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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.

Tom Weaver's classic fifth volume of interviews is now back in print. Originally published as It Came from Weaver Five in 1996, this collection goes behind the scenes with 20 of the most talkative people of Hollywood's horror, science fiction and serial films of the 1930s through 1960s. Delores Fuller loaned Ed Wood her angora sweater, but didn't fully realize he was a transvestite until Glen or Glenda was released. Tom Hennesy played the title role in Clint Eastwood's first movie--Revenge of the Creature. The interviewees include Fuller, Hennesy, Junior Coghlan, Charlotte Austin, Les Baxter, John Clifford, Mara Corday, Kathleen Crowley, Michael Fox, Anne Gwynne, Linda Harrison, Michael Pate, Gil Perkins, Walter Reed, Joseph F. Robertson, Aubrey Schenck, Sam Sherman, Gloria Stuart, Gregory Walcott and Robert Wise. Also included is "A Salute to Ed Wood," with illustrations by Drew Friedman.

Tom Weaver's classic fifth volume of interviews is now back in print. Originally published as It Came from Weaver Five in 1996, this collection goes behind the scenes with 20 of the most talkative people of Hollywood's horror, science fiction and serial films of the 1930s through 1960s. Delores Fuller loaned Ed Wood her angora sweater, but didn't fully realize he was a transvestite until Glen or Glenda was released. Tom Hennesy played the title role in Clint Eastwood's first movie--Revenge of the Creature. The interviewees include Fuller, Hennesy, Junior Coghlan, Charlotte Austin, Les Baxter, John Clifford, Mara Corday, Kathleen Crowley, Michael Fox, Anne Gwynne, Linda Harrison, Michael Pate, Gil Perkins, Walter Reed, Joseph F. Robertson, Aubrey Schenck, Sam Sherman, Gloria Stuart, Gregory Walcott and Robert Wise. Also included is "A Salute to Ed Wood," with illustrations by Drew Friedman.

The first full-length study of the authorial and cross-media practices of the English novelist Elinor Glyn (1864-1943), Elinor Glyn as Novelist, Moviemaker, Glamour Icon and Businesswoman examines Glyn’s work as a novelist in the United Kingdom followed by her success in Hollywood where she adapted her popular romantic novels into films. Making extensive use of newly available archival materials, Vincent L. Barnett and Alexis Weedon explore Glyn’s experiences from multiple perspectives, including the artistic, legal and financial aspects of the adaptation process. At the same time, they document Glyn’s personal and professional relationships with a number of prominent individuals in the Hollywood studio system, including Louis B. Mayer and Irving Thalberg. The authors contextualize Glyn’s involvement in scenario-writing in relationship to other novelists in Hollywood, such as Edgar Wallace and Arnold Bennett, and also show how Glyn worked across Europe and America to transform her stories into other forms of media such as plays and movies. Providing a new perspective from which to understand the historical development of both British and American media industries in the first half of the twentieth century, this book will appeal to historians working in the fields of cultural and film studies, publishing and business history.

New York: Knopf (2012). First edition. First printing. Hardbound. New/New. A pristine unread copy (without marks or bruises or smells or any other defect). Comes with archival-quality mylar dust jacket cover (not clipped, of course). Shipped in well-padded box. Purchased new and never opened. You cannot find a better copy.

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.

Reveals details about encounters between star psychiatrists and their clientele

Let the Data Film2Digital MovieMaker-PRO 8mm and Super 8 Converter breathe new life into your cherished memories. As time passes, your precious 8mm and Super 8 film reels are not only degrading but also becoming brittle, threatening the loss of those irreplaceable moments. Don't let your memories fade away; instead, transform them into high-quality digital format with this innovative device.The MovieMaker-PRO is not just a film converter; it's a gateway to the past. With its user-friendly design, it effortlessly converts your old movie reels into digital MP4 movie files. It operates much like a traditional projector, accommodating up to 9-inch reels. Simply mount your film, insert a memory card, and with a few button presses, the device will meticulously scan each frame to create a digital masterpiece.The MovieMaker-PRO doesn't just create digital files; it produces 1080p resolution movies that you can easily play on any computer. You can edit these digital files to your liking, upload them to the internet for sharing with friends and family, or burn them onto DVDs for safekeeping. With the Data Film2Digital MovieMaker-PRO 8mm and Super 8 Converter, you're not just preserving memories; you're creating an archive for the future. Considering the high costs charged by photo labs to digitize film, this device is a cost-effective solution for safeguarding your precious moments. Rediscover the joy of your old films in a modern, digital format with the MovieMaker-PRO.

