But in the end, it took a small, dedicated team of CIA operatives to track him down. Every aspect of their mission was shrouded in secrecy. Though some of the details have since been made public, many of the most significant parts of the intelligence operation—including the central role played by that team—are brought to the screen for the first time in a nuanced and gripping new film by the Oscar®-winning creative duo of Kathryn Bigelow and Mark Boal, starring Jessica Chastain, Jason Clarke, Joel Edgerton, Jennifer Ehle, Mark Strong, Kyle Chandler, and Edgar Ramirez.The Newmarket Shooting Script Book includes: Introduction by Kathryn Bigelow Complete shooting script Q&A with Mark Boal by Rob Feld Production notes Storyboards Complete cast and crew credits

    Over the course of her extraordinary life and career, Audrey Hepburn captured hearts around the world and created a public image that stands as one of the most recognizable and beloved in recent memory. But despite her international fame and her tireless efforts on behalf of UNICEF, Audrey was also known for her intense privacy. With unprecedented access to studio archives, friends and colleagues who knew and loved Audrey, bestselling author Donald Spoto provides an intimate and moving account of this beautiful, elusive and talented woman. Tracing her astonishing rise to stardom, from her harrowing childhood in Nazi-controlled Holland during World War II to her years as a struggling ballet dancer in London and her Tony Award-winning Broadway debut in "Gigi," Spoto illuminates the origins of Audrey's tenacious spirit and fiercely passionate nature. She would go on to star in some of the most popular movies of the twentieth century, including" Roman Holiday," "Sabrina," "Funny Face," " The Nun's Story," "Breakfast at Tiffany's" and "My Fair Lady." A friend and inspiration to renowned designer Hubert de Givenchy, Audrey emerged as a fashion icon as well as a film legend, her influence on women's fashion virtually unparalleled to this day. But behind the glamorous public persona, Audrey Hepburn was both a different and a deeper person and a woman who craved love and affection. Donald Spoto offers remarkable insights into her professional and personal relationships with her two husbands, and with celebrities such as Gregory Peck, William Holden, Fred Astaire, Gary Cooper, Robert Anderson, Cary Grant, Peter O'Toole, Albert Finney and Ben Gazzara. The turbulent romances of her youth, her profound sympathy for the plight of hungry children, and the thrills and terrors of motherhood prepared Audrey for the final chapter in her life, as she devoted herself entirely to the charity efforts of an organization that had once come to her rescue at the end of the war: UNICEF. Donald Spoto has written a poignant, funny and deeply moving biography of an unforgettable woman. At last, "Enchantment" reveals the private Audrey Hepburn--and invites readers to fall in love with her all over again. "She was as funny as she was beautiful. She was a magical combination of high chic and high spirits." --Gregory Peck "In spite of her fragile appearance, she's like steel." --Cary Grant "Audrey was known for something which has disappeared, and that is elegance, grace and manners . . . God kissed her on the cheek, and there she was." --Billy Wilder "There is not a woman alive who does not dream of looking like Audrey Hepburn." --Hubert de Givenchy "Her magnetism was so extraordinary that everyone wanted to be close to her. It was as if she placed a glass barrier between herself and the world. You couldn't get behind it easily. It made her remarkably attractive." --Stanley Donen "She has authentic charm. Most people simply have nice manners." --Alfred Lunt

    Whether you've watched "Casablanca" countless times or you're going to see it for the first time, "The Casablanca Companion" will both deepen your understanding and heighten your enjoyment.

    Len Deighton, author of the classic espionage novel 'The Ipcress File', knew both sides intimately. An acquaintance of Ian Fleming’s (who had praised Deighton’s debut novel in the 'Sunday Times') Deighton was also close to the man who was to become Fleming’s nemesis – Kevin McClory, a veteran of the British film industry. The history of Bond’s development under the arc lights becomes, in Deighton’s expert hands, a saga-like story of inflated egos and poisonous vendettas, exotic locations and claustrophobic courtooms, all involving household names. As an eye witness to the protracted disputes that complicated Bond’s depiction both on screen and on the page, Deighton is in a unique position to tell what he saw. Candid, comical, always steely-eyed, this hefty slice of cinematic memoir reads with all the high-powered pace of a Len Deighton thriller.

