Film History

Told with the same intimate style, brutal honesty, and uproarious wisdom that placed Wishful Drinking on the New York Times bestseller list for months, Shockaholic is the juicy account of Carrie Fisher’s life, focusing more on the Star Wars years and dishing about the various Hollywood relationships she’s formed since she was chosen to play Princess Leia at only 19 years old.

Film historian David Thomson, leads us into this very delicate subject. While unpacking classics such as Seven, Strangers on a Train, The Conformist, The Godfather, and The Shining, he offers a disconcerting sense of how the form of movies makes us accomplices in this sinister narrative process. Murder and the Movies admits us into what Thomson calls "a warped triangle": the creator working out a compelling death; the killer doing his and her best; and the entranced spectator trying to cling to life and a proper sense of decency.

Raconter une histoire ne s'improvise pas. La narration est un artisanat qui, avant de pouvoir prétendre à l'art, exige le respect de règles que John Truby a rassemblées dans cette Anatomie du scénario. Sa méthode unique nous fait entrer dans les secrets de fabrication de ce qui constitue la condition première de la réussite d'un film - une bonne histoire - et nous guide pas à pas dans la construction des personnages, de l'intrigue, de l'univers du récit, des dialogues, en détaillant les vingt-deux étapes incontournables dans l'écriture d'un scénario réussi.

The tale of Luke Skywalker, Han Solo, and the fall and redemption of Anakin Skywalker has become modern myth, an epic tragedy of the corruption of a young man in love into darkness, the rise of evil, and the power of good triumphing in the end. But it didn't start out that way. In this thorough account of one of cinema's most lasting works, Michael Kaminski presents the true history of how Star Wars was written, from its beginnings as a science fiction fairy tale to its development over three decades into the epic we now know, chronicling the methods, techniques, thought processes, and struggles of its creator.

Among a crop of fresh filmmakers including Steven Spielberg, George Lucas, Martin Scorsese, and Francis Ford Coppola revolutionizing Hollywood in the ’70s, Brian De Palma—a director from Philadelphia with a few social satires under his belt—charted a cinematic path unlike any of his peers. At times he was unfairly dismissed as a Hitchcock copycat; other times he was misunderstood for his peculiar mix of sexuality, humor, music, and violence. But, over the course of ten years, he created a new cinematic language.

Since it first opened on Broadway in September 1964, Fiddler on the Roof has constantly been onstage somewhere, including five Broadway revivals, four productions on London's West End, and thousands of schools, army bases, and countries from Argentina to Japan. Barbara Isenberg interviewed the men and women behind the original production, the film, and significant revivals.

Cinema is full of neurotic personalities, but few things are more transfixing than a woman losing her mind onscreen. Horror as a genre provides the most welcoming platform for these histrionics: crippling paranoia, desperate loneliness, masochistic death-wishes, dangerous obsessiveness, apocalyptic hysteria. Unlike her male counterpart—the eccentric'—the female neurotic lives a shamed existence, making these films those rare places where her destructive emotions get to play.

On stage and screen, we know a great performance when we see it. But how do actors draw from their bodies and minds to turn their selves into art? What is the craft of being an authentic fake? More than a century ago, amid tsarist Russia’s crushing repression, one of the most talented actors ever, Konstantin Stanislavski, asked these very questions, reached deep into himself and emerged with an answer.

In this New York Times best seller, legendary actor and star of the acclaimed documentary Val shares the stories behind his most beloved roles, reminisces about his star-studded career and love life, and reveals the truth behind his recent health struggles in a remarkably candid autobiography.

From such cult hits as Raising Arizona and The Big Lebowski to major critical darlings Fargo, No Country for Old Men, and Inside Llewyn Davis, Ethan and Joel Coen have cultivated a bleakly comical, instantly recognizable voice in modern American cinema. Film critic Adam Nayman carefully sifts through their complex cinematic universe in an effort to plot, as he puts it, "some Grand Unified Theory of Coen-ness." The book combines critical text with a visual aesthetic that honors the Coens' singular mix of darkness and levity.

Mel Brooks' own words telling all about the players, the filming, and studio antics during the production of this great comedy classic. The audiobook is alive and teeming with hundreds of photos, original interviews, and hilarious commentary. Young Frankenstein was made with deep respect for the craft and history of cinema-and for the power of a good schwanzstucker joke. This audiobook will also rely on interviews with gifted director of photography Gerald Hirschfeld, Academy Award-winning actress Cloris Leachman, and veteran producer Michael Gruskoff.

Avengers assemble! Tackling intriguing dilemmas and issues that no single great philosopher can withstand, this powerful book enlists the brainpower of an A-list team of history's most prominent thinkers to explore the themes behind the action of Marvel Comics' all-star superhero team.

Caddyshack 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.

Few filmmakers, if any, make the kind of impact that Martin Scorsese has made on American cinema. The winner of every prestigious film award, including the Oscar, Scorsese is a living legend. Bestselling author and award-winning filmmaker Mary Pat Kelly’s groundbreaking biography reveals how this working-class boy from Manhattan’s Little Italy became one of our most acclaimed, celebrated, and influential filmmakers. Martin Scorsese: A Journey maps Scorsese’s personal and artistic evolution.

The saga behind The Blues Brothers, as Daniel de Visé reveals, is epic, encompassing the colorful childhoods of Belushi and Aykroyd; the comedic revolution sparked by Harvard’s Lampoon and Chicago’s Second City; the birth and anecdote-rich, drug-filled early years of Saturday Night Live, where the Blues Brothers were born as an act amidst turmoil and rivalry; and, of course, the indelible behind-the-scenes narrative of how the film was made, scene by memorable scene.

On August 5th, 2003, Ryan Atwood found himself a long way from his home in Chino—he was in The O.C., an exclusive suburb full of beautiful girls, wealthy bullies, corrupt real-estate tycoons, and a new family helmed by his public defender, Sandy Cohen. Ryan soon warms up to his nerdy, indie band-loving new best friend Seth, and quickly falls for Marissa, the stunning girl next door who has secrets of her own. Completing the group is Summer, Seth’s dream girl and Marissa’s loyal—and fearless—best friend.

When did you last hang out with Jim, Pam, Dwight, Michael, and the rest of Dunder Mifflin? It might have been back in 2013, when the series finale aired...or it might have been last night, when you watched three episodes in a row. But either way, long after the show first aired, it’s more popular than ever, and fans have only one problem - what to watch, or listen to, next. Fortunately, writer Andy Greene has that answer. In his brand-new oral history, The Office: The Untold Story of the Greatest Sitcom of the 2000s, Greene takes listeners behind the scenes.

John Wayne projected dignity, integrity, and strength in all his films, even when his characters were flawed, and whatever character he played was always prepared to confront injustice in his own way. More than thirty years after his death, he remains the standard by which male stars are judged and an actor whose morally unambiguous films continue to attract sizeable audiences.

On a cold Saturday afternoon in 1975, two men (who had known each other for eight years before they’d ever exchanged a word) met for lunch in a Chicago pub. Gene Siskel was the film critic for the Chicago Tribune. Roger Ebert had recently won the Pulitzer Prize—the first ever awarded to a film critic—for his work at the Chicago Sun-Times. To say they despised each other was an understatement.

Join the entire Dunder Mifflin gang on a journey back to Scranton: Here's the hilarious inside story of how a little show that barely survived its first season became the most watched series in the universe.