On September 20, 2006, he suffered a serious brain injury following a high-speed car crash, and the nation held its breath. On the Edge is his compelling account of life before and after the accident and an honest description of his year of recovery, full of drama and incident. It is also, perhaps, his explanation of why, as a married man and father of two young daughters, he was prepared to risk all by strapping himself to the front of a jet engine with the power of eleven Formula One cars. A daredevil and a petrolhead long before his association with Top Gear, Richard tells the story of his life as an adrenalin junkie, from the small boy showing off with ridiculous stunts on his bicycle to the adolescent with a near-obsessive attraction to speed and the smell of petrol. After a series of jobs in local radio, he graduated to television and eventually to Top Gear, one of the world's most popular shows, upgrading his car with each step up the ladder. His insights into the personalities, the camaraderie and, of course, the stunts for which Top Gear has become famous make compulsive reading.It was whilst filming for Top Gear, driving a jet-powered dragster at speeds over 300mph, that a tyre burst and the car left the track and rolled over, burying him in the earth. He was airlifted to hospital and hovered near death for several days. His wife Mindy tells the story of the anxious hours and days of watching and waiting until he finally emerged from his coma. In an extraordinarily powerful piece of writing, she and Richard then piece together the stages of his recovery as his shattered mind slowly reformed, leaving him sometimes lucid and plausible, sometimes confused and angry, and often exhausted. The final chapter recounts his return home and his triumphant reappearance in front of the cameras.

    This book details his return to live performance, and the journey that took him from an early retirement to his position as the most critically acclaimed stand-up in Britain.

    It includes tales of living on her own at 14 (and how laundry may have saved her life), getting stuck in a gas station overhang on a cross country road trip, saying goodbye to her father in a way only he could have understood, and many more adventures and lessons that have led her to the successful, happy, and healthy place she is today.

    Rose escaped into the world of her mind, something she had done as a child, and into high-profile relationships. Every detail of her personal life became public, and the realities of an inherently sexist industry emerged with every script, role, public appearance, and magazine cover. The Hollywood machine packaged her as a sexualized bombshell, hijacking her image and identity and marketing them for profit.Hollywood expected Rose to be silent and cooperative and to stay the path. Instead, she rebelled and asserted her true identity and voice. She reemerged unscripted, courageous, victorious, angry, smart, fierce, unapologetic, controversial, and real as f*ck.

    (Women who leave wet teaspoons in sugar bowls need not apply)."I haven't woken up with a cup of tea by the bed for seven years. It seems such a small thing but it's one of a thousand things I miss about having someone around to take care of me. I have spent my entire adult life getting things the way I want them and all I want now is someone to give it all up for." Jon RichardsonIs your filing faultless? Your CDs, apostrophes, cutlery all in the right places? Can you eat a biscuit in the correct way? Then Jon Richardson (single for seven years and counting) could be your ideal man.Living alone in a one bedroom flat in Swindon, 27 year old Jon has had far too much time on his hands to think. In fact to obsess. About almost everything. Jon's obsessive compulsive personality disorder has seen him arrange the coins in his pockets in ascending size and colour code his bookshelves. It takes him less than 90 seconds to locate a receipt for a pair of shoes he bought in 1997. Over to the filing cabinet and R for receipts, S for shoes.But Jon doesn't want to be like this, in fact he would quite like to share his life with someone. But who could that someone be? Someone like himself, a quarrelsome perfectionist only with breasts and less body hair? Absolutely not. But who exactly is Jon looking for and where will he find her? Faced with a loveless future filled with his own peculiar quirks and perfectionism, Jon sets about his search for The One. The question is, will he mind her keeping the knives to the left of the forks in the cutlery drawer or organising the CDs by genre and not alphabetically?

    This long out-of-paint autobiography provides insight into the genesis of Bunuel's films and conveys his frank opinions on dwarves, Catholicism, the Marquis de Sade, food, and smoking, not to mention his recipe for a good dry martini!

    The sheer number of false rumors and downright lies disseminated about the man and his films is truly astonishing. Yet Herzog's body of work is one of the most important in postwar European cinema. His international breakthrough came in 1973 with Aguirre, The Wrath of God, in which Klaus Kinski played a crazed Conquistador. For The Enigma of Kaspar Hauser, Herzog cast in the lead a man who had spent most of his life institutionalized, and two years later he hypnotized his entire cast to make Heart of Glass. He rushed to an explosive volcanic Caribbean island to film La Soufrière, paid homage to F. W. Murnau in a terrifying remake of Nosferatu, and in 1982 dragged a boat over a mountain in the Amazon jungle for Fitzcarraldo. More recently, Herzog has made extraordinary "documentary" films such as Little Dieter Needs to Fly. His place in cinema history is assured, and Paul Cronin's volume of dialogues provides a forum for Herzog's fascinating views on the things, ideas, and people that have preoccupied him for so many years.

