Winner of Best Non-Fiction for 2002 Award from the Los Angeles Times Book Review! Samuel Fuller was one of the most prolific and independent writer-director-producers in Hollywood. His 29 tough, gritty films made from 1949 to 1989 set out to capture the truth of war, racism and human frailties, and incorporate some of his own experiences. His film Park Row was inspired by his years in the New York newspaper business, where his beat included murders, suicides, state executions and race riots. He writes about hitchhiking across the country at the height of the Great Depression. His years in the army in World War II are captured in his hugely successful pictures The Big Red One, The Steel Helmet and Merrill's Marauders . Fuller's other films include Pickup on South Street; Underworld U.S.A., a movie that shows how gangsters in the 1960s were seen as "respected" tax-paying executives; Shock Corridor, which exposed the conditions in mental institutions; and White Dog, written in collaboration with Curtis Hanson ( L.A. Confidential ), a film so controversial that Paramount's then studio heads Jeffrey Katzenberg and Michael Eisner refused to release it. In addition to his work in film, Samuel Fuller (1911-1997) wrote eleven novels. He lived in Los Angeles with his wife and their daughter. A Third Face was completed by Jerome Henry Rudes, Fuller's longtime friend, and his wife, Christa Lang Fuller. "Fuller wasn't one for tactful understatement and his hot-blooded, incident-packed autobiography is accordingly blunt ... A Third Face is a grand, lively, rambunctious memoir." Janet Maslin, The New York Times; "Fuller's last work is a joy and an important addition to film and popular culture literature." Publishers Weekly; "If you don't like the films of Sam Fuller, then you just don't like cinema." Martin Scorsese, from the book's introduction

    The Hollywood legend talks about her four marriages, her leading men, her feud with a well-known co-star, her longing to have a child, and her favorite roles.

    It is a profound and utterly convincing portrait of a man whose career and life has been devoted to the manipulation of imagesand the story of how, at the age of 71, he tries to divest himself of illusions and make peace with his demons and his past.

    From childhood reminisces and 'what might have been' to keeping abreast of the ever-changing times. From senior moments, memory and getting to grips with technology to the joys and frustrations travel, work and play. Along with all of this he tells of the intense happiness of family life and enduring friendships, as well as the deep sadness of losing those he has loved.Featuring his own line illustrations, this book is a portrait of Sir Roger at his most open and forthright. The true stories and situations he shares in this warm and intimate book reveal a 'Bond Unbound', the human being inside the legendary character that made him so famous the world over. Life afirming and beautifully captured this is a definitive homage to a remarkable man.

    François Truffaut called him “an infallible filmmaker . . . Renoir has succeeded in creating the most alive films in the history of cinema, films which still breathe forty years after they were made.” In this book, Jean Renoir(1894-1979)presents his world, from his father’s Montemarte studio to his own travels in Paris, Hollywood, and India. Here are tantalizing secrets about his greatest films—The Rules of the Game, The Grand Illusion, The River, A Day in the Country, La Bête Humaine, Toni. But most of all, Renoir shows us himself: a man if dazzling simplicity, immense creativity, and profound humanity.

    Polanski would go on to become one of the best and most infamous directors in Hollywood’s history, with a list of achievements that includes Repulsion, Rosemary’s Baby, Macbeth, Chinatown, Tess, Frantic, and more recently, the Golden Globe- and Oscar-winning The Pianist.Yet the most dramatic story has unfolded within his own personal life: in August 1969, his pregnant wife Sharon Tate and seven of their friends were butchered by the Manson family. Polanski was in London at the time. Eight years later he was arrested by L.A. police on charges of drugging and raping a 13-year-old girl in Jack Nicholson’s home. Polanski fled the country and has since lived in exile in Paris.The director is currently filming Oliver Twist and promises to follow it with his version of the Tate killings. Both projects, dealing with child exploitation and murder, can only fuel the controversy that surrounds him. This biography is timed to coincide with the release of the movies, and will be the first opportunity to read about this talented yet wildly excessive personality in such depth for over fourteen years.

