Discover the secrets, never before seen on television, of Twin Peaks' most-wanted man, who scored a perfect 100 on his marksmanship test and once let a gentle, beautiful woman lead him astray. He's Dale Cooper - the man who seems too good to be true - and this is his story.

    Strangelove to A Clockwork Orange, 2001: A Space Odyssey, Full Metal Jacket, and others, has always been depicted by the media as the Howard Hughes of filmmakers, a weird artist obsessed with his work and privacy to the point of madness. But who was he really? Emilio D'Alessandro lets us see. A former Formula Ford driver who was a minicab chauffeur in London during the Swinging Sixties, he took a job driving a giant phallus through the city that became his introduction to the director. Honest, reliable, and ready to take on any task, Emilio found his way into Kubrick's neurotic, obsessive heart. He became his personal assistant, his right-hand man and confidant, working for him from A Clockwork Orange until Kubrick's death in 1999.Emilio was the silent guy in the room when the script for The Shining was discussed. He still has the coat Jack Nicholson used in the movie. He was an extra on the set of Eyes Wide Shut, Kubrick's last movie. He knew all the actors and producers Kubrick worked with; he observed firsthand Kubrick's working methods down to the smallest detail. Making no claim of expertise in cinematography but with plenty of anecdotes, he offers a completely fresh perspective on the artist and a warm, affecting portrait of a generous, kind, caring man who was a perfectionist in work and life.

    Of difficult egos, awful behavior, fragile friendships, bursts of inspiration, and blizzards of cocaine―told by the survivors and shaped by Chris Nashawaty's welcome insight and perspective.”― Mark Harris, New York Times bestselling author of Pictures at a Revolution and Five Came BackCaddyshack is one of the most beloved comedies of all time, a classic snobs vs. slobs story of working class kids and the white collar buffoons that make them haul their golf bags in the hot summer sun. It has sex, drugs and one very memorable candy bar, but the movie we all know and love didn’t start out that way, and everyone who made it certainly didn’t have the word “classic” in mind as the cameras were rolling.In Caddyshack:The Making of a Hollywood Cinderella Story film critic for Entertainment Weekly Chris Nashawaty goes behind the scenes of the iconic film, chronicling the rise of comedy’s greatest deranged minds as they form The National Lampoon, turn the entertainment industry on its head, and ultimately blow up both a golf course and popular culture as we know it. Caddyshack is at once an eye-opening narrative about one of the most interesting, surreal, and dramatic film productions there’s ever been, and a rich portrait of the biggest, and most revolutionary names in Hollywood. So, it’s got that going for it…which is nice.

    Ceinwen Reilly has just moved from Yazoo City, Mississippi, and she’s never going back, minimum wage job (vintage store salesgirl) and shabby apartment (Avenue C walkup) be damned. Who cares about earthly matters when Ceinwen can spend her days and her nights at fading movie houses—and most of the time that’s left trying to look like Jean Harlow?One day, Ceinwen discovers that her downstairs neighbor may have—just possibly—starred in a forgotten silent film that hasn’t been seen for ages. So naturally, it’s time for a quest. She will track down the missing reels, she will impress her neighbor, and she will become a part of movie history: the archivist as ingénue.As she embarks on her grand mission, Ceinwen meets a somewhat bumbling, very charming, 100 percent English math professor named Matthew, who is as rational as she is dreamy. Together, they will or will not discover the reels, will or will not fall in love, and will or will not encounter the obsessives that make up the New York silent film nut underworld.A novel as winning and energetic as the grand Hollywood films that inspired it, Missing Reels is an irresistible, alchemical mix of Nora Ephron and David Nicholls that will charm and delight.

    The critics initially disliked it, but the public loved it. And eventually, the film took its rightful place as one of the most innovative, brilliant, and pivotal works of modern cinema. The Making of 2001: A Space Odyssey consists of testimony from Kubrick's collaborators and commentary from critics and historians. This is the most complete book on the film to date--from Stanley Kubrick's first meeting with screenwriter Arthur C. Clarke to Kubrick's exhaustive research to the actual shooting and release of the movie.From the Trade Paperback edition.

    Spike Lee burst full formed into the screen world with his award-winning, commercially successful independent film She's Gotta Have It. In the few short years following this stellar debut he has established himself as a force to be reckoned with in the film industry and in American popular culture. This book reveals Spike Lee as a Hollywood iconoclast and gifted visionary and takes us though the dramatic sequence of events that brought the movie Do The Right Thing to fruition. It is a testimonial to his developing genius, written in the stingingly funny and informed language of Spike Lee.

    Coincidentally it was the story of a legendary self-destructive director who returns to Hollywood from years of self-imposed exile in Europe. Welles swore it wasn’t autobiographical.The Other Side of the Wind was supposed to take place during a single day, and Welles planned to shoot it in eight weeks. It took twelve years and remains unreleased and largely unseen. The Last Movie is a fast-paced, behind-the-scenes account of the bizarre, hilarious and remarkable making of what has been called "the greatest home movie that no one has ever seen." Funded by the Shah of Iran’s brother-in-law, and based on a script that Welles rewrote every night for years, a final attempt to one-up his own best-work. It’s almost impossible to tell if art is imitating life or vice versa in the film. It’s a production best encompassed by its star, John Huston, who described the making of the film as "an adventure shared by desperate men that finally came to nothing."

