Here are the outrageous memoirs of an American original whose life was every bit as outlandish as his movies. Photographs. Filmography.

    Her rollar-coaster life. Her deception - shrouded death. Her divided secret life. Her legion of lovers. Her intimacies with JFK and Bobby Kennedy. Her mafia connections. This is the one book that tells the whole naked, deeply moving truth about the all - too-beautiful talented, and tormented woman who played a role in public and in private that was too much for flesh and spirit to survive.

    A determined perfectionist with an incredible ego, her beauty, her style, her sense of the outrageous, made her a star. In this candid, illuminating, and detailed biography full of photographs, her only daughter Maria Riva, tells the incredible, fascinating, story of the star's life and career, loves and hates, hits and misses, as only a daughter can. From the Trade Paperback edition.

    He often came across as a man possessed, holding forth on culture and politics while mixing in personal revelations – all with mercurial, tongue-twisting intensity as he inhabited and shed one character after another with lightning speed.But as Dave Itzkoff shows in this revelatory biography, Williams’s comic brilliance masked a deep well of conflicting emotions and self-doubt, which he drew upon in his comedy and in celebrated films like Dead Poets Society; Good Morning, Vietnam; The Fisher King; Aladdin; and Mrs. Doubtfire, where he showcased his limitless gift for improvisation to bring to life a wide range of characters. And in Good Will Hunting he gave an intense and controlled performance that revealed the true range of his talent.Itzkoff also shows how Williams struggled mightily with addiction and depression – topics he discussed openly while performing and during interviews – and with a debilitating condition at the end of his life that affected him in ways his fans never knew. Drawing on more than a hundred original interviews with family, friends, and colleagues, as well as extensive archival research, Robin is a fresh and original look at a man whose work touched so many lives.

    Ranked by the American Film Institute as one of the top 100 Greatest Love Stories and by the Writers Guild of America as one of the top 100 screenplays of all time, The Princess Bride will continue to resonate with audiences for years to come.Cary Elwes was inspired to share his memories and give fans an unprecedented look into the creation of the film while participating in the twenty-fifth anniversary cast reunion. In As You Wish he has created an enchanting experience; in addition to never-before seen photos and interviews with his fellow cast mates, there are plenty of set secrets, backstage stories, and answers to lingering questions about off-screen romances that have plagued fans for years!With a foreword by Rob Reiner and a limited edition original poster by acclaimed artist Shepard Fairey, As You Wish is a must-have for all fans of this beloved film.

    They became friends and then roommates as stage actors in New York, and when they began making films in Hollywood, they roomed together again. Between them they made such memorable films as The Grapes of Wrath, Mister Roberts, Twelve Angry Men, and On Golden Pond; and Mr. Smith Goes to Washington, Destry Rides Again, The Philadelphia Story, It’s a Wonderful Life, Vertigo, and Rear Window.They got along famously, with a shared interest in elaborate practical jokes and model airplanes, among other things. Fonda was a liberal Democrat, Stewart a conservative Republican, but after one memorable blow-up over politics, they agreed never to discuss that subject again. Fonda was a ladies’ man who was married five times; Stewart remained married to the same woman for forty-five years. Both men volunteered during World War II and were decorated for their service. When Stewart returned home, still unmarried, he once again moved in with Fonda, his wife, and his two children, Jane and Peter, who knew him as Uncle Jimmy.For Hank and Jim, biographer and film historian Scott Eyman spoke with Fonda’s widow and children as well as three of Stewart’s children, plus actors and directors who had worked with the men—in addition to doing extensive archival research to get the full details of their time together. This is not another Hollywood story, but a fascinating portrait of an extraordinary friendship that lasted through war, marriages, children, careers, and everything else.

    No one walked like her. No one talked like her. Sexy yet vulnerable, and unexpectedly talented, she was no ordinary screen goddess. Few really knew her. What others wrote, she called "Lies! Lies! Lies!"Here, at last, is Marilyn Monroe's account, in her own singular voice. It was June 1, 1962, her thirty-sixth birthday. Famed photographer and reporter George Barris had come to see Marilyn on the set of what would be her final, unfinished, film. They had met eight years earlier, became friends, and planned to do a picture book and autobiography. Now the time was right. For the next six weeks Barris photographed and interviewed the actress. "Don't believe anything you read about me except this..." she told Barris. And so she began to confide the truth about herself.Barris last talked to Marilyn on August 3, less than twenty-four hours before she was found dead in her apartment. At their last meeting, she was effervescent and eager to embrace life. "I feel I’m just getting started", she said. Barris firmly believes that murder, not suicide, caused Marilyn's untimely end and he could not bring himself to publish her thoughts or the haunting photos of that summer - until now."Marilyn: Her Life In Her Own Words" is a candid memoir enhanced by 150 black-and-white and color photos, many never before published. A highlight is "The Last Photo Shoot": where Marilyn appears luminous without makeup on the beach at Santa Monica and in a North Hollywood house. This moving book brings Marilyn Monroe back - beautiful, flirtatious, and sweet as a first kiss - for one rare and radiant farewell.

