This engaging and beautiful book includes the complete Academy Award-winning script and Thompson's own diaries detailing the production of the film, reviewed by Stanley Kauffmann in The New Republic as "vivid, funny, and gamy"

    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.

    Veteran reporters Nancy Griffin and Kim Masters chronicle the rise of Jon Peters, a former hairdresser, seventh-grade dropout, and juvenile delinquent, and his soulless soul mate, Peter Guber -- and all the sex, drugs, and fistfights along the way. It is the story of the ultimate Hollywood con job and the standard by which every subsequent business blunder has been measured. Hit and Run delivers rock-solid business reporting liberally laced with inside gossip and outrageous scandal -- plus a new afterword bringing us up to date on the latest fallout from the Guber-Peters legacy.

    Take the smartest, liveliest writers in contemporary letters and let them loose on the most vital and popular corners of cinema history: midnight movies, the New Hollywood of the sixties and seventies, film noir, screwball comedies, international cult classics, and more. Passionate and idiosyncratic, each volume of Deep Focus is long-form criticism that's relentlessly provocative and entertaining.Kicking off the series is Jonathan Lethem's take on They Live, John Carpenter's 1988 classic amalgam of deliberate B-movie, sci-fi, horror, anti-Yuppie agitprop. Lethem exfoliates Carpenter's paranoid satire in a series of penetrating, free-associational forays into the context of a story that peels the human masks off the ghoulish overlords of capitalism. His field of reference spans classic Hollywood cinema and science fiction, as well as popular music and contemporary art and theory. Taking into consideration the work of Barbara Kruger, Jenny Holzer, James Brown, Fredric Jameson, Shepard Fairey, Philip K. Dick, Alfred Hitchcock, and Edgar Allan Poe, not to mention the role of wrestlers—including They Live star “Rowdy" Roddy Piper—in contemporary culture, Lethem's They Live provides a wholly original perspective on Carpenter's subversive classic.

    Bringing together the rarest art and artifacts from three decades of TMNT comics, TV shows, and films, Teenage Mutant Ninja Turtles: The Ultimate Visual History leaves no shell unturned!

    How could it lose? But instead Salamon got a front-row seat at the Hollywood disaster of the decade. She shadowed the film from its early stages through the last of the eviscerating reviews, and met everyone from the actors to the technicians to the studio executives. They'd all signed on for a blockbuster, but there was a sense of impending doom from the start--heart-of-gold characters replaced Wolfe's satiric creations; affable Tom Hanks was cast as the patrician heel; Melanie Griffith appeared mid-shoot with new, bigger breasts. With a keen eye and ear, Salamon shows us how the best of intentions turned into a legendary Hollywood debacle.The Devil's Candy joins John Gregory Dunne's The Studio, Steven Bach's Final Cut, and William Goldman's Adventures in the Screen Trade as a classic for anyone interested in the workings of Hollywood. With a new afterword profiling De Palma ten years after the movie's devastating flop (and this book's best-selling publication), Julie Salamon has created a riveting insider's portrait of an industry where art, talent, ego, and money combine and clash on a monumental scale.

    He never went to film school or studied cinema. And he spent most of his incredible career in the Midwest, far from the Hollywood Hills.John Hughes was indeed one of the most prolific and successful filmmakers in Hollywood history. He helped launch the careers of Andrew McCarthy, Molly Ringwald, Anthony Michael Hall, Macaulay Culkin, and Judd Nelson. He made John Candy a household name.In this first illustrated tribute to the legendary filmmaker, author Kirk Honeycutt offers a behind-the-scenes look at the genius that was John Hughes--from his humble beginnings in direct mail to his blockbuster success with classics like Pretty in Pink, Sixteen Candles, Weird Science, and Home Alone. Honeycutt also explores the darker side of John Hughes: his extreme sensitivity, his stormy professional relationships, and the devastation Hughes experienced after the death of his closest friend, John Candy.Featuring fresh interviews with Matthew Broderick, Ally Sheedy, Judd Nelson, Steve Martin, and Jon Cryer, and a foreword from Home Alone director Chris Columbus, this is the must-read for fans of John Hughes."This biography is a fascinating portrait of a brilliant, complex, and wonderful man. John Hughes forever transformed my world, and I am grateful for such a wonderful tribute." - Ally Sheedy"John Hughes always treated me with respect and consideration, and was most generous with his insight. As a result of Mr. Honeycutt's detailed research, we learn John Hughes the person was even more impressive than John Hughes the writer/director. Reading this book was a bittersweet experience, making me feel the size of the loss of his premature passing. But it also confirmed for me that John Hughes was a giant, and under his great shadow I am fortunate to remain." - Judd Nelson

