An honest, revealing self-portrait by the critically acclaimed, fiercely independent actor, discusses his early life, career, world travels, social activism, and profiles of friends, lovers, and professional colleagues.

    His life reads like an adventure story complete with knock down fights, beautiful women and double-fisted excitement on every page. He has hunted jackalopes with Bobby Kennedy and Peter Lawford, had more than his share of his amorous exploits, and formed the greatest on-air team in the history of televised news. Along the way, he hobnobbed with people you wish you knew and some you honestly wish you didn't -- celebrities, presidents, presidents' wives, celebrities' wives, dogs, and, of course Veronica Corningstone, the love of his life. Walter Cronkite, Barbra Streisand, Katie Couric, the list goes on. Who didn’t Mr. Burgundy, or “Ron” as he is known to his friends, rub elbows with in the course of his colorful and often criminal life? This may well be the most thrilling book ever written, by a man of great physical, moral and spiritual strength and not surprisingly a great literary talent as well. This book deserves a real shot at a Pulitzer Prize. In fact if it doesn’t win one then we will finally have proof that the Pulitzer is rigged. Ron Burgundy has taken the time to write a book. We owe it to him, as honest Americans, to read it.

    An anthology devoted entirely to its writings, in English translation, is long overdue.The selections in this volume are drawn from the colorful first decade of Cahiers, 1951-1959, when a group of young iconoclasts rocked the world of film criticism with their provocative views on international cinema--American, Italian, and French in particular. They challenged long-established Anglo-Saxon attitudes by championing American popular movies, addressing genres such as the Western and the thriller and the aesthetics of technological developments like CinemaScope, emphasizing mise en scene as much as thematic content, and assessing the work of individual filmmakers such as Hawks, Hitchcock, and Nicholas Ray in terms of a new theory of the director as author, auteur, a revolutionary concept at the time. Italian film, especially the work of Rossellini, prompted sharp debates about realism that helped shift the focus of critical discussion from content toward style. The critiques of French cinema have special interest because many of the journal's major contributors and theorists--Godard, Truffaut, Rohmer, Rivette, Chabrol--were to become some of France's most important film directors and leaders of the New Wave.Translated under the supervision of the British Film Institute, the selections have for the most part never appeared in English until now. Jim Hillier has organized them into topical groupings and has provided introductions to the parts as well as the whole. Together these essays, reviews, discussions, and polemics reveal the central ideas of the Cahiers of the 1950s not as fixed doctrines but as provocative, productive, often contradictory contributions to crucial debates that were to overturn critical thinking about film.

    Soderbergh's freshman film, sex, lies and videotape, inaugurated a movementin US independent cinema. Lester's freewheeling work in the '60s and '70s (Help!, A Hard Day's Night, The Knack, How I Won the War, Petulia) helped create a 'new wave' of British film-making. Here, the two cineastes discuss their mutual passion for the medium in a frank,funny and free-ranging series of interviews. Also included is Soderbergh's diary of an extraordinary twelve months in which he ventured into 'guerilla film-making' with offbeatprojects Schizopolis and Gray's Anatomy, before returning to the Hollywood fray with the George Clooney hit Out of Sight.

    Just as likely, you soon realised that there was only one career open to you - you'd have to become a film critic.In It's Only a Movie, the incomparable Mark Kermode takes us into the weird world of a life lived in widescreen. Join him as he embarks on a gut-wrenching journey through the former Soviet Union on the trail of the low-budget horror flick Dark Waters, cringe as he's handbagged by Helen Mirren at the BAFTA awards ceremony, cheer as he gets thrown out of the Cannes Film Festival for heckling in very bad French, and don't forget to gasp as he's shot at while interviewing Werner Herzog in the Hollywood Hills. Written with sardonic wit and wry good humour, this compelling cinematic memoir is genuinely 'inspired by real events'.

    Mark Cousins’s chronological journey through the worldwide history of film is told from the point of view of filmmakers and moviegoers. Weaving personalities, film technology, and production with engaging descriptions of groundbreaking scenes, Cousins uses his experience as film historian, producer, and director to capture the shifting trends of movie history. We learn how filmmakers influenced each other; how contemporary events influenced them; how they challenged established techniques and developed new technologies to enhance their medium. Striking images reinforce the reader’s understanding of cinematic innovation, both stylistic and technical. The images reveal astonishing parallels in global filmmaking, thus introducing the less familiar worlds of African, Asian, and Middle Eastern cinema, as well as documenting the fortunes of the best Western directors. The Story of Film presents Silent (1885-1928), Sound (1928-1990), and Digital (1990-present), spanning the birth of the moving image; the establishment of Hollywood; the European avant-garde movements, personal filmmaking; world cinema; and recent phenomena like Computer Generated Imagery and the ever-more “real” realizations of the wildest of imaginations. The Story of Film explores what has today become the world’s most popular artistic medium.

    His profile and reach is lightyears beyond where it was for Chins.Hail to the Chin will be bursting with pictures and the signature humor that Bruce brought to If Chins Could Kill and will be devoured by his legions of fans across the country.