    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.

    and London, Terry Gilliam’s life has been as vivid, entertaining and unorthodox as one of his films.Telling his story for the first time, the director of Time Bandits, Brazil, The Adventures of Baron Munchausen, The Fisher King, 12 Monkeys, and Fear & Loathing in Las Vegas—not to mention co-founder of Monty Python’s Flying Circus—recalls his life so far. Packed with never-before-seen artwork, photographs and commentary, Gilliamesque blends the visual and the verbal with scabrous wit and fascinating insight.Gilliam’s “pre-posthumous memoir” also features a cast of amazing supporting characters—George Harrison, Robin Williams, Jeff Bridges, Robert De Niro, Brad Pitt, Uma Thurman, Johnny Depp, Heath Ledger and all of the fellow Pythons—as well as cameo appearances from some of the heaviest cultural hitters of modern times, from Woody Allen to Frank Zappa, Gloria Steinem to Robert Crumb, Richard Nixon to Hunter S. Thompson. Gilliam’s encounters with the great and the not-so-good are revealing, funny, and hugely entertaining.This book is an unrestrained look into a unique creative mind and an incomparable portrait of late twentieth-century popular culture.

    We meet people, date, get into and out of relationships, all with the hope of finding someone with whom we share a deep connection. This seems standard now, but it’s wildly different from what people did even just decades ago. Single people today have more romantic options than at any point in human history. With technology, our abilities to connect with and sort through these options are staggering. So why are so many people frustrated?Some of our problems are unique to our time. “Why did this guy just text me an emoji of a pizza?” “Should I go out with this girl even though she listed Combos as one of her favorite snack foods? Combos?!” “My girlfriend just got a message from some dude named Nathan. Who’s Nathan? Did he just send her a photo of his penis? Should I check just to be sure?” But the transformation of our romantic lives can’t be explained by technology alone. In a short period of time, the whole culture of finding love has changed dramatically. A few decades ago, people would find a decent person who lived in their neighborhood. Their families would meet and, after deciding neither party seemed like a murderer, they would get married and soon have a kid, all by the time they were twenty-four. Today, people marry later than ever and spend years of their lives on a quest to find the perfect person, a soul mate.For years, Aziz Ansari has been aiming his comic insight at modern romance, but for Modern Romance, the book, he decided he needed to take things to another level. He teamed up with NYU sociologist Eric Klinenberg and designed a massive research project, including hundreds of interviews and focus groups conducted everywhere from Tokyo to Buenos Aires to Wichita. They analyzed behavioral data and surveys and created their own online research forum on Reddit, which drew thousands of messages. They enlisted the world’s leading social scientists, including Andrew Cherlin, Eli Finkel, Helen Fisher, Sheena Iyengar, Barry Schwartz, Sherry Turkle, and Robb Willer. The result is unlike any social science or humor book we’ve seen before.In Modern Romance, Ansari combines his irreverent humor with cutting-edge social science to give us an unforgettable tour of our new romantic world.

    He drove a rental car from New York to Rhode Island to Georgia to Mississippi to Iowa to Minneapolis to Fargo to Seattle, and he chased death and rock ‘n’ roll all the way. Within the span of twenty-one days, Chuck had three relationships end—one by choice, one by chance, and one by exhaustion. He snorted cocaine in a graveyard. He walked a half-mile through a bean field. A man in Dickinson, North Dakota, explained to him why we have fewer windmills than we used to. He listened to the KISS solo albums and the Rod Stewart box set. At one point, poisonous snakes became involved. The road is hard. From the Chelsea Hotel to the swampland where Lynyrd Skynyrd’s plane went down to the site where Kurt Cobain blew his head off, Chuck explored every brand of rock star demise. He wanted to know why the greatest career move any musician can make is to stop breathing...and what this means for the rest of us.

    In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work. Since Ivan's Childhood won the Golden Lion at the Venice Film Festival in 1962, the visionary quality and totally original and haunting imagery of Tarkovsky's films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia. Many critics have tried to interpret his intensely personal vision, but he himself always remained inaccessible.In Sculpting in Time, Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films--Ivan's Childhood, Andrey Rublyov, Solaris, The Mirror, Stalker, Nostalgia, and The Sacrifice. He discusses their history and his methods of work, he explores the many problems of visual creativity, and he sets forth the deeply autobiographical content of part of his oeuvre--most fascinatingly in The Mirror and Nostalgia. The closing chapter on The Sacrifice, dictated in the last weeks of Tarkovsky's life, makes the book essential reading for those who already know or who are just discovering his magnificent work.