    New in this edition are entries to describe such film hits as "Lord of the Rings", "Mystic River", "Fahrenheit 9/11", and "Million Dollar Baby". But in fact, this volume's team of critics goes back to 1902, describing such films as "The Great Train Robbery", and progressing chronologically across the decades to cover the best cinematic dramas, comedies, westerns, musicals, suspense and horror films, gangster classics, "films noirs", sci-fi epics, documentaries, and adaptations of novels and stage plays made by filmmakers around the world. Movie fans will find descriptions of great musicals like "Singing in the Rain", westerns like "High Noon", science-fiction classics like "Star Wars", dramas like "Chinatown" and "Schindler's List", and international classics from master directors who include Fellini, Antonioni, Resnais, Truffaut, Eisenstein, Kurosawa, and many others.Each entry includes a full list of cast and credits, awards won by the film, an essay summarizing the story line and screen-history, and still shots of the film's memorable scenes. At the back of the book, both an alphabetical index and a genre index will help readers find any film they're looking for. The book is illustrated with hundreds of movie still shots in color and black and white.

    Shot on a shoe-string budget of $175,000 in black-and-white 16mm, the film was made with Spike Lee's persistence and talent plus the help of family and friends. It grossed $8 million at the box office and proved to be a major hit with both critics and audiences. Now Spike Lee reveals how he did it, mapping out the entire creative and production processes-from early notebook jottings to film festival awards. Spike Lee's Gotta Have It is a unique document in film literature - it's funny, absorbing, and fresh as the hit film itself.

    Now, James Monaco offers a revised and rewritten third edition incorporating every major aspect of this dynamic medium right up to the present.Looking at film from many vantage points, How to Read a Film: Movies, Media, Multimedia explores the medium as both art and craft, sensibility and science, tradition and technology. After examining film's close relation to such other narrative media as the novel, painting, photography, television, and even music, Monaco discusses those elements necessary to understand how films convey meaning and, more importantly, how we can best discern all that a film is attempting to communicate.In a key departure from the book's previous editions, the new and still-evolving digital context of film is now emphasized throughout How to Read a Film. A new chapter on multimedia brings media criticism into the twenty-first century with a thorough discussion of topics like virtual reality, cyberspace, and the proximity of both to film. Monaco has likewise doubled the size and scope of his Film and Media: A Chronology appendix. The book also features a new introduction, an expanded bibliography, and hundreds of illustrative black-and-white film stills and diagrams. It is a must for all film students, media buffs, and movie fans.

    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 book serves as an interactive bucket list of films for children ages 8 and up to watch before they grow up. 101 Movies to See Before You Grow Up goes beyond mainstream films. From modern flicks to classic films, the list offers a wide selection of "must see" movies. The book is divided into categories and acts as an interactive film journal where kids can document when they see the movie, if they liked it, and how they would rate it. Each page focuses on a single movie with basic information about each film, including the director, runtime, rating, and date of release. There is also a "Film Critic" section at the bottom of each page that allows young movie buffs to write in their own opinions and observations about the movie. 101 Movies to See Before You Grow Up is the perfect handbook for movie-lovers of all ages, helping both kids and parents choose classic and contemporary movies appropriate for the entire family."101 Movies' takes you on an infectiously fun and informative journey through the best of our movie history. Trust Suzette Valle to highlight films for entertainment value and good taste - worth having in every room in the house!" -- Sharon Waxman, Founder & Editor-in-Chief, TheWrap"In a world of too much media and too little family time, Suzette Valle's book has great movie choices that bring families closer." - Nell Minow aka "Movie Mom"

    Hart, and produced by Richard Barton Lewis. It has been called an up-to-date reworking of the Oliver Twist story by Charles Dickens.

    It has been celebrated for its beauty and mystery, its realistic depiction of space travel and dazzling display of visual effects, the breathtaking scope of its story, which reaches across millions of years, and the thought-provoking depth of its meditation on evolution, technology and humanity's encounters with the unknown. 2001 has been described as the most expensive avant-garde movie ever made and as a psychedelic trip, a unique expression of the spirit of the 1960s and as a timeless masterpiece. Peter Krämer's insightful study explores the complex origins of the film, the unique shape it took and the extraordinary impact it made on contemporary audiences. Drawing on new research in the Stanley Kubrick Archive at the University of the Arts London, Krämer challenges many of the widely-held assumptions about the film. He argues that 2001 was Kubrick's attempt to counter the deep pessimism of his previous film, Dr Strangelove (1964), which culminates in the explosion of a nuclear 'doomsday' device, with a more hopeful vision of humanity's future, facilitated by the intervention of mysterious extra-terrestrial artifacts. This study traces the project's development from the first letter Kubrick wrote to his future collaborator Arthur C. Clarke in March 1964 all the way to the dramatic changes Kubrick made to the film shortly before its release by MGM in April 1968. Krämer shows that, despite – or, perhaps, because of – Kubrick's daring last-minute decision to turn the film itself into a mysterious artifact, 2001 was an instant success with both critics and general audiences, and has exerted enormous influence over Hollywood's output of science fiction movies ever since. The book argues that 2001 invites us to enjoy and contemplate its sounds and images over and over again, and, if we are so inclined, to take away from it an important message of hope.