    Every morning, Anjelica and her brother visited their father while he took his breakfast in bed. “What news?” he’d ask. “I’d seen him the night before,” Anjelica recalls. “There wasn’t much to report.” So she became a storyteller.In London, where she lives with her mother and brother in the early sixties when her par­ents separate, Huston encounters the Rolling Stones and Fleetwood Mac. She understudies Marianne Faithfull in Hamlet. Seventeen, striking, precocious, but still young and vulnerable, she is devastated when her mother dies in a car crash.Months later she moves to New York, falls in love with the much older, brilliant but disturbed photographer Bob Richardson, and becomes a model. Living in the Chelsea Hotel, working with Richard Avedon and other photographers, she navigates a volatile relationship and the dynamic cultural epicenter of New York in the seventies.A Story Lately Told ends as Huston launches her Hollywood life. The second part of her story—Watch Me—opens in Los Angeles in 1973 and will be published in Fall 2014. Beguiling and beautifully written, Huston’s memoir is a treasure.

    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.

    Hoberman's masterful and majestic exploration of the Reagan years as seen through the unforgettable movies of the era The third book in a brilliant and ambitious trilogy, celebrated cultural and film critic J.Hoberman's Make My Day is a major new work of film and pop culture history. In it he chronicles the Reagan years, from the waning days of the Watergate scandal when disaster films like Earthquake ruled the box office to the nostalgia of feel-good movies like Rocky and Star Wars, and the delirium of the 1984 presidential campaign and beyond.Bookended by the Bicentennial celebrations and the Iran-Contra affair, the period of Reagan's ascendance brought such movie events as Jaws, Apocalypse Now, Blade Runner, Ghostbusters, Blue Velvet, and Back to the Future, as well as the birth of MTV, the Strategic Defense Initiative, and the Second Cold War.An exploration of the synergy between American politics and popular culture, Make My Day is the concluding volume of Hoberman's Found Illusions trilogy, of which the first volume, The Dream Life, was described by Slate's David Edelstein as "one of the most vital cultural histories I've ever read." Reagan, a supporting player in Hoberman's previous volumes, here takes center stage as the peer of Indiana Jones and John Rambo, the embodiment of a Hollywood that, even then, no longer existed.

    I. PUDOVKIN Translated by IVOR MONTAGU Introduction by LEWIS JACOBS BONANZA BOOKS NEW YORK CONTENTS PAGE CONTENTS FILM TECHNIQUE A separate table of contents for FILM ACTING appears at the beginning of that volume. INTRODUCTION BY LEWIS JACOBS iii INTRODUCTION TO THE GERMAN EDITION . . xiii I. THE FILM SCENARIO AND ITS THEORY FOREWORD 1 PART I. THE SCENARIO .... 3 The meaning of the shooting-script The construction of the scenarioThe theme The action-treatment of the theme Conclusion. PART H. THE PLASTIC MATERIAL . . 26 The simplest specific methods of shooting-Method of treatment of the material struc tural-editing Editing of the scene Editing of the sequence Editing of the Scenario-Editing as an instrument of impression rela tional editing. II. FILM DIRECTOR AND FILM MATERIAL PART I. THE PECULIARITIES OF FILM MATERIAL 51 The film and the theatre The methods of the film Film and reality Filmic space and time The material of films Analysis Editing the logic of filmic analysis The necessity to interfere with movement Organisation of the material to be shot Arranging setups The organisation of chance material Filmic form The technique of directorial work. PART H. THE DIRECTOR AND THE SCENARIO 93 The director and the scenarist The environ ment of the film-The characters in the envir iv uUC aiY MO. 7158987 PAGE onment The establishment of the rhythm of the film. PABT III. THE DIRECTOR AND THE ACTOR 105 Two kinds of production The film actor and the film type Planning the acting of the film type The ensemble Expressive movement-Expressive objects The director as creator of the ensemble. PART IV. THE ACTOR IN THE FRAME . 118 The actor and the filmic image The actor and light. PART V. THE DIRECTOR AND THE CAMERA MAN 120 The cameraman and the camera The camera and its viewpoint The shooting of movement The camera compels the spectator to see as the director wishes The shaping of the com position-The laboratory-Collectivism the basis of film-work. III. TYPES INSTEAD OF ACTORS . 137 IV. CLOSE-UPS IN TIME 146 V. ASYNCHRONISM AS A PRINCIPLE OF SOUND FILM 155 VL RHYTHMIC PROBLEMS IN MY FIRST SOUND FILM 166 VII. NOTES AND APPENDICES A. GLOSSARIAL NOTES . 175 B. SPECIAL NOTES 180 C. ICONOGRAPHY OF PUDOVKINs WORKS . 192 D. INDEX OF NAMES .... 196 The numerals in the text refer to Appendix B. INTRODUCTION THERE are few experiences more important in the education of a newcomer to motion pic tures than the discovery of V. I. Pudovkins Film Technique and Film Acting. No more valuable manuals of the practice and theory of film making have been written than these two handbooks by the notable Soviet director. So sound are their points of view, so valid their tenets, so revelatory their analyses, that they remain today, twenty years after their initial appear ance, the foremost books of their kind. First published abroad in 1929 and 1933 respectively, Film Technique and Film Acting brought to the art of film making a code of principles and a rationale that marked the mediums analytic coming of age. Until their publication, the motion picture maker had to eke out on his own any intellectual or artistic considera tions of film craft. No explicit body of principles existed upon which the film maker could draw with confidence. Film technique was a more or less hit or miss affair that existed in a kind of fragmentary state which, in the main, leaned heavily upon theatrical methods. These pioneering books made clear at once that movie making need no longer flounder for a methodol ogy or for its own standards. They elucidated what iv FILM TECHNIQUE AND FILM ACTING were the fundamentals of film art and defined the singular process of expression that distinguished it from all other media. Now film theory and practice could be attacked with greater assurance and efficiency...

