When they began living together, she was 25; he was 58. Three years later, they married, but within a year and a half, she left him, amidst reports of loud arguments and spanking episodes. Their divorce, finalized in 1968, was a major news splash even in that pre-TMZ, pre-internet era. Grant died in 1986, but Cannon has continued to wrestle with the details, the rights, and the wrongs of their relationship. Dear Cary is a memoir that celebrates and scrutinizes the great love of her life.

    At the forefront of that movement were six innovative and daring directors whose films pushed the boundaries of moviemaking and announced to the world that something exciting was happening in Hollywood. Sharon Waxman of the New York Times spent the decade covering these young filmmakers, and in Rebels on the Backlot she weaves together the lives and careers of Quentin Tarantino, Pulp Fiction; Steven Soderbergh, Traffic; David Fincher, Fight Club; Paul Thomas Anderson, Boogie Nights; David O. Russell, Three Kings; and Spike Jonze, Being John Malkovich.

    His father was a feckless alcoholic, and his mother was committed to an asylum when Archie was eleven years old. He believed her to be dead until, when he was thirty-one years old, he was informed she was alive. Because of this experience Grant would have difficulty forming close attachments throughout his life. He married five times and had numerous affairs. Despite a remarkable degree of success, Grant remained deeply conflicted about his past, his present, his basic identity, and even the public that worshiped him in movies such as Gunga Din, Notorious, and North by Northwest. Drawing on Grant’s own papers, extensive archival research, and interviews with family and friends, this is the definitive portrait of a movie immortal.

    (I understand that it’s likely the former, which is a fancy “book” way of saying “the first one.”) I talk about my grandparents, doing stand-up comedy as a teenager, bar mitzvahs, and Jewish summer camp, and tell way more stories about doing drugs than my mother would like. I also talk about some of my adventures in Los Angeles, and surely say things about other famous people that will create a wildly awkward conversation for me at a party one day. I hope you enjoy the book should you buy it, and if you don’t enjoy it, I’m sorry. If you ever see me on the street and explain the situation, I’ll do my best to make it up to you.

    To critics, it was either "a degrading, senseless misuse of film and time" or "an intelligent, absorbing and deeply disturbing horror film." However it was an immediate hit with audiences. Banned and celebrated, showcased at the Cannes film festival and included in the New York MoMA's collection, it has now come to be recognized widely as one of the greatest horror movies of all time.A six-foot-four poet fresh out of grad school with limited acting experience, Gunnar Hansen played the masked, chain-saw-wielding Leatherface. His terrifying portrayal and the inventive work of the cast and crew would give the film the authentic power of nightmare, even while the gritty, grueling, and often dangerous independent production would test everyone involved, and lay the foundations for myths surrounding the film that endure even today.Critically-acclaimed author Hansen here tells the real story of the making of the film, its release, and reception, offering unknown behind-the-scenes details, a harrowingly entertaining account of the adventures of low-budget filmmaking, illuminating insights on the film's enduring and influential place in the horror genre and our culture, and a thoughtful meditation on why we love to be scared in the first place.

    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.

    Now, Eric Idle reflects on the meaning of his own life in this entertaining memoir that takes us on an unforgettable journey from his childhood in an austere boarding school through his successful career in comedy, television, theater, and film. Coming of age as a writer and comedian during the Sixties and Seventies, Eric stumbled into the crossroads of the cultural revolution and found himself rubbing shoulders with the likes of George Harrison, David Bowie, and Robin Williams, all of whom became dear lifelong friends. With anecdotes sprinkled throughout involving other close friends and luminaries such as Mike Nichols, Mick Jagger, Steve Martin, Paul Simon, Lorne Michaels, and many more, as well as the Pythons themselves, Eric captures a time of tremendous creative output with equal parts hilarity and heart. In Always Look on the Bright Side of Life, named for the song he wrote for Life of Brian (the film which he originally gave the irreverent title Jesus Christ: Lust for Glory) and that has since become the number one song played at funerals in the UK, he shares the highlights of his life and career with the kind of offbeat humor that has delighted audiences for five decades. The year 2019 marks the fiftieth anniversary of The Pythons, and Eric is marking the occasion with this hilarious memoir chock full of behind-the-scenes stories from a high-flying life featuring everyone from Princess Leia to Queen Elizabeth.

