Thoughtfully curated and expertly researched, this is a book of classical music to keep you company: whoever you are, wherever you're from.'The only requirements for enjoying classical music are open ears and an open mind.' Clemency Burton-HillPlaylists are available on most streaming music platforms including Apple Music.

    Drawing on ethnographic research, including interviews with artists at some of Tokyo's leading animation studios—such as Madhouse, Gonzo, Aniplex, and Studio Ghibli—Condry discusses how anime's fictional characters and worlds become platforms for collaborative creativity. He argues that the global success of Japanese animation has grown out of a collective social energy that operates across industries—including those that produce film, television, manga (comic books), and toys and other licensed merchandise—and connects fans to the creators of anime. For Condry, this collective social energy is the soul of anime.

    Abrams, Director of Star Wars: The Rise of Skywalker"The odds of me ever writing a book were approximately... Oh, never mind. My golden companion worries about such things - I don't. I have indeed now written a book - telling my story, in my voice, not his - recognising that our voices and our stories are inextricably intertwined." When Star Wars burst on to the big screen in 1977, an unfailingly polite golden droid called C-3PO captured imaginations around the globe. But C-3PO wasn't an amazing display of animatronics with a unique and unforgettable voiceover. Inside the metal costume was an actor named Anthony Daniels.In this deeply personal memoir, Anthony Daniels recounts his experiences of the epic cinematic adventure that has influenced pop culture for more than 40 years. For the very first time, he candidly describes his most intimate memories as the only actor to appear in every Star Wars film - from his first meeting with George Lucas to the final, emotional days on the set of Star Wars: The Rise of Skywalker.With a foreword by J.J. Abrams and never-before-seen photography, this book is a nostalgic look back at the Skywalker saga as it comes to a close. I Am C-3PO: The Inside Story reveals Anthony Daniels' vulnerability, how he established his role and what he accomplished, and takes readers on a journey that just happens to start in a galaxy far, far away.

    Creativity, Inc. is a book for managers who want to lead their employees to new heights, a manual for anyone who strives for originality, and the first-ever, all-access trip into the nerve center of Pixar Animation—into the meetings, postmortems, and “Braintrust” sessions where some of the most successful films in history are made. It is, at heart, a book about how to build a creative culture—but it is also, as Pixar co-founder and president Ed Catmull writes, “an expression of the ideas that I believe make the best in us possible.” For nearly twenty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Monsters, Inc., Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner thirty Academy Awards. The joyousness of the storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, in this book, Catmull reveals the ideals and techniques that have made Pixar so widely admired—and so profitable.   As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student at the University of Utah, where many computer science pioneers got their start, and then forged a partnership with George Lucas that led, indirectly, to his founding Pixar with Steve Jobs and John Lasseter in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the thirteen movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on philosophies that protect the creative process and defy convention, such as:   • Give a good idea to a mediocre team, and they will screw it up. But give a mediocre idea to a great team, and they will either fix it or come up with something better. • If you don’t strive to uncover what is unseen and understand its nature, you will be ill prepared to lead. • It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them. • The cost of preventing errors is often far greater than the cost of fixing them. • A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody. • Do not assume that general agreement will lead to change—it takes substantial energy to move a group, even when all are on board.

    Based on more than two hundred personal interviews with both current and former Scientologists--both famous and less well known--and years of archival research, Lawrence Wright uses his extraordinary investigative skills to uncover for us the inner workings of the Church of Scientology: its origins in the imagination of science-fiction writer L. Ron Hubbard; its struggles to find acceptance as a legitimate (and legally acknowledged) religion; its vast, secret campaign to infiltrate the U.S. government; and its dramatic efforts to grow and prevail after the death of Hubbard.At the book's center, two men whom Wright brings vividly to life, showing how they have made Scientology what it is today: The darkly brilliant L. Ron Hubbard--whose restless, expansive mind invented a new religion tailor-made to prosper in the spiritually troubled post-World War II era. And his successor, David Miscavige--tough and driven, with the unenviable task of preserving the church in the face of ongoing scandals and continual legal assaults.We learn about Scientology's esoteric cosmology; about the auditing process that determines an inductee's state of being; about the Bridge to Total Freedom, through which members gain eternal life. We see the ways in which the church pursues celebrities, such as Tom Cruise and John Travolta, and how young idealists who joined the Sea Org, the church's clergy, whose members often enter as children, signing up with a billion-year contract and working with little pay in poor conditions. We meet men and women "disconnected" from friends and family by the church's policy of shunning critical voices. And we discover, through many firsthand stories, the violence that has long permeated the inner sanctum of the church.In Going Clear, Wright examines what fundamentally makes a religion a religion, and whether Scientology is, in fact, deserving of the constitutional protections achieved in its victory over the IRS. Employing all his exceptional journalistic skills of observations, understanding, and synthesis, and his ability to shape a story into a compelling narrative, Lawrence Wright has given us an evenhanded yet keenly incisive book that goes far beyond an immediate exposé and uncovers the very essence of what makes Scientology the institution it is.

