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In this powerful and evocative memoir, Oscar-winning director and screenwriter, Oliver Stone, takes us right to the heart of what it's like to make movies on the edge.
In Chasing The Light he writes about his rarefied New York childhood, volunteering for combat, and his struggles and triumphs making such films as Platoon, Midnight Express, and Scarface.
Before the international success of Platoon in 1986, Oliver Stone had been wounded as an infantryman in Vietnam, and spent years writing unproduced scripts while taking miscellaneous jobs and driving taxis in New York, finally venturing westward to Los Angeles and a new life.
Stone, now 73, recounts those formative years with vivid details of the high and low moments: we sit at the table in meetings with Al Pacino over Stone's scripts for Scarface, Platoon, and Born on the Fourth of July; relive the harrowing demon of cocaine addiction following the failure of his first feature, The Hand (starring Michael Caine); experience his risky on-the-ground research of Miami drug cartels for Scarface; and see his stormy relationship with The Deer Hunter director Michael Cimino. We also learn of the breathless hustles to finance the acclaimed and divisive Salvador; and witness tensions behind the scenes of his first Academy Award-winning film, Midnight Express.
The culmination of the book is the extraordinarily vivid recreation of filming Platoon in the depths of the Philippine jungle with Kevin Dillon, Charlie Sheen, Willem Dafoe, Johnny Depp et al, pushing himself, the crew and the young cast almost beyond breaking point.
Written fearlessly, with intense detail and colour, Chasing the Light is a true insider's story of Hollywood's years of upheaval in the 1970s and '80s, and Stone brings this period alive as only someone at the centre of the action truly can.
The indispensable, illustrated pocket guide to the films of Wes Anderson, from Bottle Rocket to Isle of Dogs. ALSO AVAILABLE: Close-Ups: Vampire Movies Close-Ups: New York Movies Wes Anderson is a distinctive auteur of modern American cinema, known for having created a personal universe out of pastel colour palettes, meticulous set design, nostalgic soundtracks and a troupe of familiar actors - all seen in films such as Rushmore, The Royal Tenenbaums, The Grand Budapest Hotel and Isle of Dogs. In this illustrated pocket guide Sophie Monks Kaufman delves beneath Anderson's pristine surfaces to examine his emotional preoccupations with family, romance, failure, adventure and death. She carefully unspools the cultural threads that inform his aesthetic to explain why this precocious arthouse film nerd from Texas has become one of the most popular directors of his generation.
'Linn Ullmann has written something of beauty and solace and truth. I don't know how she managed to sail across such dangerous waters' RACHEL CUSK He is a renowned Swedish filmmaker and has a plan for everything. She is his daughter, by the actress he directed and once loved. Each summer of her childhood, the daughter visits the father at his remote Faro island home on the edge of the Baltic Sea. Now that she's grown up - a writer, with children of her own - and he's in his eighties, they envision writing a book together, about old age, language, memory and loss. She will ask the questions. He will answer them. The tape recorder will record. But it's winter now and old age has caught up with him in ways neither could have foreseen. And when the father is gone, only memories, images and words -- both remembered and recorded - remain. And from these the daughter begins to write her own story, in the pages which become this book. Heart-breaking and spell-binding, Unquiet is a seamless blend of fiction and memoir in pursuit of elemental truths about how we live, love, lose and age.
The definitive reference for all Wes Anderson fans. Loaded with rich imagery and detailed analysis of his incredible films - including the classics The Grand Budapest Hotel, Rushmore, The Royal Tenenbaums and Moonrise Kingdom as well as Anderson's highly anticipated new releaseThe French Dispatch - this is the first book to feature all of Wes Anderson's movies in a single volume. Acclaimed film journalist Ian Nathan provides an intelligent and thoughtful examination of the work of one of contemporary film's greatest visionaries, charting the themes, visuals, and narratives that have come to define Anderson's work and contributed to his films an idiosyncratic character that's adored by his loyal fans. From Anderson's regular cast members - including Bill Murray and Owen Wilson - to his instantly recognisable aesthetic, recurring motifs and his scriptwriting processes, this in-depth collection will reveal how Wes Anderson became one of modern cinema's most esteemed and influential directors. Presented in a slipcase with 8-page gatefold section, this stunning package will delight all Wes Anderson devotees and movie lovers in general.
