Lynch responds to each recollection and reveals the inner story of the life behind the art.

    Written by filmmakers for filmmakers, this essential text now includes the latest information on digital age filmmaking, where the shifting boundaries between film, video, and computer systems have introduced a wide range of methods and equipment every filmmaker must master to be competitive. This comprehensive reference guide addresses the techniques necessary to make feature, documentary, industrial, and experimental films while detailing the possibilities and limitations of various formats. New chapters spotlight video camera and video editing, essential information for modern film students and makers who focus on video production exclusively. "The Filmmaker's Handbook" is the perfect primer to guide novices and professionals alike into the twenty-first century of motion picture production.

    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.

    . . . It is a transcendent experience, and no one who loves movies can afford to miss it.-Roger Ebert America's most popular film critic is hardly alone in singing the praises of Singin' in the Rain. This quintessential American film-made in Hollywood's Golden Age, showcasing the genius of Gene Kelly, and featuring what Ebert calls the most joyous musical sequence ever filmed-has inspired love and admiration from fellow critics, film scholars, and movie buffs worldwide for more than half a century. Indeed, its reputation continues to grow: the American Film Institute now ranks it number 1 on its list of the Greatest Movie Musicals of All Time and number 5 on its list of the Greatest American Films of All Time. Echoing the enthusiasm of the film's most devoted fans, Earl Hess and Pratibha Dabholkar embrace and illuminate both the film and its reputation. Combining lucid prose with meticulous scholarship, they provide for the first time the complete inside story of how this classic movie was made, marketed, and received. They re-create the actual movie-making experience, on the set and behind the scenes, and chronicle every step in production from original concept through casting, scripting, rehearsals, filming, scoring, and editing. They then trace its distribution, critical reception, and enduring reputation. The book is brimming with human interest, bursting with anecdotes and quotes by and about the film's stars and makers. Here are Gene Kelly and Donald O'Connor at the top of their form, along with Debbie Reynolds and Cyd Charisse in their breakthrough roles. Here, too, are fascinating tidbits-about censorship troubles, continuity flaws, stunt doubles for Kelly, voice doubles for cast members, the dubbing of taps, and genealogy of all the songs. Hess and Dabholkar also provide in-depth analyses of each of the major song-and-dance performances, including details of everything from the dynamics of Gotta Dance! to the physical challenges of the remarkable title number. Based on exhaustive research in oral histories, studio production records, letters, memoirs, and interviews, their book is factually impeccable, compulsively readable, and indispensable for anyone who loves movies at their absolute best.

    Here is a rare opportunity to eavesdrop on two cinematic masters from very different backgrounds as they cover each of Hitch's films in succession. Though this book was initially published in 1967 when Hitchcock was still active, Truffaut later prepared a revised edition that covered the final stages of his career. It's difficult to think of a more informative or entertaining introduction to Hitchcock's art, interests, and peculiar sense of humor. The book is a storehouse of insight and witticism, including the master's impressions of a classic like Rear Window ("I was feeling very creative at the time, the batteries were well charged"), his technical insight into Psycho's shower scene ("the knife never touched the body; it was all done in the [editing]"), and his ruminations on flops such as Under Capricorn ("If I were to make another picture in Australia today, I'd have a policeman hop into the pocket of a kangaroo and yell 'Follow that car!'"). This is one of the most delightful film books in print. --Raphael Shargel

    Vogel examines the business economics of the major entertainment enterprises: movies, music, television programming, broadcasting, cable, casino gambling and wagering, publishing, performing arts, sports, theme parks, and toys and games. The seventh edition has been further revised and broadened and differs from its predecessors by restructuring and repositioning the previous Internet chapter, including new material on the economics of networks and advertising, adding a new section on policy implications, and further expanding the section on recent theoretical work pertaining to box-office behaviour. The result is a comprehensive up-to-date reference guide on the economics, financing, production, and marketing of entertainment in the United States and overseas. Investors, business executives, accountants, lawyers, arts administrators, and general readers will find that the book offers an invaluable guide to how entertainment industries operate.

