Ellen Burstyn has always defied expectations. Born in Detroit during the Depression, she left home at eighteen, leaving behind a complicated relationship with her mother, and moved to Dallas to become a model. Eventually, Burstyn ended up in New York City, where she performed in a variety of roles on Broadway and on television in the late 1950s and early 1960s before turning to film. Over the course of her career she delivered brilliant performances in The Last Picture Show, The Exorcist, Alice Doesn't Live Here Anymore-for which she won an Academy Award for Best Actress-Resurrection, and Requiem for a Dream. But this book is much more than a recitation of Burstyn's acting triumphs. It's a frank and unsparing account of her search for personal and professional authenticity and the consequences of that struggle. Burstyn's efforts as an actor to uncover the enduring truths in each of her roles, which she learned from Lee Strasberg at the renowned Actors Studio, inform her life offstage as well. In Lessons in Becoming Myself, Burstyn describes her personal missteps and how confronting them encouraged her to find a different life path. Raised a Catholic, Burstyn has spent her life exploring a wide range of spiritual experience-from the Himalayas to Cambodia, from Mont Blanc to New York City-that goes deeper than labels. Lessons in Becoming Myself is the extraordinary story of the quest for the examined life. By turns thoughtful and funny, insightful and lighthearted, it is a brilliant accomplishment by one of the finest observers of human nature.

    Smith Goes to Washington," and "The Philadelphia Story." He symbolized the patriotism of the time, and even joined the army in World War II, winning a Distinguished Flying Cross. Up to that point, his characters had espoused the same values that Stewart himself, a devout Presbyterian, lived by. But after the war, his youthful exuberance faded, and he settled into darker roles, including his classic performances in Hitchcock's "Rear Window" and "Vertigo." Biographer Donald Dewey suggests that while the boyish charm of his early characters reflected pre-war hopefulness, his disturbed, nearly psychotic later characters mirrored the introspection and suspicion of the 1950s.

    Her ups and downs seemed not so different from our own, but more than a decade after the popular television show ended, the star publicly revealed her shocking recovery from methamphetamine addiction. Even then, she kept a painful secret—one that could not be solved in thirty minutes with a hug, a stern talking-to, or a bowl of ice cream around the family table. The harrowing battle she swore she had won was really just beginning. In this deeply personal, utterly raw, and ultimately inspiring memoir, Jodie comes clean about the double life she led—the crippling identity crisis, the hidden anguish of juggling a regular childhood with her Hollywood life, and the vicious cycle of abuse and recovery that led to a relapse even as she wrote this book. Finally, becoming a mother gave her the determination and the courage to get sober. With resilience, charm, and humor, she writes candidly about taking each day at a time. Hers is not a story of success or defeat, but of facing your demons, finding yourself, and telling the whole truth—unSweetined.

    "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

    Despite only a year and a half of schooling, Harpo, or perhaps his collaborator, is the best writer of the Marx Brother. Highly recommended." -Library Journal "A funny, affectionate and unpretentious autobiography done with a sharply professional assist from Rowland Barber." -New York Times Book Review

    He virtually invented modern stand-up comedy. His tours to entertain US troops and patriotic radio broadcasts, along with his all-American, brash-but-cowardly movie character, helped to ease the nation's jitters during the stressful days of World War II. He helped redefine the very notion of what it means to be a star: a savvy businessman, pioneer of the brand extension (churning out books, writing a newspaper column, hosting a golf tournament), and public-spirited entertainer whose Christmas military tours and tireless work for charity set the standard for public service in Hollywood. But he became a polarizing figure during the Vietnam War, and the book sheds new light on his close relationship with President Richard Nixon during those embattled years.Bob Hope is a household name. However, as Richard Zoglin shows in this revelatory biography, there is still much to be learned about this most public of figures, from his secret first marriage and his stint in reform school, to his indiscriminate womanizing and his ambivalent relationship with Bing Crosby and Johnny Carson. Hope could be cold, self-centered, tight with a buck, and perhaps the least introspective man in Hollywood. But he was also a dogged worker, gracious with fans, and generous with friends.Hope is both a celebration of an entertainer whose vast contribution has never been properly appreciated, and a complex portrait of a gifted but flawed man, who, unlike many Hollywood stars, truly loved being famous, appreciated its responsibilities, and handled celebrity with extraordinary grace.