Michael Winner, the legendary film director, writer and food critic, is a colourful figure who has led a remarkable life. He has a reputation for being outspoken, and, true to form, in his autobiography he tells it like it is with sharp and insightful observations. 'Winner Takes All' begins with his unconventional childhood as a Jewish boy attending a Quaker boarding school and introduces his eccentric mother, who was a compulsive gambler. Michael Winner gained his first taste of fame, when aged fourteen, he met the stars for a showbusiness column in twenty London local papers. At Cambridge he edited the student newspaper and became a local celebrity. The author is a natural raconteur and his anecdotes from the film industry are compelling. He recounts his early life with relish and provides fascinating accounts of his experiences directing some of the world's most famous actors and actresses, including Charles Bronson, Sophia Loren, Joan Collins, Orson Welles, Marlon Brando and Anthony Hopkins. Many of them became close friends. As a food critic, Michael Winner is famous for shooting from the hip. Love him or loathe him, he is constantly in the public eye. His esure TV commercials - which produced a national catchphrase `Calm down dear!' - have been an advertising industry phenomenon. What may come as a surprise to the reader is the gentle side that he reveals in his autobiography. He speaks with candour about his private life; he admits his fear of relationships with women and confides the heartbreaking story of the love of his life, a famous female star.
Dominick Dunne seemed to live his entire adult life in the public eye, but in this biography Robert Hofler reveals a conflicted, enigmatic man who reinvented himself again and again. As a television and film producer in the 1950s-1970s, hobnobbing with Humphrey Bogart and Natalie Wood, he found success and crushing failure in a pitiless Hollywood. As a Vanity Fair journalist covering the lives of the rich and powerful, he mesmerized readers with his detailed coverage of spectacular murder cases-O.J. Simpson, the Menendez brothers, Michael Skakel, Phil Spector, and Claus von Bulow. He had his own television show, Dominick Dunne's Power, Privilege, and Justic. His five best-selling novels, including The Two Mrs. Grenvilles, People Like Us, and An Inconvenient Woman, were inspired by real lives and scandals. The brother of John Gregory Dunne and brother-in-law of Joan Didion, he was a friend and confidante of many literary luminaries. Dunne also had the ear of some of the world's most famous women, among them Princess Diana, Nancy Reagan, Liz Smith, Barbara Walters, and Elizabeth Taylor. Dunne admitted to inventing himself, and it was that public persona he wrote about in his own memoir, The Way We Lived Then. Left out of that account, but brought to light here, were his intense rivalry with his brother John Gregory, the gay affairs and relationships he had throughout his marriage and beyond, and his fights with editors at Vanity Fair. Robert Hofler also reveals the painful rift in the family after the murder of Dominick's daughter, Dominique-compounded by his coverage of her killer's trial, which launched his career as a reporter.
Between 1960 and 1964, the legendary Roger Corman created eight motion pictures that have become known as the "Poe Cycle", elevating the careers of both himself and Vincent Price to cult status around the world. Nearly half a century later these films are staples in most DVD collections of anyone who admires the cinema of the Fantastic. This is the long-awaited book that details and analyses these highly important films. This book has been 30 years in the making! Nevermore will include: Hundreds of rare images never seen before from each film; Commentaries from Vincent Price and Roger Corman; Special observations by Barbara Steele, Elizabeth Shepherd, Joyce Jameson and Hazel Court as the leading ladies of the series; Exclusive interviews with the actors and artisans that made the Poe films; Rare poster art from around the world; Extra material on the Poe films made after Corman with exclusive interviews with Gordon Hessler and Samuel Z Arkoff. Archivist and film historian David Del Valle in collaboration with Professor Sam Umland have fashioned a film-by-film analysis of Roger Corman's Poe films including the Poe-inspired films made after Corman left AIP to pursue other projects. The unique combination of Professor Umland's insights into the literary landscape of Poe in concert with Mr Del Valle's twenty five years of research interviewing all the participants in the Poe series now culminates here. This is the "dream within a dream" for aficionados of these films which have never left the imagination of the generation that grew up watching them.
This text is the iconoclastic and controversial filmmaker Derek Jarman's candid journals from 1989 to 1990. The journals include Jarman's love of gardening and flowers while he was growing sicker from AIDS.
