His career spanned a lifetime, but for years he has remained hidden behind the persona he so vigorously generated, and so fiercely protected. Now, in this surprising, illuminating, and compulsively readable biography, we are taken beyond the icon, into the extraordinary, singular life of Sammy Davis, Jr. In scrupulous detail and with stunning powers of evocation, Wil Haygood takes us back to the era of vaudeville, where it all began for four-year-old Sammy who ran out onstage one night and stole the show. From then on it was a motherless childhood on the road, singing and dancing his way across a segregated America with his father and the formidable showman Will Mastin, struggling together to survive the Depression and the demise of vaudeville itself. With an ambition honed by poverty and an obsessive need for applause, Sammy drove his way into the nightclub circuit of the 1940s and 1950s, when, his father and Mastin aging and out of style, he slowly began to make a name for himself, hustling his way to top billing and eventually to recording contracts. From there, he was to stake his claim on Broadway, in Hollywood, and, of course, in Las Vegas. Haygood brings Sammy’s showbiz life into full relief against the backdrop of an America in the throes of racial change. Sammy grew up trapped between the worlds of blacks and whites, with so much invested in both. He made his living entertaining white people but was often denied service in the very venues he played. Drafted into a newly integrated U.S. Army in the 1940s, he saw up close the fierce tensions that seethed below the surface. Dragged into the civil rights movement, he witnessed a hatred that often erupted into violence. In his broad and varied friendships and alliances (with Frank Sinatra; Martin Luther King, Jr.; Richard Nixon; Sidney Poitier; Marilyn Monroe, to name just a few), not to mention his romances (his relationship with Kim Novak and his marriage to the blond beauty May Britt drew death threats), he forged uncharted paths across racial lines. Admired and reviled by both blacks and whites, he was tormented all his life by raging insecurities, and never quite came to terms with his own skin. Ultimately, his only true sense of his identity was as a performer.Based on painstaking research and more than 250 interviews, Wil Haygood brings us a sweeping and vivid cultural history of the twentieth century, chronicling black entertainment from its beginnings and the birth of popular culture as we know it. In Black and White transcends simple biography to become an important record, both celebratory and elegiacal, of a vanished America and its greatest entertainer.

    This edition features a new and expanded colour section, completely updated DVD information, and several brand new reviews of Takashi Miike films that were unavailable for coverage at the time of the book's initial production.

    Lynch's films delve into the subjective consciousness of his characters to reveal both the depraved darkness and luminous spirituality of human nature. From his experimental shorts of the 1960s to feature films like Eraserhead, The Elephant Man, Blue Velvet, Mulholland Drive, and INLAND EMPIRE, Lynch has pushed the boundaries of cinematic storytelling. In David Lynch: Beautiful Dark, author Greg Olson explores the surreal intricacies of the director's unique visual and visceral style not only in his full-length films but also his early forays into painting and short films, as well as his television landmark, Twin Peaks. This in-depth exploration is the first full-length work to analyze the intimate symbiosis between Lynch's life experience and artistic expressions: from the small-town child to the teenage painter to the 60-year-old Internet and digital media experimenter. To fully delineate the director's life and art, Olson received unprecedented participation from Lynch, his parents, siblings, old school friends, romantic partners, children, and decades of professional colleagues, as well as on-set access to the director during the production of Twin Peaks: Fire Walk with Me. Throughout this study, Olson provides thorough analyses of the filmmaker's works as Lynch conceived, crafted, and completed them. Consequently, David Lynch: Beautiful Dark is the definitive study of one of the most influential and idiosyncratic directors of the last four decades.

    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.

    From Billy Wilder, Douglas Sirk, Robert Aldrich, and Howard Hawkes to Martin Scorsese, Roman Polanski, and Paul Schrader, the noir themes of dread, paranoia, steamy sex, double-crossing women, and menacing cityscapes have held a fascination. The features that make Burt Lancaster, Joan Crawford, Robert Mitchum, and Humphrey Bogart into noir heroes and heroines are carefully detailed here, as well as those camera angles, lighting effects, and story lines that characterize Fritz Lang, Samuel Fuller, and Orson Welles as noir directors.For the current rediscovery of film noir, this comprehensive history with its list of credits to 112 outstanding films and its many illustrations will be a valuable reference and a source of inspiration for further research.