    He started out as an actor (he debuted on the stage in his sixth-grade production of Finian’s Rainbow); he watched actors work (he went to the theater every week from the age of thirteen and saw every important show on, or off, Broadway for the next decade); he studied acting, starting at sixteen, with Stella Adler (his work with her became the foundation for all he would ever do as an actor and a director).Now, in his new book, Who the Hell’s in It, Bogdanovich draws upon a lifetime of experience, observation and understanding of the art to write about the actors he came to know along the way; actors he admired from afar; actors he worked with, directed, befriended. Among them: Lauren Bacall, Humphrey Bogart, James Cagney, John Cassavetes, Charlie Chaplin, Montgomery Clift, Marlene Dietrich, Henry Fonda, Ben Gazzara, Audrey Hepburn, Boris Karloff, Dean Martin, Marilyn Monroe, River Phoenix, Sidney Poitier, Frank Sinatra, and James Stewart.Bogdanovich captures—in their words and his—their work, their individual styles, what made them who they were, what gave them their appeal and why they’ve continued to be America’s iconic actors.On Lillian Gish: “the first virgin hearth goddess of the screen . . . a valiant and courageous symbol of fortitude and love through all distress.” On Marlon Brando: “He challenged himself never to be the same from picture to picture, refusing to become the kind of film star the studio system had invented and thrived upon—the recognizable human commodity each new film was built around . . . The funny thing is that Brando’s charismatic screen persona was vividly apparent despite the multiplicity of his guises . . . Brando always remains recognizable, a star-actor in spite of himself. ” Jerry Lewis to Bogdanovich on the first laugh Lewis ever got onstage: “I was five years old. My mom and dad had a tux made—I worked in the borscht circuit with them—and I came out and I sang, ‘Brother, Can You Spare a Dime?’ the big hit at the time . . . It was 1931, and I stopped the show—naturally—a five-year-old in a tuxedo is not going to stop the show? And I took a bow and my foot slipped and hit one of the floodlights and it exploded and the smoke and the sound scared me so I started to cry. The audience laughed—they were hysterical . . . So I knew I had to get the rest of my laughs the rest of my life, breaking, sitting, falling, spinning.”John Wayne to Bogdanovich, on the early years of Wayne’s career when he was working as a prop man: “Well, I’ve naturally studied John Ford professionally as well as loving the man. Ever since the first time I walked down his set as a goose-herder in 1927. They needed somebody from the prop department to keep the geese from getting under a fake hill they had for Mother Machree at Fox. I’d been hired because Tom Mix wanted a box seat for the USC football games, and so they promised jobs to Don Williams and myself and a couple of the players. They buried us over in the properties department, and Mr. Ford’s need for a goose-herder just seemed to fit my pistol.”These twenty-six portraits and conversations are unsurpassed in their evocation of a certain kind of great movie star that has vanished. Bogdanovich’s book is a celebration and a farewell.From the Hardcover edition.

    Aspiring directors, cinematographers, editors, and producers, many of whom are now working professionals, learned the craft of visual storytelling from Shot by Shot, the most com-plete source for preplanning the look of a movie.The book contains over 800 photos and illustrations, and is by far the most comprehensive look at shot design in print, containing storyboards from movies such as Citizen Kane, Blade Runner, Dead-pool, and Moonrise Kingdom. Also introduced is the concept of A, I, and L patterns as a way to sim-plify the hundreds of staging choices facing a director in every scene.Shot by Shot uniquely blends story analysis with compositional strategies, citing examples then il-lustrated with the storyboards used for the actual films. Throughout the book, various visual ap-proaches to short scenes are shown, exposing the directing processes of our most celebrated au-teurs — including a meticulous, lavishly illustrated analysis of Steven Spielberg’s scene design for Empire of the Sun.

    With the help of visionary businessman Steve Jobs and animating genius John Lasseter, Pixar has become the gold standard of animated filmmaking, beginning with a short special effects shot made at Lucasfilm in 1982 all the way up through the landmark films Toy Story, Finding Nemo, Wall-E, and others. David A. Price goes behind the scenes of the corporate feuds between Lasseter and his former champion, Jeffrey Katzenberg, as well as between Steve Jobs and Michael Eisner. And finally he explores Pixar's complex relationship with the Walt Disney Company as it transformed itself into the $7.4 billion jewel in the Disney crown.

    In 25 years, Kaufman, along with partner Michael Herz, has built Troma Studios up from a company struggling to find its voice in a field crowded with competitors to its current--and legendary--status as a lone survivor, a bastion of true cinematic independence, and the world's greatest collection of camp on film.As entertaining and funny as it is informative and insightful, Make Your Own Damn Movie! places Kaufman's radically low-budget, independent-studio style of filmaking directly in the reader's hands. Thus we learn how to: develop and write a knock-out screenplay; raise funding; find locations and cast actors; hire a crew; obtain equipment, permits, and music rights (all for little or no money); make incredible special effects for $0.79 each; charm, schmooze, and network while on the film-festival circuit; and, finally, make a bad actor act so bad it's actually good.From scriptwriting and directing to financing and marketing, this book is brimming with utterly off-the-wall, decidedly maverick, yet consistently proven advice on how to fully develop one's idea for an independent film.

    This ultimate insider's guide reveals the secrets that none dare admit, told by a show biz veteran who's proven that you can sell your script if you can save the cat!

    At the height of his career, Sturges had not only won an Academy Award but was also one of the most highly paid executives in the country.The only account of his life in his own words, Preston Sturges by Preston Sturges unveils the source of his extraordinary creativity: a life that was every bit as antic and unconventional as his movies.

    In this wide-ranging and elegiac essay, Nick Pinkerton reflects upon Tsai Ming-liang’s 2003 film Goodbye, Dragon Inn, a modern classic haunted by the ghosts and portents of a culture in flux.

    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.

    Its cast includes actors, writers, musicians and composers, producers and directors, racketeers and labor leaders, journalists and politicians in the turbulent decade from World War II to Korea.