A collection of critical essays on Barbara Kopple: director, documentarian and female filmmaking pioneer As the first woman to win two Best Documentary Oscars and the recipient of numerous lifetime achievement awards, Barbara Kopple deserves scholarly attention. Two of her early documentaries, Harlan County USA and American Dream, not only won Academy Awards but are foundational within the study of documentary as a whole. In ReFocus: The Films of Barbara Kopple, a range of international scholars trace Kopple's career to date, analysing her contributions in the contexts of funding, style, production and reception, and examining her films' interrogations of social class using the lenses of gender, sexuality and race. In a shifting digital media landscape, Kopple's critical reputation is also assessed, alongside her enduring influence on contemporary filmmakers. Contributors Patricia Aufderheide, American University in Washington, D.C. Jaimie Baron, University of Alberta and director of the Festival of (In)appropriation Gregory Brown, Valdosta State University John Corner, Leeds University Leger Grindon, Middlebury College in Vermont Kate Hearst, historian, scholar and filmmaker Jeff Jaeckle, Portland Community College E. Ann Kaplan, Stony Brook University Heather McIntosh, Minnesota State University at Mankato Betsy A. McLane, independent scholar, author and Director Emerita of the International Documentary Association Bill Nichols, San Francisco State University Augusta Palmer, filmmaker and St. Francis College Paula Rabinowitz, University of Minnesota Susan Ryan, The College of New Jersey Thomas Zaniello, Northern Kentucky University
Orson Welles called Ernst Lubitsch (1892-1947) "a giant" whose "talent and originality are stupefying." Jean Renoir said, "He invented the modern Hollywood." Celebrated for his distinct style and credited with inventing the classic genre of the Hollywood romantic comedy and helping to create the musical, Lubitsch won the admiration of his fellow directors, including Alfred Hitchcock and Billy Wilder, whose office featured a sign on the wall asking, "How would Lubitsch do it?" Despite the high esteem in which Lubitsch is held, as well as his unique status as a leading filmmaker in both Germany and the United States, today he seldom receives the critical attention accorded other major directors of his era. How Did Lubitsch Do It? restores Lubitsch to his former stature in the world of cinema. Joseph McBride analyzes Lubitsch's films in rich detail in the first in-depth critical study to consider the full scope of his work and its evolution in both his native and adopted lands. McBride explains the "Lubitsch Touch" and shows how the director challenged American attitudes toward romance and sex. Expressed obliquely, through sly innuendo, Lubitsch's risque, sophisticated, continental humor engaged the viewer's intelligence while circumventing the strictures of censorship in such masterworks as The Marriage Circle, Trouble in Paradise, Design for Living, Ninotchka, The Shop Around the Corner, and To Be or Not to Be. McBride's analysis of these films brings to life Lubitsch's wit and inventiveness and offers revealing insights into his working methods.
Despite his iconic status, Kurosawa's life story remains an enigma and art imitates life with its own "Rashomon" effect. To discover Kurosawa, Paul Anderer guides us through the ruins of a defeated country and a shattered family. He brings to life the dynamic energy of Tokyo in the 1920s and the city's impact on the young Kurosawa. He resurrects the spectre of Kurosawa's older brother, Heido, a star in the silent film industry, who leads a colourful, rebellious life until his despairing, tragic end. Anderer brings these formative years into focus and looks beyond the aura of Kurosawa's enduring fame. Kurosawa's Rashomon brings Kurosawa and his vivid, challenging world to life.
'I give this as a present more than other book. I buy it for people so
often that I’ve been known to give girlfriends two copies, one birthday
after another’ - Dolly Alderton
The two essays in the volume follow a long tradition in critical discourse that turns to Arts domain as a source of inspiration, instruction, and as material for the construction of its concepts and the development of its problems. The case study of Suite Grunewald, 159+1 variations, by the artist Titus-Carmel, returns to a subject that has been eclipsed in past decades by the imperative to remember: namely, the creation of the new as an event, or rather, the event of the new as creation. This is an especially vexatious problem following, on the one hand, the massive displacement of the subject as the author and creator of its works and, on the other, the introduction of the influential DeleuzianBergsonian notion of the new as immanent continuity rather than as the commonsense notion would have it a rupture, interruption, and discontinuity. The first essay develops this problematic by working alongside with Titus-Carmel variations / deconstruction of Grunewalds original painting of the Crucifixion as an exemplary site where the creation of the new at once incalculable and necessary finds a living and urgent expression. The second essay stages an encounter and sets free the resonances between the writing of Jean-Luc Nancy on and around the body and the cinema of Claire Denis as a cinema that mobilizes the force of bodies that it itself invents, and to which it gives a unique form of presence.
