Stratton’s definitive history of the making of The Wild Bunch, named one of the greatest Westerns of all time by the American Film Institute.Sam Peckinpah’s film The Wild Bunch is the story of a gang of outlaws who are one big steal from retirement. When their attempted train robbery goes awry, the gang flees to Mexico and falls in with a brutal general of the Mexican Revolution, who offers them the job of a lifetime. Conceived by a stuntman, directed by a blacklisted director, and shot in the sand and heat of the Mexican desert, the movie seemed doomed. Instead, it became an instant classic with a dark, violent take on the Western movie tradition. In The Wild Bunch, W.K. Stratton tells the fascinating history of the making of the movie and documents for the first time the extraordinary contribution of Mexican and Mexican-American actors and crew members to the movie’s success. Shaped by infamous director Sam Peckinpah, and starring such visionary actors as William Holden, Ernest Borgnine, Edmond O’Brien, and Robert Ryan, the movie was also the product of an industry and a nation in transition. By 1968, when the movie was filmed, the studio system that had perpetuated the myth of the valiant cowboy in movies like The Searchers had collapsed, and America was riled by Vietnam, race riots, and assassinations. The Wild Bunch spoke to America in its moment, when war and senseless violence seemed to define both domestic and international life. The Wild Bunch is an authoritative history of the making of a movie and the era behind it.

    In this first collection of Harlan Ellison's cinema criticism (with expanded, never-before-collected articles as well as an essay written especially for this volume) come from the darkened interiors of a thousand movie houses where this most peculiar of all Observers of the Passing Scene has spent much of his life. The view is guaranteed to make you grind your teeth in anger, nod your head in blessed agreement, and open your eyes in a manner of judging films that is definitely not plebeian. Harlan Ellison's love affair with movies is obvious. As an essayist, he has no equal; as a film critic he has no friends. Take care.

    Reiss explains how the episodes are created, and provides an inside look at the show’s writers, animators, actors and celebrity guests. He answers a range of questions from Simpsons fans and die-hards, and reminisces about the making of perennially favorite episodes.In his freewheeling, irreverent comic style, Reiss reflects on his lifetime inside The Simpsons—a personal highlights reel of his achievements, observations, and favorite stories. Springfield Confidential exposes why Matt Groening decided to make all of the characters yellow; dishes on what it’s like to be crammed in a room full of funny writers sixty hours a week; and tells what Reiss learned after traveling to seventy-one countries where The Simpsons is watched (ironic note: there’s no electricity in many of these places); and even reveals where Springfield is located! He features unique interviews with Judd Apatow, who also provided the foreword, and Conan O'Brien, as well as with Simpsons legends Al Jean, Nancy Cartwright, Dan Castellaneta, and more.Like Cary Elwes’ As You Wish, Jennifer Keishin Armstrong’s Seinfeldia, and Chris Smith’s The Daily Show: An Oral History, Springfield Confidential is a funny, informational, and exclusive look at one of the most beloved programs in all of television land.

    Broken Mirrors/Broken Minds, which dissects such Argento cult films as Two Evil Eyes, The Bird with the Crystal Plumage, Suspiria, and Deep Red, includes a new introduction discussing Argento’s most recent films, from The Stendahl Syndrome to Mother of Tears; an updated filmography; and an interview with Argento.

    One of our best-loved actors, Michael Caine has starred in over 100 films in his six-decade career, spanning classic movies like Alfie, Zulu, and The Italian Job (the inspiration for the book title) to playing Alfred opposite Christian Bale's Batman in Christopher Nolan's blockbuster Dark Knight trilogy. Caine has excelled in every kind of role--with a skill that's made it look easy. Caine knows what success takes. He's made it to the pinnacle of his profession from humble origins. But as he says, "Small parts can lead to big things. And if you keep doing things right, the stars will align when you least expect it." Still working and more beloved than ever, Caine now shares everything he's learned-and "his fans will be rewarded, as will anyone seeking an enjoyable, inspirational read" (Library Journal).

    He makes movies, writes comics, owns a store, and now he s built a podcasting empire with his friends and family, including a wife who s way out of his league. So here s some tough shit: Kevin Smith has cracked the code. Or, he s just cracked. "Tough Sh*t" is the dirty business that Kevin has been digesting for 41 years and now, he s ready to put it in "your" hands. Smear this shit all over yourself, because this is your blueprint (or brownprint) for success. Kev takes you through some big moments in his life to help you live "your" days in as Gretzky a fashion as you can: going where the puck is "gonna" be. Read all about how a zero like Smith managed to make ten movies with no discernible talent, and how when he had everything he thought he d ever want, he decided to blow up his own career. Along the way, Kev shares stories about folks who inspired him (like George Carlin), folks who befuddled him (like Bruce Willis), and folks who let him jerk off onto their legs (like his beloved wife, Jen).So make this your daily reader. Hell, read it on the toilet if you want. Just make sure you grab the bowl and push, because you re about to take one "Tough Sh*t."

    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.