    He was young, personable and rich and was considered the catch of the Season. So her rejection cut deep, so much so that he abandoned England, taking himself off to the Continent to lick his wounds and recover. What starts off as a month long break to forget the love of his life, extends into three years. But he can't stay away forever. He needs to come home. Life has not worked out as Rachel Sheridan thought it would. Her first Season in London saw her hailed as the Incomparable, a creature who had everything and must always shine. But then she runs away with a scoundrel and, instead of the glorious life she had once anticipated, she is a fallen woman, a creature shunned by the very people who had put her up on a pedestal. Then Rachel's sister Charlotte falls in love with Nash's best friend Adam and past and future collide. Nash gave his heart to Rachel once and swore he would never love in such a way again. But then he saw his fallen woman and everything changed...

    Werner Herzog (Grizzly Man) is one of the most revered and enigmatic filmmakers of our time, and Fitzcarraldo is one of his most honored and admired films.  More than just Herzog’s journal of the making of the monumental, problematical motion picture, which involved, among other things, major cast changes and reshoots, and the hauling (without the use of special effects) of a 360-ton steamship over a mountain, Conquest of the Useless is  a work of art unto itself, an Amazonian fever dream that emerged from the delirium of the jungle.  With fascinating observations about crew and cast - including Herzog’s lead, the somewhat demented internationally renowned star Klaus Kinski - and breathtaking insights into the filmmaking process that are uniquely Werner Herzog, Conquest of the Useless is an eye-opening look into the mind of a cinematic master.

    . . . At the editing table, when I run the strip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood.” Bergman, who has conveyed this heady sense of wonder and vision to moviegoers for decades, traces his lifelong love affair with film in his breathtakingly visual autobiography, The Magic Lantern.More grand mosaic than linear account, Bergman’s vignettes trace his life from a rural Swedish childhood through his work in theater to Hollywood’s golden age, and a tumultuous romantic history that includes five wives and more than a few mistresses. Throughout, Bergman recounts his life in a series of deeply personal flashbacks that document some of the most important moments in twentieth-century filmmaking as well as the private obsessions of the man behind them. Ambitious in scope yet sensitively wrought, The Magic Lantern is a window to the mind of one of our era’s great geniuses.“[Bergman] has found a way to show the soul’s landscape . . . . Many gripping revelations.”—New York Times Book Review“Joan Tate’s translation of this book has delicacy and true pitch . . . The Magic Lantern is as personal and penetrating as a Bergman film, wry, shadowy, austere.”—New Republic“[Bergman] keeps returning to his past, reassessing it, distilling its meaning, offering it to his audiences in dazzling new shapes.”—New York Times“What Bergman does relate, particularly his tangled relationships with his parents, is not only illuminating but quite moving. No ‘tell-all’ book this one, but revealing in ways that much longer and allegedly ‘franker’ books are not.”—Library Journal

    (“Every single frame,” declared Cate Blanchett, “is burned into my retina.”) As Dyer guides us into the zone of Tarkovsky’s imagination, we realize that the film is only the entry point for a radically original investigation of the enduring questions of life, faith, and how to live. In a narrative that gives free rein to the brilliance of Dyer’s distinctive voice—acute observation, melancholy, comedy, lyricism, and occasional ill-temper—Zona takes us on a wonderfully unpredictable journey in which we try to fathom, and realize, our deepest wishes.Zona is one of the most unusual books ever written about film, and about how art—whether a film by a Russian director or a book by one of our most gifted contemporary writers—can shape the way we see the world and how we make our way through it.

      The real-life scandals of Hollywood’s personalities rival any drama they bring to life on the silver screen. This book provides 365 daily doses of high and low crimes, fraud and deceit, culled from Tinseltown’s checkered past.   Whether it’s the exploits of silent-era star Fatty Arbuckle, the midcentury misdeeds of Frank Sinatra and Marilyn Monroe, or the modern excesses of Lindsay Lohan, this calendar of Hollywood transgressions has a sensational true tale for every day of the year. It’s an entertaining and sometimes shocking trip down memory lane filled with sneaky affairs, box-office bombs, and careers cut short—sometimes by murder. It shows that the drama doesn’t end when the credits roll.