"A compelling and relevant must-read." -Entertainment Weekly In this riveting popular history, the creator of You Must Remember This probes the inner workings of Hollywood's glamorous golden age through the stories of some of the dozens of actresses pursued by Howard Hughes, to reveal how the millionaire mogul's obsessions with sex, power and publicity trapped, abused, or benefitted women who dreamt of screen stardom. In recent months, the media has reported on scores of entertainment figures who used their power and money in Hollywood to sexually harass and coerce some of the most talented women in cinema and television. But as Karina Longworth reminds us, long before the Harvey Weinsteins there was Howard Hughes-the Texas millionaire, pilot, and filmmaker whose reputation as a cinematic provocateur was matched only by that as a prolific womanizer. His supposed conquests between his first divorce in the late 1920s and his marriage to actress Jean Peters in 1957 included many of Hollywood's most famous actresses, among them Billie Dove, Katharine Hepburn, Ava Gardner, and Lana Turner. From promoting bombshells like Jean Harlow and Jane Russell to his contentious battles with the censors, Hughes-perhaps more than any other filmmaker of his era-commoditized male desire as he objectified and sexualized women. Yet there were also numerous women pulled into Hughes's grasp who never made it to the screen, sometimes virtually imprisoned by an increasingly paranoid and disturbed Hughes, who retained multitudes of private investigators, security personnel, and informers to make certain these actresses would not escape his clutches. Vivid, perceptive, timely, and ridiculously entertaining, Seduction is a landmark work that examines women, sex, and male power in Hollywood during its golden age-a legacy that endures nearly a century later.
Based on the futuristic novel by Anthony Burgess, A Clockwork Orange is a masterwork of cinematic satire. When a flamboyant, Beethoven-obsessed, murderous gang leader agrees to undergo experimental violence-aversion therapy in exchange for early release from prison, he winds up "cured" of his own free will. The film's highly stylized sets, choreographed brutality, and Moog synthesizer score--conceived to heighten the effect of each scene--were so ahead of their time that, to many, they obscured the overall message. In fact, so much controversy over the violent scenes ensued that the film's notoriety became, itself, the stuff of legend. From a contemporary perspective, what stands out above all is Kubrick's extraordinary gift for entertaining us while making us think. To quote Burgess: "Is it better for a man to have chosen evil than to have good imposed upon him?" The ethical queries so central to this visionary film are every bit as relevant today, and every bit as difficult to answer. This collection is part of the Making of a Masterpiece series, offering a behind-the-scene glimpse into cinematic milestones.This set includes: film stills, behind-the-scenes photographs, screenplay drafts, and other exclusive material from Stanley Kubrick's archives background about the making of the film, interviews with Kubrick, and an illustrated biography and filmography a fold-out film poster a DVD of the remastered film
Based on William Makepeace Thackeray's picaresque novel of 1844, Barry Lyndon tells the story of a social-climbing opportunist (Ryan O'Neal) who succeeds in marrying a beautiful aristocrat far above his social station (Marisa Berenson), only to see his gains eventually undone by avarice and spite. Meticulously conceived and sumptuously photographed--using a specially-modified lens and almost exclusively lit by candles and natural light--Barry Lyndon is at once a satirical and sympathetic portrayal of a strangely endearing antihero. (Because "he has charm and courage," said Kubrick, "it's impossible not to like him despite his vanity, his insensitivity, and his weakness.") Despite underwhelming audiences and critics alike when it was released in 1975, a time when period pieces were not all the rage, Barry Lyndon has quietly risen in the ranks of Kubrick's canon and is now widely considered to be not only among his finest achievements but a cinematic masterpiece without equal. This collection is part of the Making of a Masterpiece series, offering a behind-the-scene glimpse into movie milestones.This set includes: film stills, behind-the-scenes photographs, screenplay drafts, and other exclusive material from Stanley Kubrick's archives background about the making of the film, interviews with Kubrick, and an illustrated biography and filmography a fold-out film poster a DVD of the remastered film
Based on William Makepeace Thackeray's picaresque novel of 1844, Barry Lyndon tells the story of a social-climbing opportunist (Ryan O'Neal) who succeeds in marrying a beautiful aristocrat far above his social station (Marisa Berenson), only to see his gains eventually undone by avarice and spite. Meticulously conceived and sumptuously photographed-using a specially-modified lens and almost exclusively lit by candles and natural light-Barry Lyndon is at once a satirical and sympathetic portrayal of a strangely endearing antihero. (Because "he has charm and courage," said Kubrick, "it's impossible not to like him despite his vanity, his insensitivity, and his weakness.") Despite underwhelming audiences and critics alike when it was released in 1975, a time when period pieces were not all the rage, Barry Lyndon has quietly risen in the ranks of Kubrick's canon and is now widely considered to be not only among his finest achievements but a cinematic masterpiece without equal. This collection is part of the Making of a Masterpiece series, offering a behind-the-scene glimpse into movie milestones.This set includes: film stills, behind-the-scenes photographs, screenplay drafts, and other exclusive material from Stanley Kubrick's archives background about the making of the film, interviews with Kubrick, and an illustrated biography and filmography a fold-out film poster a DVD of the remastered film