    In the course of all these lives, I had a front-row seat at the birth of television; wrote, produced, created, or developed more than a hundred shows; had nine on the air at the same time; founded the 300,000-member liberal advocacy group People For the American Way; was labeled the “no. 1 enemy of the American family” by Jerry Falwell; made it onto Richard Nixon’s “Enemies List”; was presented with the National Medal of the Arts by President Clinton; purchased an original copy of the Declaration of Independence and toured it for ten years in all fifty states; blew a fortune in a series of bad investments in failing businesses; and reached a point where I was informed we might even have to sell our home. Having heard that we’d fallen into such dire straits, my son-in-law phoned me and asked how I was feeling. My answer was, “Terrible, of course,” but then I added, “but I must be crazy, because despite all that’s happened, I keep hearing this inner voice saying, ‘Even this I get to experience.’”Norman Lear’s work is legendary. The renowned creator of such iconic television programs as All in the Family; Maude; Good Times; The Jeffersons; and Mary Hartman, Mary Hartman, Lear remade our television culture from the ground up. At their peak, his programs were viewed by 120 million people a week, with stories that dealt with the most serious issues of the day—racism, poverty, abortion —yet still left audiences howling with laughter. In EVEN THIS I GET TO EXPERIENCE, Lear opens up with all the candor, humor, and wisdom to be expected from one of America’s greatest living storytellers.But TV and politics are only a fraction of the tale. Lear’s early years were grounded in the harshness of the Great Depression, and further complicated by his parents’ vivid personalities. The imprisonment of Lear’s father, a believer in the get-rich-quick scheme, colored his son’s childhood. During this absence, Lear’s mother left her son to live with relatives. Lear’s comic gifts were put to good use during this hard time, even as they would be decadeslater during World War II, when Lear produced and staged a variety show for his fellow airmen in addition to flying fifty bombing missions.After the war, Lear tried his hand at publicity in New York before setting out for Los Angeles in 1949. A lucky break had a powerful agent in the audience the night Danny Thomas performed a nightclub routine written by Lear, and within days his career in television began. Before long his work with Dean Martin and Jerry Lewis (and later Martha Raye and George Gobel) made him the highest-paid comedy writer in the country, and he was spending his summers with the likes of Carl Reiner and Mel Brooks. Movies followed, and soon he was making films starring Frank Sinatra, Dick Van Dyke, and Jason Robards. Then came the ’70s, and Lear’s unprecedented string of TV hits.Married three times and the father of six children ranging in age from nineteen to sixty-eight, Lear’s penetrating look at family life, parenthood, and marriage is a volume in itself. A memoir as touching, funny, and remarkable as any of Lear’s countless artistic creations, EVEN THIS I GET TO EXPERIENCE is nothing less than a profound gift, endlessly readable and characteristically unforgettable.

    For nearly two years, Loni Anderson has silently watched and listened as her ex-husband Burt Reynolds accused her of adultery, of being a spendthrift and a rotten mother. Now, she tells all in an explosive book filled with wisdom as well as revelations--a book for any woman who has learned that sometimes our hearts have to break for something better to enter. Photos.

    When they began living together, she was 25; he was 58. Three years later, they married, but within a year and a half, she left him, amidst reports of loud arguments and spanking episodes. Their divorce, finalized in 1968, was a major news splash even in that pre-TMZ, pre-internet era. Grant died in 1986, but Cannon has continued to wrestle with the details, the rights, and the wrongs of their relationship. Dear Cary is a memoir that celebrates and scrutinizes the great love of her life.

    It wasn’t drugs, alcohol, or sex: it was film. After moving to Los Angeles, Oswalt became a huge film buff (or as he calls it, a sprocket fiend), absorbing classics, cult hits, and new releases at the famous New Beverly Cinema. Silver screen celluloid became Patton’s life schoolbook, informing his notion of acting, writing, comedy, and relationships.Set in the nascent days of LA’s alternative comedy scene, Silver Screen Fiend chronicles Oswalt’s journey from fledgling stand-up comedian to self-assured sitcom actor, with the colorful New Beverly collective and a cast of now-notable young comedians supporting him all along the way.