    Dangerous Men takes a close look at the images of manhood during this pre-Code era, which coincided with an interesting time for men-the culmination of a generation-long transformation in the masculine ideal. By the late twenties, the tumult of a new century had made the nineteenth century's notion of the ideal man seem like a repressed stuffed shirt, a deluded optimist. The smiling, confident hero of just a few years before fell out of favor, and the new heroes who emerged were gangsters, opportunists, sleazy businessmen, shifty lawyers, shell-shocked soldiers-men whose existence threatened the status quo. In this book, LaSalle highlights such household names as James Cagney, Clark Gable, Edward G. Robinson, Maurice Chevalier, Spencer Tracy, and Gary Cooper, along with lesser-known ones such as Richard Barthelmess, Lee Tracy, Robert Montgomery, and the magnificent Warren William. Together they represent a vision of manhood more exuberant and contentious-and more humane-than anything that has followed on the American screen.

    I explain how and possibly why.” These are the words that began the detailed essay now known as “The Pixar Theory,” which came out way back in 2013. It collected over 10 million views on Jon’s blog alone, and was syndicated on Buzzfeed, Mashable, Huffpost, Entertainment Weekly, and more – generating over 100 million impressions and now translated into a dozen languages. Now, these thoughts and ideas first written by Jon Negroni have been fully realized inside this book, aptly named The Pixar Theory. In this book, you’ll find an analysis of every single Pixar movie to date and how it tells a hidden story lurking behind these classic movies. You’ll learn about how the toys of Toy Story secretly owe their existence to the events of The Incredibles. You’ll learn about what truly happened to the civilization of cars from Cars before the events of WALL-E. And of course, you’ll find out the possible truth for why “Boo” of Monsters Inc. is the most important Pixar character yet. Welcome to the Pixar Theory. Don’t forget to fasten your imagination.

    The then father of four and Sydney Harbour Bridge rigger from Granville did it as a dare, but when the network's switchboard lit up, he was invited back. So popular was he with viewers, Hogan became a regular on Mike Willesee's A Current Affair. The rest, as they say, is history. In collaboration with his business partner and best friend John Cornell (who played his sidekick, Strop), he went on to become Australia's favourite TV comedian. His hugely popular comedy shows and appearances in unforgettable and ground-breaking ads for cigarettes, beer and tourism, came to personify Australia and Australians here and overseas, helping to change the perception of who we are as people and as a nation.Then, in 1986, Crocodile Dundee, the movie he conceived, co-wrote and starred in, became an international smash, grossing more than a billion dollars in today's money and earning its star an Oscar nomination. Despite the fact Hoges claimed to be 'retired', many more movies followed, including Crocodile Dundee II, Lightning Jack, Almost an Angel and Charlie & Boots. But even as his star rose ever higher, he always expected someone to grab him by the arm and say, 'What are you doing here? You're just a bloody rigger!'The Tap Dancing Knife Thrower is a funny and candid account of the astonishing life of 'one lucky bastard', as Hoges describes himself. Full of countless stories never previously shared and told in the comedian's inimitable, funny and self-deprecating style, The Tap Dancing Knife Thrower is Paul Hogan's story told his way - 'without the boring bits'.

    It traces the development of film from its scientific origins through to cinema today, covering the key elements and players that have contributed to its artistic and technical development.

    The author recalls the '50s, when the invasion of movie houses by monsters became a national youth craze. 140 photos.

    The film united Britain's leading actor, Laurence Olivier, with Hollywood's most glamorous sex symbol, Marilyn Monroe - and clashes between them entered film legend.For one glorious week, the world's biggest star sought comfort in the arms of the set's most junior employee. This is the frank, fresh and comic story of how Clark came to share Monroe's confidences - and her bed!This edition combines Colin Clark’s acclaimed 'The Prince, the Showgirl and Me' (191995) and his 'My Week with Marilyn' (2005).'More illuminating than the millions of words and pictures pumped out to expose or dish the dirt on the Monroe legend.' - Sunday TelegraphClark’s extraordinary experiences on and off set have now been turned into a major film starring Michelle Williams, Eddie Redmayne, Judi Dench, Emma Watson, Kenneth Branagh and Dominic Cooper.