    (1897–1953) and Joseph L. Mankiewicz (1909–1993) wrote, produced, and directed over 150 pictures. With Orson Welles, Herman wrote the screenplay for Citizen Kane and shared the picture’s only Academy Award. Joe earned the second pair of his four Oscars for writing and directing All About Eve, which also won Best Picture. Despite triumphs as diverse as Monkey Business and Cleopatra, and Pride of the Yankees and Guys and Dolls, the witty, intellectual brothers spent their Hollywood years deeply discontented and yearning for what they did not have—a career in New York theater. Herman, formerly an Algonquin Round Table habitué, New York Times and New Yorker theater critic, and playwright-collaborator with George S. Kaufman, never reconciled himself to screenwriting. He gambled away his prodigious earnings, was fired from all the major studios, and drank himself to death at fifty-five. While Herman drifted downward, Joe rose to become a critical and financial success as a writer, producer, and director, though his constant philandering with prominent stars like Joan Crawford, Judy Garland, and Gene Tierney distressed his emotionally fragile wife who eventually committed suicide. He wrecked his own health using uppers and downers in order to direct Cleopatra by day and finish writing it at night, only to be very publicly fired by Darryl F. Zanuck, an experience from which he never fully recovered. For this first dual portrait of the Mankiewicz brothers, Sydney Ladensohn Stern draws on interviews, letters, diaries, and other documents still in private hands to provide a uniquely intimate behind-the-scenes chronicle of the lives, loves, work, and relationship between these complex men.

    but the movies rarely actually get made!Whatever happened to Darren Aronofsky's Batman movie starring Clint Eastwood? Why were there so many scripts written over the years for Steven Spielberg and George Lucas's fourth Indiana Jones movie? Why was Lara Croft's journey to the big screen so tortuous, and what prevented Paul Verhoeven from filming what he calls one of the greatest scripts ever written? Why did Ridley Scott's Crisis in the Hot Zone collapse days away from filming, and were the Beatles really set to star in Lord of the Rings? What does Neil Gaiman think of the attempts to adapt his comic book series The Sandman?All these lost projects, and more, are covered in this major book, which features many exclusive interviews with the writers and directors involved.

    Taking Dennis Hopper's words, "That's what it's all about man" to heart, they abandoned their comfortable upper middle class life and gave Illeana a childhood filled with hippies, goats, free spirits, and free love. Illeana writes, "Since it was all out of my control, I began to think of my life as a movie, with a Dennis Hopper-like father at the center of it."I Blame Dennis Hopper is a testament to the power of art and the tenacity of passion. It is a rollicking, funny, at times tender exploration of the way movies can change our lives. With crackling humor and a full heart, Douglas describes how a good Liza Minnelli impression helped her land her first gig and how Rudy Valley taught her the meaning of being a show biz trouper. From her first experience being on set with her grandfather and mentor-two-time Academy Award-winning actor Melvyn Douglas-to the moment she was discovered by Martin Scorsese for her blood-curdling scream and cast in her first film, to starring in movies alongside Robert DeNiro, Nicole Kidman, and Ethan Hawke, to becoming an award winning writer, director and producer in her own right, I Blame Dennis Hopper is an irresistible love letter to movies and filmmaking. Writing from the perspective of the ultimate show business fan, Douglas packs each page with hilarious anecdotes, bizarre coincidences, and fateful meetings that seem, well, right out of a plot of a movie.I Blame Dennis Hopper is the story of one woman's experience in show business, but it is also a genuine reminder of why we all love the movies: for the glitz, the glamor, the sweat, passion, humor, and escape they offer us all.

