culture site Death and Taxes Magazine and lives in New York City. Cover design by Adil Dara.

    So great was his stature as an Urdu poet that he never had to mould his poetry to suit the demands of film songwriting; instead, producers and composers adapted their requirements to his poetry. His songs in films like Pyaasa, Naya Daur and Phir Subah Hogi have attained the status of classics. This exhaustive biography traces the poet’s rich life, from his troubled childhood and his equally troubled love relationships, to his rise as one of the pre-eminent personalities of the Progressive Writers Movement and his journey as lyricist through the golden era of Hindi film music, the 1950s and 1960s.

    Forming their band 'Anvil' they went on to become the 'demi-gods of Canadian metal', releasing one of the heaviest albums in metal history, 1982's Metal on Metal. The album influenced a musical generation including the world-dominating bands Metallica, Slayer and Anthrax, all of whom went on to sell millions of records. Anvil's career would take a different path, however, as they slipped straight into obscurity...Almost thirty years later Lips and Robb, our unlikely musical heroes, are still chasing their dream. Anvil! The Story of Anvil, their autobiography, follows the ups and down of their career and their volatile friendship (which has now spanned almost four decades), reveals their dedication and unadulterated passion for their music, and carries us along on their last-ditch quest for fame and fortune. Based on Sacha Gervasi's award-winning film of the same name, and published to coincide with its worldwide release, this hilarious yet poignant book reminds us that if you believe in yourself, stick by your friends and never give up, you really can make your dreams come true. You cannot fail to be moved by this story. Anvil rock!

    She carefully unspools the cultural threads that inform his aesthetic to explain why this precocious arthouse film nerd from Texas has become one of the most popular directors of his generation.

    Now he shares his recollections of those encounters, providing a fascinating glimpse behind the scenes.Far from starry-eyed where Tony Blair Co are concerned, he looks back also to the Britain of his youth and castigates those responsible for its decline to "a Third World country … misruled by a typical Third World government, corrupt, incompetent and undemocratic".Controversial, witty and revealing – or "curmudgeonly", "reactionary", "undiluted spleen", according to the critics – The Light's on at Signpost has struck a chord with a great section of the public. Perhaps, as one reader suggests, it should be "hidden beneath the floorboards, before the Politically-Correct Thought Police come hammering at the door, demanding to confiscate any copies".

    Reserved seats went on sale at premium prices. Audience members dressed up and arrived early to peruse the program during the overture that preceded the curtain's rise. And when the show began, it was--a rather disappointing film musical.In Roadshow!, film historian Matthew Kennedy tells the fascinating story of the downfall of the big-screen musical in the late 1960s. It is a tale of revolutionary cultural change, business transformation, and artistic missteps, all of which led to the obsolescence of the roadshow, a marketing extravaganza designed to make a movie opening in a regional city seem like a Broadway premier. Ironically, the Hollywood musical suffered from unexpected success. Facing doom after its bygone heyday, it suddenly broke box-office records with three rapid-fire successes in 1964 and 1965: Mary Poppins, My Fair Lady, and The Sound of Music. Studios rushed to catch the wave, but everything went wrong. Kennedy takes readers inside the making of such movies as Hello, Dolly! and Man of La Mancha, showing how corporate management imposed financial pressures that led to poor artistic decisions-for example, the casting of established stars regardless of vocal or dancing talent (such as Clint Eastwood in Paint Your Wagon). And Kennedy explores the impact of profound social, political, and cultural change. The traditional-sounding Camelot and Doctor Dolittle were released in the same year as Sergeant Pepper's Lonely Hearts Club Band, representing a vast gulf in taste. The artifice of musicals seemed outdated to baby boomers who grew up with the Cuban missile crisis, the Kennedy and Martin Luther King Jr. assassinations, race riots, and the Vietnam War.From Julie Andrews to Barbra Streisand, from Fred Astaire to Rock Hudson, Roadshow! offers a brilliant, gripping history of film musicals and their changing place in our culture.

    Tyrannical directors. Useless agents. Less job security than an England football manager. Who’d be an actor?Michael Simkins isn’t sure, even though he’s been one himself for over thirty years. Join him backstage as he examines that business called showbusiness, from am dram to Hollywood, and from Shakespeare to ads for flatulence pills.In a career that started as a plump teenager in ballet tights at RADA, Michael has appeared in countless West End plays and musicals, presented safety training workshops for sewage workers, and when resting, worked as a crate smasher at a car factory. He’s done movies, soaps, ads, and voice-overs, and worked with everyone from Meryl Streep to Kelly Osbourne. As the ultimate jobbing actor he’s flirted with triumph and oblivion without ever quite managing either. InThe Rules of Acting he shares his hard-won wisdom. Covering everything from learning your lines to tilting for Oscar success in Hollywood, surviving a flop, to why it’s advisable to read the whole script if you wish to avoid improper relations with a pig, it’s the ultimate survival guide for anyone contemplating a life in showbiz.'Throw out An Actor Prepares! Michael Simkins' book tells actors all they need to know about the realities of the acting profession; the passion, the struggle, the noble idealism and the heartache.'HELEN MIRREN'It is thrilling that Micahel Simkins is having such success as a writer - anything to keep him off the stage'IAN MCKELLEN

    Cary Grant...Hollywood's ultimate ladies' man...the silver screen's most ardent lover. But beyond his portrayal of the sophisticated romantic hero in movies like "The Philadelphia Story" and "Notorious" was a man haunted by fear and self-doubt which affected his career as well as his personal life.

