"Do you think you could teach Rock Hudson to talk like you do?"

The question came from famed Hollywood director George Stevens, and an affirmative answer propelled Bob Hinkle into a fifty-year career in Hollywood as a speech coach, actor, producer, director, and friend to the stars. Along the way, Hinkle helped Rock Hudson, Dennis Hopper, Carroll Baker, and Mercedes McCambridge talk like Texans for the 1956 epic film "Giant." He also helped create the character Jett Rink with James Dean, who became a best friend, and he consoled Elizabeth Taylor personally when Dean was killed in a tragic car accident before the film was released.

A few years later, Paul Newman asked Hinkle to do for him what he'd done for James Dean. The result was Newman's powerful portrayal of a Texas no-good in the Academy Award-winning film "Hud" (1963). Hinkle could--and did--stop by the LBJ Ranch to exchange pleasantries with the president of the United States. He did likewise with Elvis Presley at Graceland. Good friends with Robert Wagner, Hinkle even taught Wagner's wife Natalie Wood how to throw a rope. He appeared in numerous television series, including "Gunsmoke, Bonanza, Dragnet, and Walker, Texas Ranger." On a handshake, he worked as country music legend Marty Robbins's manager, and he helped Evel Knievel rise to fame.

From his birth in Brownfield, Texas, to a family so poor "they could only afford a tumbleweed as a pet," Hinkle went on to gain acclaim in Hollywood. Through it all, he remained the salty, down-to-earth former rodeo cowboy from West Texas who could talk his way into--or out of--most any situation. More than forty photographs, including rare behind-the-scenes glimpses of the stars Hinkle met and befriended along the way, complement this rousing, never-dull memoir.

Collection of four classic film dramas starring Elizabeth Taylor. In 'Who's Afraid of Virginia Woolf?' (1966), adapted from Edward Albee's controversial stage play, George (Richard Burton) is a foul-mouthed, drunken university professor married for two decades to the equally foul-mouthed, drunken Martha (Taylor), whose father is the president of George's college. When younger married couple Nick (George Segal) and Honey (Sandy Dennis) are invited round for a nightcap, they witness a marathon of bickering and verbal abuse. The film won five Oscars, including Best Actress for Elizabeth Taylor and Best Supporting Actress for Sandy Dennis. 'Cat On a Hot Tin Roof' (1958), based on the Tennesse Williams play, follows the events which transpire one long, hot Southern evening when the family of plantation patriarch Big Daddy (Burl Ives) gathers to celebrate his birthday. Both of the big man's sons are there for the party, but only one of them - Gooper (Jack Carson) - is keen to inherit the family fortune; the other, Brick (Paul Newman), a former high school athlete who now drinks constantly and refuses to sleep with his wife, Maggie (Taylor), couldn't care less. Nevertheless, Maggie would like to see some of the money, believing that it might offer some recompense for the coldness of her marriage, and Big Mama (Judith Anderson), the boys' mother, has always favoured Brick out of the two. As the night wears on, the temperature rises, skeletons emerge from closets, and the family tensions get closer and closer to breaking point. 'Giant' (1956) follows Bick Benedict (Rock Hudson), a Texas cattle baron who takes a non-Texan wife, Leslie (Taylor). The story traces two generations of his family, alongside the life of disreputable ranch-hand Jett Rink (James Dean), who strikes it rich on an oil well and falls in love with Leslie. Director George Stevens won an Oscar for his work, and the film garnered nine more nominations, including one for James Dean, who was killed in a car crash soon after filming. In 'Lassie Come Home' (1943) the Carraclough family are struggling financially and have no choice but to sell their pet collie, Lassie. Her new owner's granddaughter, Priscilla (Taylor), realises how unhappy Lassie is away from her family and helps her to escape so she can begin her long journey home.