    . . . The material interestingly helps clarify Fellini's film work, and his fans will enjoy this stimulating and intellectual 'biography.'"--Library JournalOne of the greatest Italian filmmakers, Federico Fellini (1920-1993) created such masterpieces as La Strada, La Dolce Vita, 8 1/2, Juliet of the Spirits, Satyricon, and Amarcord. His prodigious body of work evokes Pirandello, existentialism, "the silence of God," as well as show business. Critics have accused him of being a charlatan, hypocrite, clown, and demon, and have hailed him as a magician, poet, genius, and prophet. Fellini on Fellini is a fascinating collection of his articles, interviews, essays, reminiscences, and table talk, carefully arranged to chart the progress of his life and work. There are boyhood memories of his hometown, Remini, and his highly improbable beginnings as a scriptwriter for Rossellini; letters to Jesuit priests and Marxist critics defending his first international success, La Strada; anecdotes and revelations about the making of La Dolca Vita, 8 1/2, and The Clowns; and insights into all aspects of filmmaking. Here, Fellini reveals, as no one else can, a rich digest of his brilliant and controversial career.

    During their journey to realize their dream, they encountered unprecedented challenges and regularly took the difficult way out.For the first time ever, the story of how these two young filmmakers struck lightning is being told by those who witnessed it. We Don’t Need Roads includes original interviews with Zemeckis, Gale, Christopher Lloyd, Lea Thompson, Huey Lewis, and over fifty others who contributed to one of the most popular and profitable film trilogies of all time.With a focus not only on the movies, but also the lasting impact of the franchise and its fandom, We Don’t Need Roads is the ultimate read for anyone who has ever wanted to ride a Hoverboard, hang from the top of a clock tower, travel through the space-time continuum, or find out what really happened to Eric Stoltz after the first six weeks of filming. So, why don’t you make like a tree and get outta here – and start reading! We Don’t Need Roads is your density.

    Then from it, nearly overnight, emerged one of the world's largest and most iconic cities. The birth and evolution of Los Angeles--its seemingly impossible, meteoric rise--can be attributed largely to three ingenious but deeply flawed people. D.W. Griffith, the early film pioneer who first conceived of feature-length movies, gave Hollywood its industry. Aimee Semple McPherson, a young evangelist and radio preacher, infused the city with its spiritual identity as a hub for reinvention. And William Mulholland, an Irish immigrant turned ditch-digger turned autodidactic engineer, would design the massive aqueduct that made survival in the harsh climate feasible.But while Mulholland, Griffith, and Semple McPherson were all masters of their craft, each would self-destruct in spectacular fashion. D.W. Griffith, led by his ballooning ego, would go on to produce a string of commercial failures; Semple McPherson would be crucified in the tabloids for fabricating an account of her own kidnapping; and a dam designed by Mulholland would fail just hours after he gave it a safety inspection.Spanning from 1904 to 1930, The Mirage Factory is the enthralling tale of an improbable city and the people who willed it into existence by pushing the limits of human engineering and peddling fantasies.

    He also discusses his distribution of the Bergman, Fellini, and Truffaut movies that later won Academy Awards in the Best Foreign Film category. Corman alumni—John Sayles, Martin Scorsese, Jack Nicholson, Vincent Price, Francis Ford Coppola, Peter Bogdanovich, Peter Fonda, Joe Dante, and Jonathan Demme, among others—contribute their recollections to give added perspective to Corman's often hilarious, always informative autobiography.

    In the 1950s he was one of the few American filmmakers, with Paths of Glory, to achieve the gravitas of European cinema. To 1960s audiences he was the man who made Dr. Strangelove, the influential anti-war movie, and the counterculture favorite 2001: A Space Odyssey. In the 1970s he created his hymn to urban violence, A Clockwork Orange, and in the 1980s distilled the nature of private madness and collective insanity in The Shining and Full Metal Jacket.Yet little is still known of the man and the influence exerted by his private life on his public art. Born in the Bronx, Kubrick has lived since 1961 in seclusion in rural England. From in-depth interviews with a range of people who have known the man best, from his childhood to the present, John Baxter has extracted the most complete account available of Kubrick's life: the conflicts with partners and stars, the failure to make Napoleon, the failed marriages and broken friendships, the use and abuse of writers and other creative collaborators.Kubrick emerges from this detailed and complex telling as a man both sensitive and ruthless, petulant and generous: a man who adulates reason but whose films reflect the wildest excesses of passion and who, above all, has dared to live life on his terms, whatever the price.

    But all that fame had a price; Richard Burton’s liver was shot by the time he was 50, Richard Harris’s film career stalled for over a decade. Peter O’Toole’s drinking almost put him in the grave before his 43rd birthday, and Oliver Reed ended up dying prematurely.This is the story of four of the greatest thespian boozers who ever walked — or staggered — off a film set into a pub. It’s a story of drunken binges of near biblical proportions, parties and orgies, broken marriages, drugs, riots and wanton sexual conquests. And yet these piss-artists were seemingly immune from the law. They got away with it because of their extraordinary acting talent and because the public loved them. They were truly the last of a breed, the last of the movie hellraisers.