    They teach you how to discover the "Franchise" or structure of a television show in order to write a successful and eye catching spec script. The four-act structure is covered, along with the elements that go into telling a good story. After you've blown them away with your spec script, learn how to pitch confidently and concisely. You'll also find invaluable information on how to work with producers, how to handle your first writing assignment, and tackle revisions. Also included are Writer's Guidelines, and beat sheets, from several television shows to help you familiarize yourself with the way writer's work.

    Hugely prolific in his first decade--Breathless, Contempt, Pierrot le Fou, Alphaville, and Made in USA are just a handful of the seminal works he directed--Godard introduced filmgoers to the generation of stars associated with the trumpeted sexuality of postwar movies and culture: Brigitte Bardot, Jean Seberg, Jean-Paul Belmondo, and Anna Karina.As the sixties wore on, however, Godard's life was transformed. The Hollywood he had idolized began to disgust him, and in the midst of the socialist ferment in France his second wife introduced him to the activist student left. From 1968 to 1972, Europe's greatest director worked in the service of Maoist politics, and continued thereafter to experiment on the far peripheries of the medium he had transformed. His extraordinary later works are little seen or appreciated, yet he remains one of Europe's most influential artists.Drawing on his own working experience with Godard and his coterie, Colin MacCabe, in this first biography of the director, has written a thrilling account of the French cinema's transformation in the hands of Truffaut, Rohmer, Rivette, and Chabrol--critics who toppled the old aesthetics by becoming, legendarily, directors themselves--and Godard's determination to make cinema the greatest of the arts.

    "Twilight," "True Blood," "Being Human," "The Vampire Diaries," "Buffy the Vampire Slayer," "Blade," "Underworld," and the novels of Anne Rice and Darren Shan--against this glut of bloodsuckers, it takes an incredible film to make a name for itself. Directed by Tomas Alfredson and adapted for the screen by John Ajvide Lindqvist, The Swedish film "L't den r?tte komma in" (2008), known to American audiences as "Let the Right One In," is the most exciting, subversive, and original horror production since the genre's best-known works of the 1970s. Like "Twilight," "Let the Right One In" is a love story between a human and a vampire--but that is where the resemblance ends. Set in a snowy, surburban housing estate in 1980s Stockholm, the film combines supernatural elements with social realism. It features Oskar, a lonely, bullied child, and Eli, the girl next door. "Oskar, I'm not a girl," she tells him, and she's not kidding--she's a vampire. The two forge an intense relationship that is at once innocent and disturbing. Two outsiders against the world, one of these outsiders is, essentially, a serial killer. What does Eli want from Oskar? Simple companionship, or something else? While startlingly original, "Let the Right One In" could not have existed without the near century of vampire cinema that preceded it. Anne Billson reviews this history and the film's inheritence of (and new twists on) such classics as "Nosferatu" (1979) and "Dracula" (1931). She discusses the genre's early fliration with social realism in films such as "Martin" (1977) and "Near Dark" (1987), along with its adaptation of mythology to the modern world, and she examines the changing relationship between vampires and humans, the role of the vampire's assistant, and the enduring figure of vampires in popular culture.

    This is the story of how, with the odd misstep along the way, the owners of the Bond franchise, Eon Productions, have contrived to keep James Bond abreast of the zeitgeist and at the top of the charts for 45 years, through 21 films featuring six Bonds, three M’s, two Q’s and three Moneypennies. Thanks to the films, Fleming’s original creation has been transformed from a black sheep of the post-war English upper classes into a figure with universal appeal, constantly evolving to keep pace with changing social and political circumstances. Having interviewed people concerned with all aspects of the films, Sinclair McKay is ideally placed to describe how the Bond ‘brand’ has been managed over the years as well as to give us the inside stories of the supporting cast of Bond girls, Bond villains, Bond cars and Bond gadgetry. Sinclair McKay, formerly assistant features editor of the Daily Telegraph, works as a freelance writer and journalist. He is also the author of A Thing of Unspeakable Horror: The History of Hammer Films, which the Guardian called ‘A splendid history’ and the Independent on Sunday described as ‘Brisk, cheerful and enthusiastic.’

    Jay Slater explains how the myth of the Haitian walking dead (zombies) merged with legends of third-world cannibalism to create such gruesome zombie cult films as Cannibal Holocaust, an acknowledged influence on The Blair Witch Project.

    But the drama they project on screen is only half the picture. Stretching back from its earliest days of two-reel silent films to the latest 3-D digital blockbusters, film history provides a cast of characters ready to spill witty bon mots, outrageous pronouncements, and heartfelt reflections. The Filmmaker Says is a colorful compendium of quotations from more than one hundred of history's most influential and opinionated creators of filmed entertainment. Paired like guests at the ultimate filmgeek dinner party—a celebrated filmmaker of today might sit next to a giant from the silent era—the members of this raucous crew puts on a show arguing, complimenting, and disagreeing with each other about every step of the moviemaking process. A perfect gift for working filmmakers, aspiring auteurs, and avid moviegoers, The Filmmaker Says will delight anyone who has dreamed of yelling "action" or just can't wait for the lights to go down and the curtain to go up.

    Improvisation is as much about technique as it is what's inside your head. Improv Therapy takes a look at the improviser's mind and what blocks improvisers on stage, and gives them practical advice to overcome their issues so they can become the improviser they always dreamed of being. Written by Jimmy Carrane, host of the Improv Nerd podcast and co-author of Improvising Better: A Guide for the Working Improviser. He teaches his award-winning Art Of Slow Comedy improv classes in Chicago.