    Includes candid photos and an episode guide no Bat-fan should be without.

    Its notoriety is so great that its title has become a generic term for disaster, for ego run rampant, for epic mismanagement, for wanton extravagance. It was also the film that brought down one of Hollywood’s major studios—United Artists, the company founded in 1919 by Douglas Fairbanks, Mary Pickford, D. W. Griffith, and Charlie Chaplin. Steven Bach was senior vice president and head of worldwide production for United Artists at the time of the filming of Heaven's Gate, and apart from the director and producer, the only person to witness the film’s evolution from beginning to end. Combining wit, extraordinary anecdotes, and historical perspective, he has produced a landmark book on Hollywood and its people, and in so doing, tells a story of human absurdity that would have made Chaplin proud.

    Now, in West of Eden, she turns to Los Angeles, the city of her childhood. Stein vividly captures a mythic cast of characters: their ambitions and triumphs as well as their desolation and grief.   These stories illuminate the bold aspirations of five larger-than-life individuals and their families. West of Eden is a work of history both grand in scale and intimate in detail. At the center of each family is a dreamer who finds fortune and strife in Southern California: Edward Doheny, the Wisconsin-born oil tycoon whose corruption destroyed the reputation of a U.S. president and led to his own son’s violent death; Jack Warner, the son of Polish-Jewish immigrants, who together with his brothers founded one of the world’s most iconic film studios; Jane Garland, the troubled daughter of an aspiring actress who could never escape her mother’s schemes; Jennifer Jones, an actress from Oklahoma who won the Academy Award at twenty-five but struggled with despair amid her fame and glamour. Finally, Stein chronicles the ascent of her own father, Jules Stein, an eye doctor born in Indiana who transformed Hollywood with the creation of an unrivaled agency and studio.   In each chapter, Stein paints a portrait of an outsider who pins his or her hopes on the nascent power and promise of Los Angeles. Each individual’s unyielding intensity pushes loved ones, especially children, toward a perilous threshold. West of Eden depicts the city that has projected its own image of America onto the world, in all its idealism and paradox. As she did in Edie, Jean Stein weaves together the personal recollections of an array of individuals to create an astonishing tapestry of a place like no other.

    At times, he touches on his love affairs, looking back coolly and with unexpected frankness.From first meeting his collaborator and life partner, Ismail Merchant, at the Indian Consulate in New York to winning an Academy Award at age eighty-nine for Call Me by Your Name; from seeing his first film at age five in Klamath Falls, Oregon, to memories of Satyajit Ray, Jean Renoir, The New Yorker magazine's film critic Pauline Kael (his longtime enemy), Vanessa Redgrave, J. D. Salinger, George Cukor, Kenneth Clark, Bruce Chatwin, Ruth Prawer Jhabvala, and Merchant--Ivory writes with invariable fluency, wit, and perception about what made him who he is and how he made the movies for which he is known and loved.Solid Ivory, edited by Peter Cameron, is an utterly winning portrait of an extraordinary life told by an unmatched storyteller.

    But now destiny was about to manifest itself. I felt like it was looking right at me and nobody else." So writes Bob Dylan in Chronicles: Volume One, his remarkable book exploring critical junctures in his life and career. Through Dylan's eyes and open mind, we see Greenwich Village, circa 1961, when he first arrives in Manhattan. Dylan's New York is a magical city of possibilities -- smoky, nightlong parties; literary awakenings; transient loves and unbreakable friendships. Elegiac observations are punctuated by jabs of memories, penetrating and tough. With the book's side trips to New Orleans, Woodstock, Minnesota and points west, Chronicles: Volume One is an intimate and intensely personal recollection of extraordinary times.By turns revealing, poetical, passionate and witty, Chronicles: Volume One is a mesmerizing window on Bob Dylan's thoughts and influences. Dylan's voice is distinctively American: generous of spirit, engaged, fanciful and rhythmic. Utilizing his unparalleled gifts of storytelling and the exquisite expressiveness that are the hallmarks of his music, Bob Dylan turns Chronicles: Volume One into a poignant reflection on life, and the people and places that helped shape the man and the art.