    I want to tell the story of the moments - the ups and downs, the triumphs and traumas, the debacles and the dreams, that contributed to the person I am today. Though there have been countless stories about me throughout my career and very public personal life, it’s been impossible to communicate the complexities and depths of my experience in any single magazine article or a ten-minute television interview. And even then, my words were filtered through someone else’s lens, largely satisfying someone else’s assignment to define me.This book is composed of my memories, my mishaps, my struggles, my survival and my songs. Unfiltered. I went deep into my childhood and gave the scared little girl inside of me a big voice. I let the abandoned and ambitious adolescent have her say, and the betrayed and triumphant woman I became tell her side.Writing this memoir was incredibly hard, humbling and healing. My sincere hope is that you are moved to a new understanding, not only about me, but also about the resilience of the human spirit.Love,Mariah

    16 pages of full-color photos.

    Kael called movies "the most total and encompassing art form we have," and she made her reviews a platform for considering both film and the worlds it engages, crafting in the process a prose style of extraordinary wit, precision, and improvisatory grace. To read The Age of Movies, the first new selection in more than a generation, is to be swept up into an endlessly revealing and entertaining dialogue with Kael at her witty, exhilarating, and opinionated best. Her ability to evoke the essence of a great artist-an Orson Welles or a Robert Altman-or to celebrate the way even seeming trash could tap deeply into our emotions was matched by her unwavering eye for the scams and self-deceptions of a corrupt movie industry. Here in this career spanning collection are her appraisals of the films that defined an era-among them Breathless, Bonnie and Clyde, The Leopard, The Godfather, Last Tango in Paris, Nashville-along with many others, some awaiting rediscovery, all providing the occasion for masterpieces of observation and insight, alive on every page.

    Known for his versatility, passion and fearlessness, he's become one of our most beloved actors. But in February 2008, Patrick announced he had been diagnosed with stage IV pancreatic cancer. Always a fighter, he refused to let the disease bring him to his knees, and his bravery has inspired both his legion of fans and cancer patients everywhere. Yet this memoir, written with wisdom and heart, recounts much more than his bout with cancer. In vivid detail, Patrick describes his Texas upbringing, his personal struggles, his rise to fame with North and South, his commercial breakthroughs in Dirty Dancing and Ghost, and the soul mate who's stood by his side through it all: his wife, writer and director Lisa Niemi. A behind-the-scenes look at a Hollywood life and a remarkable love, this memoir is both entertainment and inspiration. Patrick and Lisa's marriage is a journey of two lives intertwined and lived as one--throughout their years in Hollywood and at home on their working ranch outside Los Angeles, and culminating in the hope and wisdom they've imparted to all who know them. This book will open the door for families, individuals, and husbands and wives to grow, bond and discover entirely new levels of love and sharing, proving that life shouldn't be lived as a series of endings, but rather as the beginning of greater strength and love.

    Now, with a wit as dry as the weather in his home state of Arizona, the “comic brat extraordinaire” tells his story in Almost Interesting.First taking fans back to his childhood as a wannabe cool younger brother and recounting his excruciating road-tour to fame—when he was regularly mistaken for a ten-year-old, Spade then dishes about his time crisscrossing the country as a comedian, for low-paying gigs and dragging along his mother’s old suitcase full of props. He also covers his years on SNL during the beloved Rock/Sandler/Farley era of the 1990s, including his close working relationship and friendship with Chris Farley and brags about the ridiculous perks that fame has brought into his life, including the constant fear of being fired, a crazy ex-assistant who attacked him while he was sleeping, a run-in with Eddie Murphy on the mean streets of Beverley Hills, and of course an endless supply of hot chicks. Sometimes dirty, always funny, and as sharp as a tack, Almost Interesting reminds you why David Spade is one of our generation’s favorite funny guys.