    The former is a psychological thriller set in the Hollywood of the 1940s, while the latter reinvents the 1930s gangster film.

    The city is beginning to emerge from hibernation and an obscure spirit of social and political renewal is in the air. Yet Théo, his twin sister Isabelle and Matthew, an American student they have befriended, think only of immersing themselves in another, addictive form of hibernation: moviegoing at the Cinémathèque Française. Night after night, they take their place beside their fellow cinephiles in the very front row of the stalls and feast insatiably off the images that flicker across the vast white screen.Denied their nightly 'fix' when the French government suddenly orders the Cinémathèque's closure, Théo, Isabelle and Matthew gradually withdraw into a hermetically sealed world of their own creation, an airless universe of obsessive private games, ordeals, humiliations and sexual jousting which finds them shedding their clothes and their inhibitions with equal abandon. A vertiginous free fall interrupted only, and tragically, when the real world outside their shuttered apartment succeeds at last in encroaching on their delirium.The study of a triangular relationship whose perverse eroticism contrives nevertheless to conserve its own bruised purity, brilliant in its narrative invention and startling in ints imagery, The Dreamers (now a film by Bernardo Bertolucci) belongs to the romantic French tradition of Les Enfants Terribles and Le Grand Meaulnes and resembles no other work in recent British fiction.

    When the Colonial Marines vessel Sulaco docks with space station and military installation Anchorpoint, a new form of Xenomorph appears. Written by Hugo Award-winning novelist and "Queen of Cyberpunk" Pat Cadigan, based on Gibson's never-produced first draft.The Sulaco--on its return journey from LV-426--enters a sector controlled by the "Union of Progressive Peoples," a nation-state engaged in an ongoing cold war and arms race. U.P.P. personnel board the Sulaco and find hypersleep tubes with Ripley, Newt, and an injured Hicks. A Facehugger attacks the lead commando, and the others narrowly escape, taking what remains of Bishop with them.The Sulaco continues to Anchorpoint, a space station and military installation the size of a small moon, where it falls under control of the military's Weapons Division. Boarding the Sulaco, a team of Colonial Marines and scientists is assaulted by a pair of Xenomorph drones. In the fight Ripley's cryotube is badly damaged. It's taken aboard Anchorpoint, where Ripley is kept comatose. Newt and an injured Corporal Hicks are awakened, and Newt is sent to Gateway Station on the way to Earth. The U.P.P. sends Bishop to Anchorpoint, where Hicks begins to hear rumors of experimentation--the cloning and genetic modification of Xenomorphs.The kind of experimentation that could yield a monstrous hybrid, and perhaps even a Queen.ALIEN 3 TM & (c) Twentieth Century Films. All rights reserved.

    They had already made films that redefined the gangster movie, the screwball comedy, the fable, and the film noir, among others. No Country is just one of many Coen brothers films to center on the struggles of complex characters to understand themselves and their places in the strange worlds they inhabit. To

    With a superb cast (including Faye Dunaway, William Holden, Peter Finch, and Robert Duvall) directed by Sidney Lumet, the film won four Academy Awards and indelibly shaped how we think about corporate and media power.In Mad As Hell, Dave Itzkoff of The New York Times recounts the surprising and dramatic story of how Network made it to the screen. Such a movie rarely gets made any more—one man’s vision of the world, independent of studio testing or market research. And that man was Paddy Chayefsky, the tough, driven, Oscar-winning screenwriter whose vision—outlandish for its time—is all too real today. Itzkoff uses interviews with the cast and crew, as well as Chayefsky’s notes, letters, and drafts to re-create the action in front of and behind the camera at a time of swirling cultural turmoil. The result is a riveting account that enriches our appreciation of this prophetic and still-startling film.Itzkoff also speaks with today’s leading broadcasters and filmmakers to assess Network’s lasting impact on television and popular culture. They testify to the enduring genius of Paddy Chayefsky, who foresaw the future and whose life offers an unforgettable lesson about the true cost of self-expression.

    Hundreds of film stills, many in color, plus dialogue, quotations, and other sources add to and illustrate each chapter's overriding theme.

    Among filmmakers and film buffs, Cassavetes is revered, almost as a god. A major star of live television and a serious actor, he stumbled into making his first film, Shadows, and created a template for working outside the Hollywood system that would produce some of the most piercing and human films of the last thirty years including A Woman Under the Influence and Husbands. He became the prototypical outsider fighting the system for much of his career. Film critic Marshall Fine had unprecendented access to Cassavetes' wife, Gena Rowlands, and other members of their inner circle, as well as industry insiders who worked with Cassavetes -- some speaking publicly for the first time. Together, they tell his daring, tumultuous, and compelling story.