"Supple and sophisticated, Francois Truffaut and Friends tells an affecting story--several stories--and does so with verve."--Dudley Andrew, Professor of Comparative Literature and Film Studies, Yale University "An original and fascinating study that spins out from Truffaut's Jules and Jim to explore the world of literature, film, and avant-garde sexuality."--James Naremore, author of More Than Night: Film Noir and Its Contexts "A fascinating study. It won't be possible to watch Jules and Jim again without thinking of the complex layers of lived and imagined life that feed into Truffaut's classic film."--Annette Insdorf, author of Francois Truffaut One of Francois Truffaut's most poignantly memorable films, Jules and Jim, adapted a novel by the French writer Henri-Pierre Roche. The characters and events of the 1962 film were based on a real-life romantic triangle, begun in the summer of 1920, that involved Roche, the German-Jewish writer Franz Hessel, and his wife, the journalist Helen Grund. Drawing on Truffaut's Jules and Jim, Two English Girls, and The Man Who Loved Women, along with the various memoirs, journals, and novels written by the prototypes, Robert Stam provides the first in-depth examination of the multifaceted relationship between Truffaut and Roche. In the process, he provides a unique lens through which to examine transtextual adaptation across various genres and media. Truffaut's use of Roche's work, Stam suggests, demonstrates how adaptations can be more than simply copies of their originals; rather, they can be an immensely creative enterprise. The book moves beyond Truffaut's films to explore the intertwined lives and works of other famous artist/intellectual friends of the threesome, including Marcel Duchamp, Walter Benjamin, and Charlotte Wolff. Along the way, the book explores the aesthetics of flanerie, the sexual politics of bohemia, and the ethics of anti-semitism and homoeroticism. Robert Stam is University Professor at New York University. He has published widely on French and comparative literature, film, and theory.
I asked a chum who had written a book before - 'How do you decide where to start?' - as I was determined not to write the story from the beginning to the end. That would be very predictable and boring, I thought. After all, I was a filmmaker and filmmakers don't tell stories in chronological order. Also I'm dyslexic and I've never written anything before and I read very seldom as it's a very big chore for me. Anyhow, he told me to think of what was the most important thing that ever happened in my life. Was it the moment I was waving goodbye to my friends off the deck of a massive ocean liner, the Oriana, on my way to an uncertain world in Australia at the tender age of 17? Was it the moment the police came to my front door one Sunday evening to tell me that my son, Orlando, was dead? Was it the day I discovered that my father was a spy? Was it the day I directed my first movie? Or was it the day I died and miraculously returned to life again after 19 days in a coma? No - none of these. I think the most memorable event of my life was when I walked out of a pawn shop in Sydney in 1963, having hocked the old Leica camera my father gave me before I left England, and with the proceeds bought a saddle - which was now over my shoulder, looking to hitch a ride out of town to the Outback, to find a horse, to become a cowboy and realise my childhood dream. What was I doing? Was I completely mad?
Samuel Goldwyn was the premier dream-maker of his era - a fierce independent force in a time when studios ruled, a producer of silver screen sagas who was, in all probability, the last Hollywood tycoon. In this riveting book, Pulitzer Prize winning biographer A. Scott Berg tells the life story of this remarkable man - a tale as rich with drama as any feature length epic and as compelling as the history of Hollywood itself.
A hefty compilation of essays (both pictorial and prose), notes, concept sketches and interviews by (and with) Hayao Miyazaki. Arguably the most respected animation director in the world, Miyazaki is the genius behind Howl's Moving Castle, Princess Mononokeand the Academy Award-winning film, Spirited Away.
This volume of spellbinding essays explores the tense relationship between Alfred Hitchcock and Bernard Herrmann, providing new perspectives on their collaboration. Featuring chapters by leading scholars of Hitchcock's work, including Richard Allen, Charles Barr, Murray Pomerance, Sidney Gottlieb and Jack Sullivan, the collection examines the working relationship between the pair and the contribution that Herrmann's work brings to Hitchcock's idiom. Examining key works, including The Man Who Knew Too Much, Psycho, Marnie and Vertigo, the essays explore approaches to sound, music, collaborative authorship and the distinctive contribution that Herrmann's work with Hitchcock brought to this body of films, examining the significance, meanings, histories and enduring legacies of one of film history's most important partnerships. By engaging with the collaborative work of Hitchcock and Herrmann, the book explores the ways in which film directors and composers collaborate, how this collaboration is experienced in the film text, and the ways in which such partnerships inspire later work. -- .
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