    Alexander 'Sandy' Mackendrick directed classic Ealing comedies plus a Hollywood masterpiece, Sweet Smell of Success. But after retiring from film-making in 1969, he then spent nearly 25 years teaching his craft at the California Institute of the Arts in Los Angeles.Mackendrick produced hundreds of pages of masterly handouts and sketches, designed to guide his students to a finer understanding of how to write a story, and then use those devices peculiar to cinema in order to tell that story as effectively as possible. Gathered and edited in this collection, Mackendrick's teachings reveal that he had the talent not only to make great films, but also to articulate the process with a clarity and insight that will still inspire any aspirant film-maker.

    Randy Taraborrelli comes the definitive biography of the most enduring icon in popular American culture. When Marilyn Monroe became famous in the 1950s, the world was told that her mother was either dead or simply not a part of her life. However, that was not true. In fact, her mentally ill mother was very much present in Marilyn's world and the complex family dynamic that unfolded behind the scenes is a story that has never before been told...until now. In this groundbreaking book, Taraborrelli draws complex and sympathetic portraits of the women so influential in the actress' life, including her mother, her foster mother, and her legal guardian. He also reveals, for the first time, the shocking scope of Marilyn's own mental illness, the identity of Marilyn's father and the half-brother she never knew, and new information about her relationship with the Kennedy's-Bobby, Jack, and Pat Kennedy Lawford. Explosive, revelatory, and surprisingly moving, this is the final word on the life of one of the most fascinating and elusive icons of the 20th Century.

    This version of the Beatles legend smoothed the rough edges and filled in the fault lines, and for more than forty years this manicured version of the Beatles story has sustained as truth - until now.The product of almost a decade of research, hundreds of unprecedented interviews, and the discovery of scores of never-before-revealed documents, Bob Spitz's The Beatles is the biography fans have been waiting for -- a vast, complete account as brilliant and joyous and revelatory as a Beatles record itself. Spitz begins in Liverpool, a hard city knocked on its heels. In the housing projects and school playgrounds, four boys would discover themselves -- and via late-night radio broadcasts, a new form of music called rock 'n roll.Never before has a biography of musicians been so immersive and textured. Spitz takes us down Penny Lane and to Strawberry Field (John later added the s), to Hamburg, Germany, where -- amid the squalor and the violence and the pep pills -- the Beatles truly became the Beatles. We are there in the McCartney living room when Paul and John learn to write songs together; in the heat of Liverpool's Cavern Club, where jazz has been the norm before the Beatles show up; backstage the night Ringo takes over on drums; in seedy German strip clubs where George lies about his age so the band can perform; on the lonely tours through frigid Scottish towns before the breakthrough; at Abbey Road Studios, where a young producer named George Martin takes them under his wing; at the Ed Sullivan Show as America discovers the joy and the madness; and onward and upward: up the charts, from Shea to San Francisco, through the London night, on to India, through marmalade skies, across the universe...all the way to a rooftop concert and one last moment of laughter and music.It is all here, raw and right: the highs and the lows, the love and the rivalry, the awe and the jealousy, the drugs, the tears, the thrill, the magic never again to be repeated. Open this book and begin to read -- Bob Spitz's masterpiece is, at long last, the biography the Beatles deserve.

    Christopher Frayling's biography of Sergio Leone lovingly explores his body of work, and casts light upon the previously little-known details of his life. Sergio Leone was born into movies, his father a popular director of the silent era. Obsessed by the illusory worlds of cinema and theatre, captivated by the myths of the American West, young Sergio embarked on a fabulous career of his own. He made an icon out of the initially reluctant Clint Eastwood, and dallied with the Hollywood studio system, but always stuck to his guns: the gangster epic Once Upon A Time In America consumed 15 years of his life. But Leone's passion made for extraordinary cinema: a widely-adored collection of films, about which Christopher Frayling provides an unprecedented wealth of extensively-researched analysis and anecdotage. In this revealing biography Christopher Frayling, the widely-acclaimed author of The Yellow Peril explores the life of Sergio Leone, the world-renowned director of the Good, the Bad and the Ugly, A Fist full of Dollars, Once Upon A Time in the West and Once Upon A Time in America.