    Biskind began as a radical journalist and film critic, excavating the likes of Rocky and Thunderbolt and Lightfoot for their hidden political subtexts in small lefty rags. Now he can legitimately describe himself - as he does in his autobiographical introduction to this book - as a "recovering celebrity journalist."" The ghosts of McCarthyism and the blacklist haunt Gods and Monsters as do the casualties of the counterculture and the New Hollywood. At the heart of the book are the likes of Martin Scorsese, Robert Redford, Terrence Malick, Sue Mengers, and uber-producer Don Simpson, all of whom Biskind portrays in great Dickensian detail, charting how they have had a simultaneously strangulating and liberating effect on the industry.

    And most of his leading ladies—among them, Ingrid Bergman, Jennifer Jones, Audrey Hepburn, Sophia Loren, and Ava Gardner—would not disagree. Irreverent, candid, refreshingly honest, Lynn Haney's carefully researched biography not only charts the remarkable career of the Oscar-winning star but also plumbs Peck's frequently troubling complexity in his off-screen roles as husband, father, lover, and son. About the tough times, Haney minces no words; but the misfortunes by no means eclipse the energy, intensity, and excitement that characterized Peck's five decades of moviemaking. This is a book filled with telling photographs, and a story cast with movie moguls from Louis B. Mayer to Darryl Zanuck, with directors from Hitchcock and Walsh to Huston and Wyler, with nearly every major luminary in Hollywood, and, starring for the first time in toto, Gregory Peck.

    Glamour and decadence thrived beside abject poverty, and the German capital’s outpouring of literature, fashion, and film marked it as the most vital European metropolis. As young women of this era, Dietrich and Riefenstahl lived so close to each other that Riefenstahl could see into Dietrich’s apartment from the roof of her building. Both women seized upon the revolutionary energy of the 1920s, seeking careers on the stage and in film.In 1929, filmmakers were casting what would become the iconic role of Lola-Lola (who made "Falling in Love Again" a sensation) in the groundbreaking sound film The Blue Angel. Riefenstahl—whose work in her "mountain films" had already made her a national emblem for the athletic rigor and spirited independence of the New Woman—hoped for the part but didn’t get it. Only a few years later she became the official filmmaker of the Third Reich. Dietrich, however, won the role and the adoration of millions when she moved to Hollywood and redefined the "vixen" for a new era.While Dietrich's slender and androgynous beauty made her a fashion icon whose influence can be seen to this day, Riefenstahl’s own iconography is no less indelible. With her work on two of the most notorious—if artistically sophisticated—propaganda films of all time—Triumph of the Will and Olympia—Riefenstahl was a progenitor of fascist symbolism. After the war she proclaimed her ignorance of Hitler’s motives, but she could never completely distance herself from her Nazi collaboration. Dietrich vehemently condemned Hitler during World War II and found a renewed sense of purpose touring with the USO, but as a result she could never comfortably return to her native Germany.Both women were "prodigies of will, discipline, endurance, self-reinvention, and exaltation of the body in all its muscular, androgynous, pose-striking pagan glory" (James Wolcott), and both had their grand passions, but neither abandoned ambition for the sake of love. As award-winning biographer Karin Wieland shows, in their later years, both women grappled with controlling their image—Riefenstahl by pursuing an additional career in photography, and Dietrich by eventually hiding at home as her famous beauty was ravaged by time.Skillfully juxtaposing these two fascinating lives, Wieland brings to vivid life a time of international upheaval, chronicling radical evolutions of politics, fame, and femininity on a grand stage. Examining the moral responsibility of the artist, Wieland poses questions as deeply relevant to our century as to the last. A magisterial portrait of two diverging but lasting images of the modern woman, Dietrich & Riefenstahl is "a superb" (Die Zeit) panorama of the twentieth century.