    You are missing what is happening in the distance and right in front of you. In reading these words, you are ignoring an unthinkably large amount of information that continues to bombard all of your senses. The hum of the fluorescent lights; the ambient noise in the room; the feeling of the chair against your legs or back; your tongue touching the roof of your mouth; the tension you are holding in your shoulders or jaw; the constant hum of traffic or a distant lawnmower; the blurred view of your own shoulders and torso in your peripheral vision; a chirp of a bug or whine of a kitchen appliance.On Looking begins with inattention. It is not meant to help you focus on your reading of Tolstoy; it is not about how to multitask. Rather, it is about attending to the joys of the unattended, the perceived "ordinary." Horowitz encourages us to rediscover the extraordinary things that we are missing in our ordinary activities. Even when engaged in the simplest of activities - taking a walk around the block - we pay so little attention to most of what is right before us that we are sleepwalkers in our own lives. So turn off the phone and portable electronics and get into the real world, where you'll find there are worlds within worlds within worlds.

    Next he directed four consecutive hit plays, won back-to-back Tonys, ushered in a new era of Hollywood moviemaking with Who's Afraid of Virginia Woolf?, and followed it with The Graduate, which won him an Oscar and became the third-highest-grossing movie ever. At thirty-five, he lived in a three-story Central Park West penthouse, drove a Rolls-Royce, collected Arabian horses, and counted Jacqueline Kennedy, Elizabeth Taylor, Leonard Bernstein, and Richard Avedon as friends.Where he arrived is even more astonishing given where he had begun: born Igor Peschkowsky to a Jewish couple in Berlin in 1931, he and his younger brother were sent to America on a ship in 1939. The young immigrant boy caught very few breaks. He was bullied and ostracized--an allergic reaction had rendered him permanently hairless--and his father died when he was just twelve, leaving his mother alone and overwhelmed.The gulf between these two sets of facts explains a great deal about Nichols's transformation from lonely outsider to the center of more than one cultural universe--the acute powers of observation that first made him famous; the nourishment he drew from his creative partnerships, most enduringly with May; his unquenchable drive; his hunger for security and status; and the depressions and self-medications that brought him to terrible lows. It would take decades for him to come to grips with his demons. In an incomparable portrait that follows Nichols from Berlin to New York to Chicago to Hollywood, Mark Harris explores, with brilliantly vivid detail and insight, the life, work, struggle, and passion of an artist and man in constant motion. Among the 250 people Harris interviewed: Elaine May, Meryl Streep, Stephen Sondheim, Robert Redford, Glenn Close, Tom Hanks, Candice Bergen, Emma Thompson, Annette Bening, Natalie Portman, Julia Roberts, Lorne Michaels, and Gloria Steinem.Mark Harris gives an intimate and evenhanded accounting of success and failure alike; the portrait is not always flattering, but its ultimate impact is to present the full story of one of the most richly interesting, complicated, and consequential figures the worlds of theater and motion pictures have ever seen. It is a triumph of the biographer's art.

    While most people know of the events from the film Gimme Shelter, the whole story has remained buried in varied accounts, rumor, and myth—until now.Altamont explores rock’s darkest day, a fiasco that began well before the climactic death of Meredith Hunter and continued beyond that infamous December night. Joel Selvin probes every aspect of the show—from the Stones’ hastily planned tour preceding the concert to the bad acid that swept through the audience to other deaths that also occurred that evening—to capture the full scope of the tragedy and its aftermath. He also provides an in-depth look at the Grateful Dead’s role in the events leading to Altamont, examining the band’s behind-the-scenes presence in both arranging the show and hiring the Hells Angels as security.The product of twenty years of exhaustive research and dozens of interviews with many key players, including medical staff, Hells Angels members, the stage crew, and the musicians who were there, and featuring sixteen pages of color photos, Altamont is the ultimate account of the final event in rock’s formative and most turbulent decade.

    cartoons but were afraid to ask, this complete and indispensable reference will delight adults, children, and audiences all over the world.

