Film Production

A self-made man who rose to dizzying heights, Subhash Ghai proved the adage that destinies are created—and destroyed—every day in the Mumbai film industry. Today he runs Whistling Woods, the country's foremost film institute: his legacy to future generations of filmmakers. Karma's Child, his memoir, written with Suveen Sinha, tells the story of a man who believed he was destined to direct his own future, no less dramatically than a Subhash Ghai film—and did so.

Between 1934 and 1968, no Hollywood studio could make a movie without the permission of, and a seal of approval from, the Production Code Administration. Formed in 1930 but not enforced until 1934, the Production Code was Hollywood’s official censorship system. Screenplays, books, plays, costumes, and even story ideas and song lyrics had to be cleared by the Code before they could be filmed, and Code staffers watched at every stage of the production process to ensure compliance.

Finally, a book that confronts the challenges filmmakers of all types of films face when bringing their vision to the screen. Emmy-nominated director and multi-hyphenate filmmaker Christopher Folkens (www.mysticfilms.com) provides an in-depth look at the personal journey necessary for any filmmaker to take on their debut film (or really any creative project for that matter).

Want to know how to write a script that people will remember, and can catch the attention of producers and other above-the-line talent? (Don't worry about agents; they don't want to talk to you). Nail your dialogue. Really. Now I know you've heard all the maxims: Film is a Visual Medium; You Can Either Write Dialogue or You Can't. And they both sound very logical. And esteemed writers, such as David Mamet, have been preaching them for years. But, in my not so humble opinion, they're both total bullcrap.

The Towering Inferno (1974) was the crowning achievement of über-producer Irwin Allen, the self-proclaimed “Master of disaster.” Crafted from two best-selling books and with a budget-busting cast headed by two mega-stars, it took two studios to bring it to the screen. In celebration of the 50th anniversary of The Towering Inferno, biographer-historian Nat Segaloff (who was a member of the film’s special publicity unit) writes about the production, its innovative marketing campaign, and the goings-on before, during, and after its box office success.

Investigative journalist Sam Irvin's tell-all behind the making of FRANKENSTEIN: THE TRUE STORY (Universal / NBC-TV, 2-part miniseries, 1973) has many facets. It is an eye-opening exposé on the movie industry of the early 1970s with an emphasis on Universal Pictures and the horror genre. But the chronicle also reveals a hidden agenda – fueled by the astonishing courage of a revolutionary group of LGBTQ+ artists spearheaded by producer Hunt Stromberg Jr. and his screenwriters Christopher Isherwood (THE BERLIN STORIES – the basis for CABARET) and his lover, artist Don Bachardy.

From the hustle and bustle of film production in Hollywood to running the biggest “how-to” filmmaking press in the world, Michael has lived a life accompanied by countless paradigm thinkers such as Buckminster Fuller and Salvador Dalí, and he puts his heart and soul in every chapter to show you what the journey to true success, on every level of life, looks like.

Tells the true story of when and why China set out to replace Hollywood as the world’s number one movie cinema, how it gained control of Hollywood along the way, and what Hollywood needs to do now to regain its former greatness.

In today's busy world, preventing audience boredom is more important than ever. Now screenwriters and directors have an easy guidebook for making their films more captivating, spine tingling, and suspenseful. "Hitchcock Whisperer" Jeffrey Michael Bays brings the secrets of suspense out of the shadows.

Эльдар Александрович Рязанов—советский и российский кинорежиссёр, сценарист, актёр, поэт, драматург, телеведущий, педагог, продюсер. На страницах книги раскрывается внутренний мир известного режиссера. Эльдар Рязанов рассказывает о сути комедийного жанра, поднимает важные проблемы современного кинематографа и ТВ.

A collection of celebrity interviews in homage to Famous Monsters of Filmland editor Forry Ackerman, including Joe Moe, Dr. Mangor, Fred Olen Ray, Count Gore Devol, Lucy Hell, Don Calfa, Jason Paul Collum, and Sara Karloff, with an introduction by the late Ingrid Pitt.

In December of 1992, filming began on a secret Fantastic Four movie. Several months earlier, Bernd Eichinger met with legendary producer and director Roger Corman about making the movie before his rights expired at the end of the year. The movie was finished in 1993 and scheduled for a 1994 release. Before the premiere, Marvel bought the film and the negative was destroyed. The Fantastic Four would never be seen. However, a single copy made during a routine transfer leaked out and found its way to comic conventions and eventually to the internet.

Danny Plotnick showcases the history of Super 8 filmmaking in this must-listen audiobook. Super 8 offers a detailed look at the beloved medium - one not only embraced by suburban dads, the target audience of the format, but by the art world, punk rockers, and ultimately popular culture. Filmmakers who got their start in Super 8 include Robert Zemeckis, Jim Jarmusch, Todd Haynes, Sam Raimi, Wes Anderson, and Alex Gibney.

Animators work within a strictly defined, limited space that requires difficult artistic decisions. The blank frame presents a dilemma for all animators, and the decision of what to include and leave out raises important questions about artistry, authorship, and cultural influence. In Animating Space: From Mickey to WALL-E, renowned scholar J. P. Telotte explores how animation has confronted the blank template, and how responses to that confrontation have changed.

Robert Altman and the Elaboration of Hollywood Storytelling reveals an Altman barely glimpsed in previous critical accounts of the filmmaker. This re-examination of his seminal work during the "Hollywood Renaissance" or "New Hollywood" period of the early 1970s (including M*A*S*H and Nashville) sheds new light on both the films and the filmmaker, reframing Altman as a complex, pragmatic innovator whose work exceeds, but is also grounded in, the norms of classical Hollywood storytelling rather than someone who rejected those norms in favor of modernist art cinema.

The Camera Lies unpacks Hitchcock's legacy both as a director who continuously taught audiences to distrust appearance and as a man with an uncanny insight into the human capacity for deceit and misinterpretation.

A rollicking, provocative, racy, colorful irreverent show business memoir culled from Michael Kutza’s decades rubbing elbows with the giants of film at the Chicago International Film Festival and numerous other festivals around the globe. It includes many of the lowlights as well as the highlights of a life lived just off-screen.

Charming and classically handsome, John Gilbert (1897-1936) was among the world's most recognizable actors during the silent era. He was a wild, swashbuckling figure on screen and off, and accounts of his life have focused on his high-profile romances with Greta Garbo and Marlene Dietrich, his legendary conflicts with Louis B. Mayer, his four tumultuous marriages, and his swift decline after the introduction of talkies.

Tony Award winner Tonya Pinkins' new book, Red Pill Unmasked, is an inside look at the on-screen and behind-the-scenes development and production of her first feature film, Red Pill, which is available on AmazonPrime and other platforms. Tonya shares her writing and directing process, as well as the historical and symbolic references in the film. She includes many inside stories about how the film almost didn't happen because there was a "red pill" on the production set.

Michael E. Uslan, executive producer of the Batman movie franchise, offers an insider’s look at Hollywood and the process of how movies and television shows go from the drawing board to your screens. Continuing the delightful tale of his adventures begun in The Boy Who Loved Batman, Uslan draws on both his successful and less successful attempts to bring ideas to the screen, offering a helpful, honest, and breezily told guide to producing films.