    In Five Came Back, he achieves something larger and even more remarkable, giving us the untold story of how Hollywood changed World War II, and how World War II changed Hollywood, through the prism of five film directors caught up in the war: John Ford, William Wyler, John Huston, Frank Capra, and George Stevens. It was the best of times and the worst of times for Hollywood before the war. The box office was booming, and the studios’ control of talent and distribution was as airtight as could be hoped. But the industry’s relationship with Washington was decidedly uneasy—hearings and investigations into allegations of corruption and racketeering were multiplying, and hanging in the air was the insinuation that the business was too foreign, too Jewish, too un-American” in its values and causes. Could an industry this powerful in shaping America’s mind-set really be left in the hands of this crew? Following Pearl Harbor, Hollywood had the chance to prove its critics wrong and did so with vigor, turning its talents and its business over to the war effort to an unprecedented extent. No industry professionals played a bigger role in the war than America’s most legendary directors: Ford, Wyler, Huston, Capra, and Stevens. Between them they were on the scene of almost every major moment of America’s war, and in every branch of service—army, navy, and air force; Atlantic and Pacific; from Midway to North Africa; from Normandy to the fall of Paris and the liberation of the Nazi death camps; to the shaping of the message out of Washington, D.C. As it did for so many others, World War II divided the lives of these men into before and after, to an extent that has not been adequately understood. In a larger sense—even less well understood—the war divided the history of Hollywood into before and after as well. Harris reckons with that transformation on a human level—through five unforgettable lives—and on the level of the industry and the country as a whole. Like these five men, Hollywood too, and indeed all of America, came back from the war having grown up more than a little.

    Comedy legends and A-list actors. Supermodels and centerfolds. Moguls and mobsters. A president.Over his unrivaled four-decade career in radio, Howard Stern has interviewed thousands of personalities—discussing sex, relationships, money, fame, spirituality, and success with the boldest of bold-faced names. But which interviews are his favorites? It’s one of the questions he gets asked most frequently. Howard Stern Comes Again delivers his answer.This book is a feast of conversation and more, as between the lines Stern offers his definitive autobiography—a magnum opus of confession and personal exploration. Tracy Morgan opens up about his near-fatal car crash. Lady Gaga divulges her history with cocaine. Madonna reminisces on her relationship with Tupac Shakur. Bill Murray waxes philosophical on the purpose of life. Jerry Seinfeld offers a master class on comedy. Harvey Weinstein denies the existence of the so-called casting couch. An impressive array of creative visionaries weigh in on what Stern calls “the climb”—the stories of how they struggled and eventually prevailed. As he writes in the introduction, “If you’re having trouble finding motivation in life and you’re looking for that extra kick in the ass, you will find it in these pages.”Interspersed throughout are rare selections from the Howard Stern Show archives with Donald Trump that depict his own climb: transforming from Manhattan tabloid fixture to reality TV star to president of the United States. Stern also tells of his Moby Dick-like quest to land an interview with Hillary Clinton in the run-up to the 2016 election—one of many newly written revelations from the author. He speaks with extraordinary candor about a variety of subjects, including his overwhelming insecurity early in his career, his revolutionary move from terrestrial radio to SiriusXM, and his belief in the power of psychotherapy.As Stern insightfully notes in the introduction: “The interviews collected here represent my best work and show my personal evolution. But they don’t just show my evolution. Gathered together like this, they show the evolution of popular culture over the past quarter century.”

    In these pages, I’ve tried to do this.” —Bruce Springsteen, from the pages of Born to RunIn 2009, Bruce Springsteen and the E Street Band performed at the Super Bowl’s halftime show. The experience was so exhilarating that Bruce decided to write about it. That’s how this extraordinary autobiography began. Over the past seven years, Bruce Springsteen has privately devoted himself to writing the story of his life, bringing to these pages the same honesty, humor, and originality found in his songs. He describes growing up Catholic in Freehold, New Jersey, amid the poetry, danger, and darkness that fueled his imagination, leading up to the moment he refers to as “The Big Bang”: seeing Elvis Presley’s debut on The Ed Sullivan Show. He vividly recounts his relentless drive to become a musician, his early days as a bar band king in Asbury Park, and the rise of the E Street Band. With disarming candor, he also tells for the first time the story of the personal struggles that inspired his best work, and shows us why the song “Born to Run” reveals more than we previously realized. Born to Run will be revelatory for anyone who has ever enjoyed Bruce Springsteen, but this book is much more than a legendary rock star’s memoir. This is a book for workers and dreamers, parents and children, lovers and loners, artists, freaks, or anyone who has ever wanted to be baptized in the holy river of rock and roll. Rarely has a performer told his own story with such force and sweep. Like many of his songs (“Thunder Road,” “Badlands,” “Darkness on the Edge of Town,” “The River,” “Born in the U.S.A.,” “The Rising,” and “The Ghost of Tom Joad,” to name just a few), Bruce Springsteen’s autobiography is written with the lyricism of a singular songwriter and the wisdom of a man who has thought deeply about his experiences.