A determined perfectionist with an incredible ego, her beauty, her style, her sense of the outrageous, made her a star. In this candid, illuminating, and detailed biography full of photographs, her only daughter Maria Riva, tells the incredible, fascinating, story of the star's life and career, loves and hates, hits and misses, as only a daughter can. From the Trade Paperback edition.

    When it became a surprise blockbuster, studios began to trust him with larger budgets and the whims of his expansive imagination. Mixing gothic horror, black comedy, and oddball whimsy, Burton's movies veer from childlike enchantment to morbid melancholy, often with the same frame.His beautifully designed and highly stylized films-including Batman, Edward Scissorhands, Beetlejuice, Big Fish, Sleepy Hollow, and Ed Wood-are idiosyncratic, personal visions that have found commercial success. In Tim Burton: Interviews, the director discusses how animation and art design affect his work, how old horror films have deeply influenced his psyche, why so many of his protagonists are outcasts, and how he's managed to make personal films within the Hollywood system. He gives tribute to writers he's worked with, his favorite actors-including Johnny Depp and Vincent Price-and talks enthusiastically about pulp horror fiction and the works of Edgar Allan Poe.These interviews show his progression from an inarticulate young director to a contemplative and dry-witted artist over the course of twenty years. In later interviews, he opens up about being in therapy and how his childhood fantasies still affect his art. Tim Burton: Interviews reveals a man who has managed to thrive inside Hollywood while maintaining the distinctive quirks of an independent filmmaker.Kristian Fraga, New York City, wrote and directed the award-winning PBS documentary The Inside Reel: Digital Filmmaking. He is a founding partner of Sirk Productions, LLC, a Manhattan-based film and television production company.

    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.

    The Music Corporation of America was founded in Chicago in 1924 by Dr. Jules Stein, an ophthalmologist with a gift for booking bands. Twelve years later, Stein moved his operations west to Beverly Hills and hired Lew Wasserman. From his meager beginnings as a movie-theater usher in Cleveland, Wasserman ultimately ascended to the post of president of MCA, and the company became the most powerful force in Hollywood, regarded with a mixture of fear and awe. In his signature black suit and black knit tie, Was-serman took Hollywood by storm. He shifted the balance of power from the studios—which had seven-year contractual strangleholds on the stars—to the talent, who became profit partners. When an antitrust suit forced MCA’s evolution from talent agency to film- and television-production company, it was Wasserman who parlayed the control of a wide variety of entertainment and media products into a new type of Hollywood power base. There was only Washington left to conquer, and conquer it Wasserman did, quietly brokering alliances with Democratic and Republican administrations alike. That Wasserman’s reach extended from the underworld to the White House only added to his mystique. Among his friends were Teamster boss Jimmy Hoffa, mob lawyer Sidney Korshak, and gangster Moe Dalitz—along with Presidents Johnson, Clinton, and especially Reagan, who enjoyed a particularly close and mutually beneficial relationship with Wasserman. He was equally intimate with Hollywood royalty, from Bette Davis and Jimmy Stewart to Steven Spielberg, who began his career at MCA and once described Wasserman’s eyeglasses as looking like two giant movie screens.The history of MCA is really the history of a revolution. Lew Wasserman ushered in the Hollywood we know today. He is the link between the old-school moguls with their ironclad studio contracts and the new industry defined by multimedia conglomerates, power agents, multimillionaire actors, and profit sharing. In the hands of Connie Bruck, the story of Lew Wasserman’s rise to power takes on an almost Shakespearean scope. When Hollywood Had a King reveals the industry’s greatest untold story: how a stealthy, enterprising power broker became, for a time, Tinseltown’s absolute monarch.From the Hardcover edition.