    And what a life! By one of today’s greatest living actors.He was born a Canadian on a Friday the thirteenth in 1929—the year of the Crash. His boyhood was one of privilege: an ancestor was a Governor General; his great-grandfather Sir John Abbott was Canada’s third prime minister and owned railroads. There were steam yachts, mansions, and a life of Victorian gentility and somewhat cluttered splendor.Plummer tells how “this young bilingual wastrel, incurably romantic, spoiled rotten, tore himself away from the ski slopes to break into the big bad world of theatre, not from the streets up but from an Edwardian living room down,” and writes of his early acting days as an eighteen-year-old playing the lead in Shakespeare’s Cymbeline, directed by the legendary Komisarjevsky of Moscow’s Imperial Theatre.We see his glorious New York of the fifties, where life began at midnight, with the likes of Arthur Miller, Carson McCullers, Tennessee Williams, and Paddy Chayefsky, and how Plummer’s own Broadway world developed and swept him along through the last Golden Age the American Theatre would ever remember . . . how the sublime Ruth Chatterton (“she might have been created by F. Scott Fitzgerald and Sinclair Lewis”) introduced him to the right people in New York . . . how Miss Eva Le Gallienne gave Plummer his Broadway debut at twenty-five in The Starcross Story (“It opened and closed in one night! One solitary night! But what a night!”). He writes about Miss Katherine Cornell (the last stage star to travel by private train), who, with her husband, Guthrie McClintic, added to what experience Plummer had the necessary gloss, spit, and polish to take him to the next level. Guthrie bundled Plummer off to Paris for a production of Medea, opposite Dame Judith Anderson (“a little Tasmanian devil . . . who with one look could turn an audience to stone”).Plummer writes about the great producers with whom he worked—Kermit Bloomgarden, Robert Whitehead, and Roger Stevens—about Lillian Hellman, Leonard Bernstein, Elia Kazan (“If you weren’t careful, this chameleon of chameleons might change into you, wear your skin, steal your soul”), and the miracle that was the new Stratford Festival in Canada, where Plummer blossomed in the classics under the extraordinary Tyrone Guthrie. He writes about his (too brief) encounters with his favorite geniuses, Orson Welles and Jonathan Miller. He writes about his lifelong friendships with Raymond Massey and the wild Kate Reid, and with that fugitive from the Navy, “that reprobate and staunch drinking buddy, the true reincarnation of Eugene O’Neill, whose blood was mixed with firewater,” Jason Robards, Jr.Plummer writes about his affairs and his marriages, and about his daughter, Amanda, who “despite her slim looks and tiny bones could raise tempests, guaranteed to loosen the foundation of any theatre in which she chose to rage.”We see him becoming a leading actor for Peter Hall’s Royal Shakespeare Theatre, with a company of young talented players, each destined for stardom—Judi Dench, Vanessa Redgrave, Peter O’Toole, et al., collectively the future of the English stage. The old guard was brilliantly represented by Dames Edith Evans and Peggy Ashcroft and Sir John Gielgud. Plummer, the only fugitive from the New World, played Richard III, Benedick, and Henry II in Becket.He writes about his film career: The Sound of Music (affectionately dubbed “S&M”) . . . Inside Daisy Clover, which brought him together with the beautiful Natalie Wood . . . John Huston’s The Man Who Would Be King (Plummer was Rudyard Kipling). He tells the story of accepting Sir Laurence Olivier’s invitation to join the National Theatre Company, playing in Amphytron directed by Olivier himself (“a great actor but lousy director”), and writes about falling deeply in love with and eventually marrying a young actress and dancer, Elaine Taylor—to this day, his “one true strength.”Seamlessly written, with stories that make us laugh out loud and that make real the fascinating, complex, exuberant adventure that is the actor’s (at least this actor’s) life.

    The girl with the pigtails, the symbol of innocence in The Wizard of Oz. The brightest star of the Hollywood musical and an entertainer of almost magical power. The woman of a half-dozen comebacks, a hundred heartbreaks, and thousands of headlines. Yet much of what has been written about her is either inaccurate or incomplete, and the Garland the world thought it knew was merely a sketch for the astonishing woman Gerald Clarke portrays in Get Happy. Here, more than thirty years after her death, is the real Judy.

    16 pages of photos. Author Taylor confronts the comic genius with both humor and pathos.

    He examines how a small boy from the backwoods of Michigan rose to become one of Hollywood’s most legendary stars,  one of the Greatest Generation’s true-life war heroes  - he saw action in the Pacific Theater during World War Two, before moving with his young wife from Chicago to New York’s Hell’s Kitchen to begin their struggle to find success in the theater. Eliot traces Heston’s pioneering work in live television, his being discovered by Hollywood because of it, and tells the amazing saga of his three films for Cecil B. DeMille and his two for William Wyler, including The Ten Commandments and Ben-Hur, the latter for which he won a Best-Actor Oscar, with fascinating new details, documents and photographs never before seen.  Eliot follows Heston through the genre of Science Fiction, which he helped revive with Planet of the Apes, and sheds new light on every one of Heston’s iconic films. He also examines Heston’s long political involvements, from boom one of the organizers of Hollywood’s faction of marchers who joined with Martin Luther King, Jr. for the March on Washington, to his mentoring under Ronald Reagan for eventual presidency of the Screen Actors Guild, to his late-in-life presidency of, the National Rifle Association, all the while refusing the Republican Party’s continual pleas for him to run for president of the United States after Reagan.  With unprecedented cooperation with Heston’s family, and never-before-seen personal photos, documents and hand-written letters, Charlton Heston: Hollywood’s Last Icon for the first time tells the real story of Charlton’s Heston’s amazing life, an incisive, detailed, compelling portrayal, both for longtime fans, Hollywood movie lovers everywhere and a new college and TCM generation discovering Heston’s work for the first time.