    You'll learn how to structure your visuals as carefully as a writer structures a story or a composer structures music. Understanding visual structure allows you to communicate moods and emotions, and most importantly, reveals the critical relationship between story structure and visual structure.The Visual Story offers a clear view of the relationship between the story/script structure and the visual structure of a film, video, or multimedia work. An understanding of the visual components will serve as the guide to strengthening the overall story. The Visual Story divides what is seen on screen into tangible sections: contrast and affinity, space, line and shape, tone, color, movement, and rhythm. The vocabulary as well as the insight is provided to purposefully control the given components to create the ultimate visual story. For example: know that a saturated yellow will always attract a viewer's eye first; decide to avoid abrupt editing by mastering continuum of movement; and benefit from the suggested list of films to study rhythmic control. The Visual Story shatters the wall between theory and practice, bringing these two aspects of the craft together in an essential connection for all those creating visual stories. Bruce Block has the production credentials to write this definitive guide. His expertise is in demand, and he gives seminars at the American Film Institute, PIXAR Studios, Walt Disney Feature and Television Animation, Dreamworks Animation, Nickelodeon Animation Studios, Industrial Light & Magic and a variety of film schools in Europe.The concepts in this book will benefit writers, directors, photographers, production designers, art directors, and editors who are always confronted by the same visual problems that have faced every picture maker in the past, present, and future.• Now in full color!• Written by a renowned producer, visual consultant, and teacher• The material in this books applies to any kind of visual story, including films, animated pieces, video games, and television

    2001 is a nonverbal experience?. I tried to create a visual experience, one that bypasses verbalized pigeonholing and directly penetrates the subconscious with an emotional and philosophic content.? The philosophy behind Part I borrows from this line of thinking: from the opening sequence of Killer's Kiss to the final frames of Eyes Wide Shut, Kubrick's complete films will be presented chronologically and wordlessly via frame enlargements. A completely nonverbal experience. Part 2: The Creative Process Divided into chapters chronologically by film, Part 2 brings to life the creative process of Kubrick's filmmaking by presenting a remarkable collection of material from his archives, including photographs, props, posters, artwork, set designs, sketches, correspondence, documents, screenplays, drafts, notes, and shooting schedules. Accompanying the visual material are essays by noted Kubrick scholars, articles written by and about Kubrick, and a selection of Kubrick's best interviews. Special features ? Part 1 features 800 film stills scanned directly from the original prints and interpositives ? Part 2 presents about 800 items from the archives, most of which have never been published before ? essays by Kubrick scholars Gene D. Phillips, Michel Ciment, and Rodney Hill ? selected articles and essays, including interviews with and essays by Stanley Kubrick ? illustrated Kubrickchronology ? audio CD featuring a 70-minute 1966 interview of Stanley Kubrick by Jeremy Bernstein **BONUS** ? books in the first print run will each include a twelve-frame film strip from a 70mm print of 2001: A Space Odyssey owned by Stanley Kubrick Made in cooperation with Jan Harlan, Christiane Kubrick, and the Stanley Kubrick Estate. The editor: Alison Castle received a BA in philosophy from Columbia University and an MA in photography and film from New York University (NYU/International Center of Photography masters program). Castle also edited TASCHEN's Some Like it Hot. She lives in Paris, home of the world's best cinemas.

    It is democratic, everchanging and ingenious in its assimilation of other cultures. English runs through the heart of the world of finance, medicine and the Internet, and it is understood by around two thousand million people across the world. It seems set to go on. Yet it was nearly wiped out in its early years.Embracing elements of Latin, French, Spanish, Italian, Portuguese, Arabic, Hindi and Gullah, this 1500-year story covers a huge range of countries and people. The Adventure of English is not only an enthralling story of power, religion and trade, but also the story of people, and how their day-to-day lives shaped and continue to change the extraordinary language that is English.

    Through poetic portraits, Taisia Kitaiskaia and Katy Horan honor the witchy qualities of well-known and obscure authors alike, including Virginia Woolf, Mira Bai, Toni Morrison, Emily Dickinson, Octavia E. Butler, Sandra Cisneros, and many more.Perfect for both book lovers and coven members, Literary Witches is a treasure and a source of inspiration. Kitaiskaia and Horan bring fresh insights on your most beloved authors, suggest enchanting new writers, and invite you to rediscover the magic of literature.

    The result is both a defense of freedom of speech and a critique of the likeability factor that can impede it.

    Spanning two alphabetically arranged volumes, these commentaries reveal how the songs came to be and the people who inspired them: his devoted parents, Mary and Jim; his songwriting partner, John Lennon; his “Golden Earth Girl,” Linda Eastman; his wife, Nancy McCartney; and even Queen Elizabeth, among many others. Here are the origins of “Let It Be,” “Lovely Rita,” “Yesterday,” and “Mull of Kintyre,” as well as McCartney’s literary influences, including Shakespeare, Lewis Carroll, and Alan Durband, his high-school English teacher.With images from McCartney’s personal archives—handwritten texts, paintings, and photographs, hundreds previously unseen—The Lyrics, spanning sixty-four years, becomes the definitive literary and visual record of one of the greatest songwriters of all time.