Never before has the renowned author revealed so much about his own life or written with such immediacy about the forces shaping America. 26 halftones.

    In Shit, Actually, Lindy returns to those roots, re-examining beloved and iconic movies from the past 40 years with an eye toward the big questions of our time: Is Twilight the horniest movie in history? Why do the zebras in The Lion King trust Mufasa-WHO IS A LION-to look out for their best interests? Why did anyone bother making any more movies after The Fugitive achieved perfection? And, my god, why don't any of the women in Love, Actually ever fucking talk?!?!From Forrest Gump, Honey I Shrunk the Kids, and Bad Boys II, to Face/Off, Top Gun, and The Notebook, Lindy combines her razor-sharp wit and trademark humor with a genuine adoration for nostalgic trash to shed new critical light on some of our defining cultural touchstones-the stories we've long been telling ourselves about who we are. At once outrageously funny and piercingly incisive, Shit, Actually reminds us to pause and ask, "How does this movie hold up?", all while teaching us how to laugh at the things we love without ever letting them or ourselves off the hook.Shit, Actually is a love letter and a break-up note all in one: to the films that shaped us and the ones that ruined us. More often than not, Lindy finds, they're one and the same.

    This is not the story of Cadel Evans. This is not the story of Alberto Contador, Andy Schleck, or Bradley Wiggins. And it's not even the story of Mark Cavendish. (Although he is in it quite a lot.) This is the story of the lesser-known heroes; the Johnny Hoogerlands, the Thomas Voecklers, the hitchhikers, the maniac press drivers, Norbert Dentressangle and the greatest ever Tour de France*. I was there. And this is what I saw. That is all. In this 20,000-word digital short, ITV's Ned Boulting, author of How I Won the Yellow Jumper, takes an honest and idiosyncratic look at the unforgettable 2011 Tour de France, when Mark Cavendish won the Green Jersey. *probably

    Talking candidly about his entire career; his acting, writing and directing, and the many tussles he has faced with Hollywood moguls, this is Bruce Robinson as you've never seen or heard him before.'The most purely likeable book about cinema I have ever read. Robinson talks about his profession in a way that is astonishingly clear-headed, funny and wise' David Hare, Guardian, Books of the Year

    Voted an "outstanding academic book" by Choice, and winner of the Presidential Book Award from the American Association for Italian Studies, this classic book on Italian films and filmmakers has now been revised and brought completely up-to-date.

    In the book he argues that a new, expanded cinema is required for a new consciousness. He describes various types of filmmaking utilising new technology, including film special effects, computer art, video art, multi-media environments and holography." - wikipedia

    Producer Michael Deeley, an urbane Englishman in Hollywood, had to fight wars to get these movies made, from defending the legendary sex scene of Don't Look Now from a disapproving Warren Beatty to seizing control of Convoy from a cocaine-ridden Sam Peckinpah. This is a no-holds-barred look at the true stories behind some of the greatest cult movies ever made.

    But before you can screen your short film, you need to shoot it. And before you can shoot it, you need to write it. The Short Screenplay provides both beginning and experienced screenwriters with all the guidance they need to write compelling, filmable short screenplays. Explore how to develop characters that an audience can identify with. How to create a narrative structure that fits a short time frame but still engages the audience. How to write dialogue that's concise and memorable. How to develop story ideas from concept through final draft. All this and much more is covered in a unique conversational style that reads more like a novel than a "how-to" book. The book wraps up with a discussion of the role of the screenplay in the production process and with some helpful (and entertaining) sample scripts. This is the only guide you'll ever need to make your short film a reality!

    Year-by-year, project-by-project, the studio’s founding and meteoric growth are described through detailed personal stories, anecdotes, and remembrances of noteworthy challenges, breakthrough milestones, and history-making successes. Together, these stories reveal how each of the films evolved into one ongoing cinematic narrative, as coauthors Tara Bennett and Paul Terry (The Official Making of Big Trouble in Little China, 2017) chart the complete production history of The Infinity Saga’s 23 movies (from 2008’s Iron Man all the way up to, and including, 2019’s Avengers: Endgame and Spider-Man: Far From Home).Bennett and Terry were granted unprecedented access to Marvel Studios, which led to this years-in-the-making tome containing personal stories from more than 200 interviews, including every Marvel Studios producer; MCU writers and directors; the stars of The Infinity Saga; concept artists, costume designers, composers, and the talents behind the MCU’s dazzling visual effects; and more. Featuring previously unpublished behind-the-scenes photography and archival production material, as well as personal photos and memorabilia from cast and crew, The Story of Marvel Studios is the essential, collectible chronicle of how the Marvel Cinematic Universe was brought to life.• 512 pages chart the entire history-making story of Marvel Studios—from its inception, through Phases One, Two, and Three, and to the dawn of Phase Four• Featuring more than 200 interviews with the studio’s staff, cast, and crew for all 23 movies in The Infinity Saga• Includes more than 500 production photos, plus never-before-seen filmmakers’ archival materials and personal memorabilia from the cast and crew• Deluxe two-volume, foil-stamped cloth hardcover set, featuring exclusive cover art by Ryan Meinerding (Marvel Studios Head of Visual Development)• Metallized reinforced slipcase with exclusive wrap-around MCU concept art montage, featuring art by Adi Granov, Ryan Meinerding, Andy Park, and Charlie Wen• Foreword by Kevin Feige (President of Marvel Studios and Chief Creative Officer of Marvel)• Afterword by Robert Downey Jr. (Tony Stark/Iron Man)

    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.