    Yet the man who could be accessible and charming on screen retreated to a deeply private world he created behind closed doors.    Glenn Ford: A Life chronicles the volatile life, relationships, and career of the renowned actor, beginning with his move from Canada to California and his initial discovery of theater. It follows Ford’s career in diverse media—from film to television to radio—and shows how Ford shifted effortlessly between genres, playing major roles in dramas, noir, westerns, and romances.     This biography by Glenn Ford’s son, Peter Ford, offers an intimate view of a star’s private and public life. Included are exclusive interviews with family, friends, and professional associates, and snippets from the Ford family collection of diaries, letters, audiotapes, unpublished interviews, and rare candid photos. This biography tells a cautionary tale of Glenn Ford’s relentless infidelities and long, slow fade-out, but it also embraces his talent-driven career. The result is an authentic Hollywood story that isn’t afraid to reveal the truth.Best Books for General Audiences, selected by the American Association of School Librarians Best Books for General Audiences, selected by the Public Library Reviewers

    Alternating between personal anecdote, hilarious insight, and smart analysis, Luke Skywalker Can’t Read contends that Barbarella is good for you, that monster movies are just romantic comedies with commitment issues, that Dracula and Sherlock Holmes are total hipsters, and, most shockingly, shows how virtually everyone in the Star Wars universe is functionally illiterate. Romp through time and space, from the circus sideshows of 100 years ago to the Comic Cons of today, from darkest corners of the Galaxy to the comfort of your couch. For anyone who pretended their flashlight was a lightsaber, stood in line for a movie at midnight, or dreamed they were abducted by aliens, Luke Skywalker Can't Read is full of answers to questions you haven't thought to ask, and perfect for readers of Chuck Klosterman, Rob Sheffield, and Ernest Cline.

    Its fans tend to be fanatical, congregating at 'Lebowski Conventions' in bowling alleys across American and Britain, and even dressing up as characters from the film. Among the funniest films of the last twenty-five years, and one of the high-water marks of 1990s genre recycling and pastiche, The Big Lebowski is also littered with playful and subversive references to film history, especially to Raymond Chandler's world of hardboiled detective classics and the world of film noir. The Big Lebowski is the rarest kind of film, a comedy whose jokes become funnier with repetition. The same goes for its multitudinous jukebox-like references to other films, many of which open up vistas for intertextual interpretation. Underneath the film's breakneck pacing and foul-mouthed characters, a farcical collection of flakes, losers, and phonies, is a surprisingly humane account of what fools we mortals be. It is one of the oddest buddy films ever made, with extraordinary performances by Jeff Bridges and John Goodman. In this study, The Big Lebowski is set into the context of 1990s Hollywood cinema, anatomised for its witty relationship with the classics which it satirises, and discussed in terms of its key theme: the hopeless flailing of ridiculously unmanly men in the world of discombobulated, mixed-up, or put-on identities that is Los Angeles.

    Following its subject from the moody Oklahoma teenager to the Method-trained star to the eccentric recluse of his later years, Marlon Brando offers a penetrating look at the actor's evolving persona: the volcanic Stanley Kowalski in A Streetcar Named Desire, the sensitive rebel in The Wild Ones, the iconic Don Corleone in The Godfather. Bosworth probes Brando's alcoholic parents' influence on his acting, his decades of psychoanalysis, and his tumultuous personal relationships. Here, from rebellious unknown to reluctant idol to falling star, is the complex charismatic genius who changed the face of acting.

    His own brilliant directing career has been marked by similarly grand ambitions, and he is unique in having premiered all of his features - from the highly styled The Element of Crime to the digital-video-originated The Idiots - at the Cannes Film Festival. Trier is a rare item in contemporary cinema, a restless innovator and polemicist, as his participation in the back-to-basics Dogme95 movement attests; and these conversations with Stig Bjorkman, author of Bergman on Bergman and Woody Allen on Woody Allen, trace the evolution of his career and thought in a manner that is both astonishingly detailed and engagingly humorous.

    From The Cabinet of Dr. Caligari onwards the principal films of this period were characterized by two influences: literary Expressionism, and the innovations of the theatre directors of this period, in particular Max Reinhardt. This book demonstrates the connection between German Romanticism and the cinema through Expressionist writings. It discusses the influence of the theatre: the handling of crowds; the use of different levels, and of selective lighting on a predominately dark stage; the reliance on formalized gesture; the innovation of the intimate theatre. Against this background the principal films of the period are examined in detail. The author explains the key critical concepts of the time, and surveys not only the work of the great directors, such as Fritz Lang and F. W. Murnau, but also the contribution of their writers, cameramen, and designers. As The Times Literary Supplement wrote, 'Mme. Eisner is first and foremost a film critic, and one of the best in the world. She has all the necessary gifts.' And it described the original French edition of this book as 'one of the very few classics of writing on the film and arguably the best book on the cinema yet written.'

    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.

    He writes to comics, corporations, children, presidents, and even his daughter's boyfriend. Here is Groucho swapping photos with T. S. Eliot (”I had no idea you were so handsome!”); advising his son on courting a rich dame (”Don't come out bluntly and say, 'How much dough have you got?' That wouldn't be the Marxian way”); crisply declining membership in a Hollywood club (”I don't care to belong to any social organization that will accept me as a member”); reacting with utmost composure when informed that he has been made into a verb by James Joyce (”There's no reason why I shouldn't appear in Finnegans Wake . I'm certainly as bewildered about life as Joyce was”); responding to a scandal sheet (”Gentleman: If you continue to publish slanderous pieces about me, I shall feel compelled to cancel my subscription”); describing himself to the Lunts (”I eat like a vulture. Unfortunately the resemblance doesn't end there”); and much, much more. That mobile visage, that look of wild amazement, and that weaving cigar are wholly captured, bound but untamed, in The Groucho Letters.