'One of the best things published about cinema.' Sight & Sound

Herzog was once hailed by Francois Truffaut as the most important director alive. Famous for his frequent collaborations with mercurial actor Klaus Kinski - including the epics Aguirre, the Wrath of God and Fitzcarraldo, and the terrifying Nosferatu - and more recently with documentaries such as Grizzly Man, Cave of Forgotten Dreams and Into the Abyss, Herzog has built a body of work that is one of the most vital in post-war German cinema. Here, he reflects on his legendary and inspiring career.

For seven days in April 1968, students occupied five buildings on the campus of Columbia University to protest a planned gymnasium in a nearby Harlem park, links between the university and the Vietnam War, and what they saw as the university's unresponsive attitude toward their concerns. Exhilarating to some and deeply troubling to others, the student protests paralyzed the university, grabbed the world's attention, and inspired other uprisings. Fifty years after the events, A Time to Stir captures the reflections of those who participated in and witnessed the Columbia rebellion. With more than sixty essays from members of the Columbia chapter of Students for a Democratic Society, the Students' Afro-American Society, faculty, undergraduates who opposed the protests, "outside agitators," and members of the New York Police Department, A Time to Stir sheds light on the politics, passions, and ideals of the 1960s. Moving beyond accounts from the student movement's white leadership, this book presents the perspectives of black students, who were grappling with their uneasy integration into a supposedly liberal campus, as well as the views of women, who began to question their second-class status within the protest movement and society at large. A Time to Stir also speaks to the complicated legacy of the uprising. For many, the events at Columbia inspired a lifelong dedication to social causes, while for others they signaled the beginning of the chaos that would soon engulf the left. Taken together, these reflections present a nuanced and moving portrait that reflects the sense of possibility and excess that characterized the 1960s.

Amos Vogel was one of America's most innovative film historians and curators. An emigre from Austria who arrived in New York just before the Second World War, in 1947 he created Cinema 16, a pioneering film club aimed at audiences thirsty for work "that cannot be seen elsewhere," and in 1963 was instrumental in establishing the New York Film Festival. He later embarked on an ambitious teaching career, synthesizing decades of experience and directing his ideas towards students and, eventually, the wider public. In 1974 he published the culmination of his thoughts - along with an extraordinary collection of stills - in Film as a Subversive Art. On his death, the New York Times wrote that Vogel "exerted an influence on the history of film that few other non-filmmakers can claim." Be Sand, Not Oil is the first book about Vogel, and includes uncollected writings, an unpublished interview, and new essays documenting his never-ending quest for what Werner Herzog, his friend of many decades, has described as "adequate imagery."

Roman Polanski (b. 1933) arrived on the international scene in 1962 with his first feature film, "Knife in the Water," and his face would be on the cover of "Time" magazine by the end of that year. His vibrant, disturbing, and often violent films--including the psychological thriller "Rosemary's Baby," the film noir classic "Chinatown," and the somber Holocaust drama "The Pianist"--have entertained and sometimes infuriated audiences. Stylistically unsettling and thematically varied, Polanski's films have established him as one of the most talented and controversial European filmmakers of his generation.

Polanski's life has been troubled. He survived the Krakow ghetto and the Holocaust, but his mother died at Auschwitz. His wife Sharon Tate was brutally murdered in 1968 by members of Charles Manson's cult. After years of success in the United States, he fled the country in 1978 when he was convicted for having sex with a minor. He hasn't returned to America since that time. In "Roman Polanski: Interviews," the acclaimed director talks openly about how incidents in his life have and have not influenced his artistic vision.

This collection of interviews spans nearly forty years and comprises translations from French, German, and Spanish newspapers and magazines and transcripts of British and American television and radio appearances.

Paul Cronin has published several books, including volumes on Werner Herzog and Alexander Mackendrick. Through his production company Sticking Place Films (www.thestickingplace.com), he has made films about Haskell Wexler's "Medium Cool," curator and historian Amos Vogel, and Mackendrick's teaching career.

For seven days in April 1968, students occupied five buildings on the campus of Columbia University to protest a planned gymnasium in a nearby Harlem park, links between the university and the Vietnam War, and what they saw as the university's unresponsive attitude toward students and faculty. Exhilarating to some and troubling to others, the student protests paralyzed the university, grabbed the world's attention, and inspired other uprisings. Fifty years after the events, A Time to Stir captures the reflections of those who participated in and witnessed the Columbia rebellion. With more than sixty essays from members of the Columbia chapter of Students for a Democratic Society, the Students' Afro-American Society, faculty, undergraduates who opposed the protests, "outside agitators," and members of the New York Police Department, A Time to Stir sheds light on the politics, passions, and ideals of the 1960s. Moving beyond accounts from the student movement's white leadership, this book presents the perspectives of black students, who were dealing with their uneasy integration into a supposedly liberal campus, as well as the views of women, who increasingly questioned their second-class status within the protest movement and society at large. A Time to Stir also speaks to the complicated legacy of the uprising. For many, the events at Columbia inspired a lifelong dedication to social causes while for others they signaled the beginning of the chaos that would soon engulf Students for a Democratic Society. Taken together, these reflections present a nuanced and moving portrait that reflects the sense of possibility and excess that characterized the 1960s.