                 His trailblazing television program, The Dick Van Dyke Show (produced by Carl Reiner, who has written the foreword to this memoir), was one of the most popular sitcoms of the 1960s and introduced another major television star, Mary Tyler Moore. But Dick Van Dyke was also an enormously engaging movie star whose films, including Mary Poppins and Chitty Chitty Bang Bang, have been discovered by a new generation of fans and are as beloved today as they were when they first appeared. Who doesn’t know the word supercalifragilisticexpialidocious?             A colorful, loving, richly detailed look at the decades of a multilayered life, My Lucky Life In and Out of Show Business, will enthrall every generation of reader, from baby-boomers who recall when Rob Petrie became a household name, to all those still enchanted by Bert’s “Chim Chim Cher-ee.” This is a lively, heartwarming memoir of a performer who still thinks of himself as a “simple song-and-dance man,” but who is, in every sense of the word, a classic entertainer.From the Hardcover edition.

    The Brothers McMullen went on to win the Grand Jury Prize at the Sundance Film Festival in 1995, and established the working-class Irish American filmmaker as a talent to watch. In the twenty years since, Burns has made ten more films (She’s the One, Sidewalks of New York, and The Fitzgerald Family Christmas), while also acting in big budget Hollywood movies (Saving Private Ryan), hit television shows (Entourage and Mob City), and pioneering a new distribution network for indie filmmakers online and with TV’s On Demand service (“why open a film in twenty art houses when you can open in twenty million homes?”).Inspired by Burns’s uncompromising success both behind and in front of the camera, students and aspiring filmmakers are always asking Burns for advice. In Independent Ed, Burns shares the story of his two remarkable decades in a fickle business where heat and box office receipts are often all that matter. He recounts stories of the lengths he has gone to to secure financing for his films, starting with The Brothers McMullen (he told his father: “Shooting was the twelve best days of my life”). How he found stars on their way up—including Jennifer Aniston and Cameron Diaz—to work in his films, and how he’s adhered religiously to the dictum of writing what you know, working as if he was just starting out, and always “looking for the next twelve best days of my life.”Chronicling the struggles and the long hours as well as the heady moments when months of planning and writing come to fruition, Independent Ed is a must-read for movie fans, film students, and everyone who loves a gripping tale about what it takes to forge your own path in work and life.

    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.

    Before they teamed up, Dean Martin seemed destined for a mediocre career as a nightclub singer, and Jerry Lewis was dressing up as Carmen Miranda and miming records on stage. But the moment they got together, something clicked—something miraculous—and audiences saw it at once. Before long, they were as big as Elvis or the Beatles would be after them, creating hysteria wherever they went and grabbing an unprecedented hold over every entertainment outlet of the era: radio, television, movies, stage shows, and nightclubs. Martin and Lewis were a national craze, an American institution. The millions (and the women) flowed in, seemingly without end—and then, on July 24, 1956, ten years from the day when the two men joined forces, it all ended.After that traumatic day, the two wouldn’t speak again for twenty years. And while both went on to forge triumphant individual careers—Martin as a movie and television star, recording artist, and nightclub luminary (and charter member of the Rat Pack); Lewis as the groundbreaking writer, producer, director, and star of a series of hugely successful movie comedies—their parting left a hole in the national psyche, as well as in each man’s heart.In a memoir by turns moving, tragic, and hilarious, Jerry Lewis recounts with crystal clarity every step of a fifty-year friendship, from the springtime, 1945 afternoon when the two vibrant young performers destined to conquer the world together met on Broadway and Fifty-fourth Street, to their tragic final encounter in the 1990s, when Lewis and his wife ran into Dean Martin, a broken and haunted old man.In Dean and Me, Jerry Lewis makes a convincing case for Dean Martin as one of the great — and most underrated — comic talents of our era. But what comes across most powerfully in this definitive memoir is the depth of love Lewis felt, and still feels, for his partner, and which his partner felt for him: truly a love to last for all time.