    Ideal for film production and directing classes, as well as for aspiring and current directors, Directing covers all phases of preproduction and production, from idea development to final cut. Thoroughly covering the basics, Directing guides the reader to professional standards of expression and control, and goes to the heart of what makes a director. The book outlines a great deal of practical work to meet this goal, with projects, exercises.The third edition emphasizes the connection between knowing and doing, with every principle realizable through projects and exercises. Much has been enhanced and expanded, notably: aspects of dramaturgy; beats and dramatic units; pitching stories and selling one's work; the role of the entrepreneurial producer; and the dangers of embedded moral values. Checklists are loaded with practical recommendations for action, and outcomes assessment tables help the reader honestly gauge his or her progress. Entirely new chapters present: preproduction procedures; production design; script breakdown; procedures and etiquette on the set; shooting location sound; continuity; and working with a composer. The entire book is revised to capitalize on the advantages offered by the revolutionary shift to digital filmmaking.

    Now, with Johnny's blessing before he died, McMahon can finally share all the stories that only he knows. From the sofa at Johnny's right to backstage to their personal relationship - McMahon will provide a real view of the man who was so careful to only show one side of himself to the public. Brilliant in front of the camera, but shy in person, Carson seldom gave interviews. Only McMahon can tell the stories and provide the insights into the personality that made Johnny Carson more of a friend we invited into our home than a television star.

    According to Vogel--founder of Cinema 16, North America's legendary film society--the book details the "accelerating worldwide trend toward a more liberated cinema, in which subjects and forms hitherto considered unthinkable or forbidden are boldly explored." So ahead of his time was Vogel that the ideas that he penned some 30 years ago are still relevant today, and readily accessible in this classic volume. Accompanied by over 300 rare film stills, "Film as a Subversive Art" analyzes how aesthetic, sexual and ideological subversives use one of the most powerful art forms of our day to exchange or manipulate our conscious and unconscious, demystify visual taboos, destroy dated cinematic forms, and undermine existing value systems and institutions. This subversion of form, as well as of content, is placed within the context of the contemporary world view of science, philosophy, and modern art, and is illuminated by a detailed examination of over 500 films, including many banned, rarely seen, or never released works.

    I'm Maureen O'Hara and this is my life story.-- From Chapter One of 'Tis HerselfIn language that is blunt, straightforward, and totally lacking in artifice, Maureen O'Hara, one of the greatest and most enduring stars of Hollywood's "Golden Era," for the first time tells the story of how she succeeded in the world's most competitive business.Known for her remarkable beauty and her fiery screen persona, Maureen O'Hara came to Hollywood when she was still a teenager, taken there by her mentor, the great actor Charles Laughton. Almost immediately she clashed with the men who ran the movie business -- the moguls who treated actors like chattel, the directors who viewed every actress as a potential bedmate.Determined to hold her own and to remain true to herself, she fought for roles that she wanted and resisted the advances of some of Hollywood's most powerful and attractive men. It was in the great director John Ford that she first found someone willing to give her a chance to prove herself as an important actress. Beginning with the Academy Award-winning How Green Was My Valley, she went on to make five films with Ford and through him first met the great John Wayne, with whom she also made five films.In O'Hara, Ford had found his ideal Irish heroine, a role that achieved its greatest realization in The Quiet Man. And in O'Hara, John Wayne found his ideal leading lady, for she was perhaps the only actress who could hold her own when on screen with "The Duke." Ford, however, was not without his quirks, and his relationship with his favorite actress became more and more complex and ultimately deeply troubled. The on-screen relationship between Wayne and O'Hara, on the other hand, was transformed into a close friendship built on mutual respect, creating a bond that endured until his death.Writing with complete frankness, O'Hara talks for the first time about these remarkable men, about their great strengths and their very human failings. She writes as well about many of the other actors and actresses -- Lucille Ball, Tyrone Power, Errol Flynn, John Candy, Natalie Wood, to name a few -- with whom she worked, but ultimately it is about herself that she is most revealing. With great candor and a mixture of pride and regret, she reflects on just how this young girl from Ireland made it to America and onto movie screens all around the world. There were missteps, of course -- a troubled and deeply destructive marriage, a willingness to trust too readily in others -- but there were triumphs and great happiness as well, including her marriage to the aviation pioneer Brigadier General Charles F. Blair, who tragically died in a mysterious plane crash ten years after their marriage.Throughout, 'Tis Herself is informed by the warmth and charm and intelligence that defined Maureen O'Hara's performances in some sixty films, from The Hunchback of Notre Dame to Miracle on 34th Street to The Parent Trap to McLintock! to Only the Lonely. 'Tis Herself is Maureen O'Hara's story as only she can tell it, the tale of an Irish lass who believed in herself with the strength and determination to make her own dreams come true.