    When he died recently, he left behind an incredible celluloid legacy. Sunset Boulevard, Some Like It Hot, Double Indemnity, The Apartment, The Lost Weekend, Sabrina and other Wilder films have become a part of our shared experience and collective memory. In Nobody's Perfect, Billy Wilder speaks for himself, in what is as close to an autobiography as there ever will be. Charlotte Chandler, author of authorized bios on Groucho Marx and Federico Fellini, met Wilder in the mid-1970s and began a friendship that continued until his death. Over the course of more than 20 years, she interviewed not only Wilder, but many of the actors and other creative people who worked with him. The result is this remarkable book, a very personal look at one of filmdom's true creative geniuses. In a life as dramatic as his films, Wilder survived World War I and escaped the Holocaust. His great gift as a screenwriter soon became apparent, as did his easy rapport with actors. As a writer-director, he worked with such stars as Greta Garbo, William Holden, Tony Curtis, Barbara Stanwyck, Marlene Dietrich, Ginger Rogers, Gloria Swanson, Audrey Hepburn, Gary Cooper, James Cagney, Jack Lemmon, Walter Matthau and Marilyn Monroe - most of whom were interviewed for this book. This revealing and vastly entertaining book is a wonderful, timely tribute to this great writer-director, a legacy of Wilder's wit, insight and remarkable wisdom.

    How could it lose? But instead Salamon got a front-row seat at the Hollywood disaster of the decade. She shadowed the film from its early stages through the last of the eviscerating reviews, and met everyone from the actors to the technicians to the studio executives. They'd all signed on for a blockbuster, but there was a sense of impending doom from the start--heart-of-gold characters replaced Wolfe's satiric creations; affable Tom Hanks was cast as the patrician heel; Melanie Griffith appeared mid-shoot with new, bigger breasts. With a keen eye and ear, Salamon shows us how the best of intentions turned into a legendary Hollywood debacle.The Devil's Candy joins John Gregory Dunne's The Studio, Steven Bach's Final Cut, and William Goldman's Adventures in the Screen Trade as a classic for anyone interested in the workings of Hollywood. With a new afterword profiling De Palma ten years after the movie's devastating flop (and this book's best-selling publication), Julie Salamon has created a riveting insider's portrait of an industry where art, talent, ego, and money combine and clash on a monumental scale.

    His own brilliant directing career has been marked by similarly grand ambitions, and he is unique in having premiered all of his features - from the highly styled The Element of Crime to the digital-video-originated The Idiots - at the Cannes Film Festival. Trier is a rare item in contemporary cinema, a restless innovator and polemicist, as his participation in the back-to-basics Dogme95 movement attests; and these conversations with Stig Bjorkman, author of Bergman on Bergman and Woody Allen on Woody Allen, trace the evolution of his career and thought in a manner that is both astonishingly detailed and engagingly humorous.

    Romero's 2008 release Diary of the Dead this thorough, uproarious guide traces the evolution of one of horror cinema's most popular and terrifying creations. Fans will learn exactly what makes a zombie a zombie, go behind the scenes with a chilling production diary from Land of the Dead, peruse a bizarre list of the oddest things ever seen in undead cinema, and immerse themselves in a detailed rundown of the 25 greatest zombie films ever made. Containing an illustrated zombie rating system, ranging from "Highly Recommended" to "Avoid at All Costs" and "So Bad It's Good," the book also features lengthy interviews with numerous talents from in front of and behind the camera.Features chronological reviews of more than 300 zombie films.

    Mankiewicz and Orson Welles --Notes on the shooting script / prepared by Gary Carey --RKO cutting continuity of the Orson Welles production, Citizen Kane.

    This time, Muir surveys 300 films from the 1980s. From backwards psychos (Just Before Dawn) and yuppie-baiting giant rats (Of Unknown Origin), to horror franchises like Friday the 13th and Hellraiser, as well as nearly forgotten obscurities such as The Children and The Boogens, Muir is our informative guide through 10 macabre years of silver screen terrors. Muir introduces the scope of the decade's horrors, and offers a history drawing parallels between current events and the nightmares unfolding on cinema screens. Each of the 300 films is discussed with detailed credits, a brief synopsis, a critical commentary, and where applicable, notes on the film's legacy beyond the 80s. Also included is the author's ranking of the 15 best horror films of the 80s.