"Do you think you could teach Rock Hudson to talk like you do?"The question came from famed Hollywood director George Stevens, and an affirmative answer propelled Bob Hinkle into a fifty-year career in Hollywood as a speech coach, actor, producer, director, and friend to the stars. Along the way, Hinkle helped Rock Hudson, Dennis Hopper, Carroll Baker, and Mercedes McCambridge talk like Texans for the 1956 epic film Giant. He also helped create the character Jett Rink with James Dean, who became a best friend, and he consoled Elizabeth Taylor personally when Dean was killed in a tragic car accident before the film was released. A few years later, Paul Newman asked Hinkle to do for him what he'd done for James Dean. The result was Newman's powerful portrayal of a Texas no-good in the Academy Award-winning film Hud (1963). Hinkle could-and did-stop by the LBJ Ranch to exchange pleasantries with the president of the United States. He did likewise with Elvis Presley at Graceland. Good friends with Robert Wagner, Hinkle even taught Wagner's wife Natalie Wood how to throw a rope. He appeared in numerous television series, including Gunsmoke, Bonanza, Dragnet, and Walker, Texas Ranger. On a handshake, he worked as country music legend Marty Robbins's manager, and he helped Evel Knievel rise to fame. From his birth in Brownfield, Texas, to a family so poor "they could only afford a tumbleweed as a pet," Hinkle went on to gain acclaim in Hollywood. Through it all, he remained the salty, down-to-earth former rodeo cowboy from West Texas who could talk his way into-or out of-most any situation. More than forty photographs, including rare behind-the-scenes glimpses of the stars Hinkle met and befriended along the way, complement this rousing, never-dull memoir.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ The Works Of William Shakespeare: Comprising His Dramatic And Poetical Works, Complete, Volume 3; The Works Of William Shakespeare: Comprising His Dramatic And Poetical Works, Complete; William Shakespeare William Shakespeare, George Stevens Phillips, Sampson, 1854 Drama; Shakespeare; Drama / Shakespeare; Literary Criticism / Shakespeare

The first book to bring together these interviews of master moviemakers from the American Film Institute's renowned seminars, "Conversations with the Great Moviemakers" offers an unmatched history of American cinema in the words of its greatest practitioners.
Here are the incomparable directors Frank Capra, Elia Kazan, King Vidor, David Lean, Fritz Lang ("I learned only from bad films"), William Wyler, and George Stevens; renowned producers and cinematographers; celebrated screenwriters Ray Bradbury and Ernest Lehman; as well as the immortal Ingmar Bergman and Federico Fellini ("Making a movie is a mathematical operation. It's absolutely impossible to improvise"). Taken together, these conversations offer uniquely intimate access to the thinking, the wisdom, and the genius of cinema's most talented pioneers.

Alice Howell (1886-1961) is slowly gaining recognition and regard as arguably the most important slapstick comedienne of the silent era. This new study, the first book-length appreciation, identifies her place in the comedy hierarchy alongside the best-known of silent comediennes, Mabel Normand. Like Normand, Howell learned her craft with Mack Sennett and Charlie Chaplin. Beginning her screen career in 1914, Howell quickly developed a distinctive style and eccentric attire and mannerisms, successfully hiding her good looks, and was soon identified as the ""Female Charlie Chaplin."" Howell became a star of comedy shorts in 1915 and continued her career through 1928 and the advent of sound in film. While she is today recognized as a pioneering female filmmaker, during her career she never expressed much interest in her work, seeing it only as a means to an end, with her income carefully invested in real estate. It has taken many years for her to gain her rightful place in film history, not only as a comedienne, but also as matriarch of a prominent American family that includes son-in-law and director George Stevens and grandson George Stevens Jr., founder of the American Film Institute and the Kennedy Center Honors, who provides a foreword.

A rich companion volume to George Stevens, Jr.'s much admired book of American Film Institute seminars with the pioneering moviemakers of Hollywood's Golden Age, this time with a focus on filmmakers of the 1950s to present day.
"The Next Generation" brings together conversations with moviemakers at work from the 1950s--during the studios' decline--to today's Hollywood. Directors, producers, writers, actors, cinematographers, composers, film editors, and independent filmmakers appear within these pages, including Steven Spielberg, Nora Ephron, George Lucas, Sidney Poitier, Meryl Streep, David Lynch, Darren Aronofsky, and more. We see how the filmmakers of today and those of Hollywood's Golden Age face the same challenges of both art and craft--to tell compelling stories on the screen. And we see the ways in which actors and directors work together, how each director has his or her own approach, and how they share techniques and theories.