    The Grand Budapest Hotel recounts the adventures of Gustave H (Ralph Fiennes), a legendary concierge at a famous European hotel between the wars, and Zero Moustafa (Tony Revolori), the lobby boy who becomes his most trusted friend. Acting as a kind of father figure, M. Gustave leads the resourceful Zero on a journey that involves the theft and recovery of a priceless Renaissance painting; the battle for an enormous family fortune; a desperate chase on motorcycles, trains, sledges and skis; and the sweetest confection of a love affair all against the backdrop of a suddenly and dramatically changing Continent. Inspired by the writings of Stefan Zweig, The Grand Budapest Hotel recreates a bygone era through its arresting visuals and sparkling dialogue. The charm and vibrant colors of the film gradually darken with a sense of melancholy as the forces of history conspire against our hero and his vanishing way of life. Written and directed by Wes Anderson, whose films include The Royal Tenenbaums, Moonrise Kingdom, and Fantastic Mr. Fox . The film also stars Jude Law, Tilda Swinton, Edward Norton, Jeff Goldblum, Harvey Keitel, Adrian Brody, Saoirse Ronan, Lea Seydoux, Bill Murray and Owen Wilson.

    The Weird and the Eerie are closely related but distinct modes, each possessing its own distinct properties. Both have often been associated with Horror, yet this emphasis overlooks the aching fascination that such texts can exercise. The Weird and the Eerie both fundamentally concern the outside and the unknown, which are not intrinsically horrifying, even if they are always unsettling. Perhaps a proper understanding of the human condition requires examination of liminal concepts such as the weird and the eerie. These two modes will be analysed with reference to the work of authors such as H.P. Lovecraft, H.G. Wells, M.R. James, Christopher Priest, Joan Lindsay, Nigel Kneale, Daphne Du Maurier, Alan Garner and Margaret Atwood, and films by Stanley Kubrick, Jonathan Glazer and Christoper Nolan.

    What is beauty? Umberto Eco, among Italy’s finest and most important contemporary thinkers, explores the nature, the meaning, and the very history of the idea of beauty in Western culture. The profound and subtle text is lavishly illustrated with abundant examples of sublime painting and sculpture and lengthy quotations from writers and philosophers. This is the first paperback edition of History of Beauty, making this intellectual and philosophical journey with one of the world’s most acclaimed thinkers available in a more compact and affordable format.From the Trade Paperback edition

    Eventually, she has to return to face her demons and learns you can never go home again. Finally, she ventures to the great plains of Texas and finds what her heart yearns for, only to have everything ripped from her in a shattering turn of events. Follow the great adventure of a young woman’s travels across the rugged 1880′s Deep South in search of the only thing that is important to her…love.

    Victory over Japan has been announced and everyone in Megan Oliphant’s home town in Scotland is celebrating the end of the war. The boys are 'Coming Home'. Megan has been waiting desperately for the day when Steven Caraford, the best friend of her older brother, finally returns. After long correspondence during Steven's time away - and after supporting each other through her brother's death - Megan can only hope her feelings for him are mutual. Steven has longed for the day when he can return home to Scotland, and – although it will mean long days, little money and no security – his heart’s desire is to have a farm of his own. While Megan heads off for college, Steven struggles to build up his new home - and both must try to work out what the other is feeling about their future together. Coming Home is a moving romantic drama about building a new life after the Second World War - and about searching for love, stability and happiness. Praise for Gwen Kirkwood: 'A gripping read' - Robert Foster, best-selling author of The Lunar Code Gwen Kirkwood is the author of sixteen Scottish novels and six shorter romantic novellas, including A Question of Love. She won the Elizabeth Goudge Trophy, judged by Richard Lee, when it was re-introduced to mark the millennium in 2000. She lives in Scotland.

    "A first rate book and a joy to read...It's doubtful that a complete understanding of the director's artistry can be obtained without reading this book...Also indispensable for budding directors are the addenda, in which Kurosawa lays out his beliefs on the primacy of a good script, on scriptwriting as an essential tool for directors, on directing actors, on camera placement, and on the value of steeping oneself in literature, from great novels to detective fiction."—Variety"For the lover of Kurosawa's movies...this is nothing short of must reading...a fitting companion piece to his many dynamic and absorbing screen entertainments."—Washington Post Book World