    Filled with stunning revelations about the men in her life—Burton, Clift, Hilton, Dean, Fisher—it is a glorious celebration of the turbulent life of a brilliant star that none in Hollywood or heaven could ever outshine.

    Within an hour he was dead - victim of a lethal cocktail of drugs. His name was River Phoenix and he was 23 years old. His short but incident packed life is a tale of modern Hollywood. He was the antithesis of the traditional hard-living Hollywood star of the past. A strict vegetarian and environmentalist, his later acting roles were not the stereotypical brat pack roles of his contemporaries. And yet to the surprise and dismay of friends and fans alike he succumbed to the corrupting influence of Hollywood.River Phoenix: A Short Life is the first biography of this talented but tragic young star. It explores the contradictions of a life that encompassed the hippy philosophy of his unconventional parents, the abnormal pressures of child stardom on TV, leading inevitably to the big time as a brat pack hopeful in Hollywood. However, there was real talent in this young actor which was recognised by upcoming directors and established names. His performance in Sidney Lumet's Running On Empty and his role as a male prostitute in My Own Private Idaho established his credentials as a serious actor with the potential for greatness.The death of River Phoenix cut a promising career short. Phoenix crossed the boundaries between film and rock music - he had his own band - but he could not avoid the pressures of the system without the crutch of hard drugs.

    This is both one man's remarkable story and an essential guide for anyone who has a celluloid story to tell and the dreams and determination to see it through.  Part production diary, part how-to manual, Rodriguez unveils how he was able to make his influential first film on only a $7,000 budget.  Also included is the appendix, 'The Ten Minute Film Course,” a tell-all on how to save thousands of dollars on film school and teach yourself the ropes of film production, directing, and screenwriting.

    The book will explore:--Welles' meteoric rise to stardom in New York and the real reason behind his arrival in Hollywood--Welles' unprecedented contract with RKO Studios for total creative control and the deeper issues that impeded his work instead--The dispute over who wrote the script--The mystery of the "lost" final script, which the author has in his possession, and the missing scenes, which answer questions relating to the creation of the film--The plot by Hearst to destroy Welles' project through blackmail, media manipulation, and other tactics--A detailed look behind the scenes of a production process that was cloaked in secrecy--The surprising emergence of Citizen Kane as an enduring masterpieceUsing previously unpublished material from studio files and the Hearst organization, exclusive interviews with the last surviving members of the cast and crew, and what may be the only surviving copy of the "lost" final script of the film, Citizen Kane: A Filmmaker's Journey recounts the making of one of the most famous films in Hollywood history.

    His experiences and thoughts on screenwriting, adapting novels, adapting one's own novels (a bad idea), and on the craft itself contain more useful information than a pile of how-to manuals. As in his novels, McMurtry is by turns witty, acerbic, and thoughtful; the pieces are surprisingly stylish in that the bulk of them (17 out of 21) were spun off on monthly deadlines (for American Film magazine, in 1975-77), and McMurtry admittedly can't remember writing most of them. A fine collection, from a fine writer.No Clue: Or Learning to Write for the Movies. --The Hired Pen. --The Deadline Syndrome. --The Telephone Booth Screenwriter. --The Fun of It All. --All the President's Men, Seven Beauties, History, Innocence, Guilt, Redemption, and the Star System. --The Screenplay as Non-Book: A Consideration. --Pencils West: Or a Theory for the Shoot-'Em Up. --"Mary Hartman, Mary Hartman" and the Movie-Less Novelists. --O Ragged Time Knit Up Thy Ravell'd Sleave. --The Situation in Criticism: Reviewers, Critics, Professors. --Character, the Tube, and the Death of Movies. --The Disappearance of Love. --Woody Allen, Keith Carradine, Lily Tomlin, and the Disappearance of Grace. --The Last Picture Shows. --The Seasons of L.A.. --The Last Movie Column. --The Last Picture Show: A Last Word. --Approaching Cheyenne ... Leaving Lumet. Oh, Pshaw!. --Movie-Tripping: My Own Rotten Film Festival. --A Walk in Pasadena with Di-Annie and Mary Alice