With such seminal movies as The Exorcist and The French Connection, Academy Award-winning director William Friedkin secured his place as a great filmmaker. But his own success story has the makings of classic American film. He was born in Chicago, the son of Russian immigrants. Immediately after high school, he found work in the mailroom of a local television station, and patiently worked his way into the directing booth during the heyday of live TV.

An award-winning documentary brought him attention as a talented new filmmaker and an advocate for justice, and it caught the eye of producer David L. Wolper, who brought Friedkin to Los Angeles. There he moved from television (one of the last episodes of The Alfred Hitchcock Hour) to film (The Birthday Party, The Boys in the Band), displaying a versatile stylistic range. Released in 1971, The French Connection won five Academy Awards, including Best Picture and Best Director, and two years later The Exorcist received ten Oscar nominations and catapulted Friedkin's career to stardom.

Penned by the director himself, The Friedkin Connection takes readers on a journey through the numerous chance encounters and unplanned occurrences that led a young man from a poor urban neighborhood to success in one of the most competitive industries and art forms in the world. From the streets of Chicago to the executive suites of Hollywood, from a passionate new artistic life as a renowned director of operas to his most recent tour de force, Killer Joe, William Friedkin has much to say about the world of moviemaking and his place within it.

Colonel Terry Childers (Samuel L. Jackson) is a war hero whose peacekeeping mission to Yemen goes horribly wrong when he orders his men to open fire on a group of demonstrators. The colonel is subsequently charged with murder and asks his comrade-in-arms Hays Hodges (Tommy Lee Jones), a military lawyer of questionable ability, to defend him at the court martial. But when Hodges starts investigating he is surprised to find evidence that points to a cover-up. William Friedkin ('The Exorcist', 'The French Connection') directs.

Emotionally evocative and painterly in execution, Rocky Schenck's photographs invite viewers to enter an otherworldly realm where reality becomes a dream landscape haunted by paranoia, isolation, longing, beauty, betrayal, fear, humor, and death. The author John Berendt describes Schenck's photographs as stills "taken from a movie that exists not on film but rather in one's memory, with all the fuzziness typical of remembered impressions." Photo District News proclaims, "It is a measure of the curious strength and unity of vision of the photographs that after you've examined all of them, you feel that there is no other way of seeing the world than his, that there is no other photography you'd rather be looking at." The Recurring Dream presents new work by Rocky Schenck. In addition to his signature black-and-white dreamscapes, the book introduces color images that Schenck creates by hand tinting black-and-white prints with color oil paint-a practice dating back to the Victorian era that makes each individual print unique. Schenck explores psychological, metaphysical, and pictorial worlds, ranging from suggestive landscapes to scenes of people dwelling in various "found realities" and the occasional manufactured reality. Inspired by his rich dream life, the images insinuate subtle narratives that entice viewers to create stories in their own imaginations. A foreword by the director William Friedkin, who has used Schenck's photographs as sets for several operas, and an afterword in which Schenck describes his creative process complete the volume.

Gianandrea Noseda conducts the Orchestra and Chorus of the Teatro Regio Torino in this performance of Verdi's tragic opera.