How do you preserve and breathe new life into your cherished 8mm and Super 8 film memories? With the innovative Reels2Digital 8mm and Super 8 Movie Reels to Digital MovieMaker by Wolverine, you can effortlessly convert your vintage film reels into high-quality digital movies. This user-friendly device is a must-have for film enthusiasts and anyone looking to safeguard their precious memories from the ravages of time.Crafted with durability in mind, the Wolverine Reels2Digital MovieMaker is an easy-to-use solution that transforms your aging film into digital MP4 movie files without the need for sound. The process is straightforward: simply mount either a 3" or 5" film reel onto the device, insert a compatible memory card, and with just a few button presses, the MovieMaker will project and scan each frame, creating a digital file that can be played on any computer. This allows for seamless editing, uploading to the internet, or burning to DVDs, ensuring your memories are not only preserved but also shareable and accessible.The Wolverine Reels2Digital MovieMaker stands out from alternatives due to its compatibility with both 8mm and Super 8 film formats, eliminating the need for multiple devices. Additionally, the convenience of converting your films at home means you can save significantly compared to the costs of professional photo lab services, which often charge a premium per foot of film digitized.Designed to work with both Macintosh and PC/Windows platforms, this versatile device is perfect for anyone looking to convert their film archives into a digital format for easier viewing and sharing. Whether you're a professional archivist or a hobbyist looking to preserve family history, the Reels2Digital MovieMaker offers a reliable and cost-effective solution.Capture the essence of the past and secure it for the future with the Wolverine Reels2Digital 8mm and Super 8 Movie Reels to Digital MovieMaker, available at Adorama - your trusted source for high-quality photography and video equipment.

Offering moviemakers a powerful new creative tool, Sony has developed an advanced Super 35mm / APS-C format power zoom lens that starts at 18mm wide angle and extends to 110mm at the telephoto end (27mm - 165mm equiv. in 35mm format ). The new lens has a 6.1x high zoom ratio, even with inner focus, and maintains a constant F4 maximum aperture throughout its zoom range for beautiful depth of field effects and stable exposure control. An ideal companion to a wide range of Alpha cameras, from the PXW-FS7 professional camcorder to interchangeable-lens cameras such as a7 series and a6300, this G Lens delivers image quality that will satisfy even the most demanding of professional users. It consists of 18 elements in 15 groups, including 6 aspherical elements and 3 ED (Extra-low Dispersion) glass elements and features a 7 blade circular aperture design. This highly intricate design delivers extremely high resolution image quality and is particularly suited to professional 4K movie shooting. The E PZ 18-110mm F4 G OSS is only the second lens to benefit from Sony's Smooth Motion Optics (SMO) design and construction, which has been developed to eliminate unwanted image shifts while making adjustments during movie shooting. SMO addresses three particular aspects of lens operation that can have a significant impact on movie quality: Focus Breathing, where shifts in angle of view during focusing are minimized by an internal focus mechanism; focus shift, where small shifts in focus that can occur during zooming are eliminated by precise focus tracking adjustment, and Axial shift, where axial image shifts during zooming are minimized by a constant length design. The high level of operability and quiet operation of the new lens makes it a compelling proposition for its integration into professional movie production environments. Its three separate rings give control over focus, zoom and aperture, with optimal torque for a satisfyingly responsive, professional feel. Both servo and responsive manual mechanical zoom are fully supported and the zoom ring direction is switchable to match individual user preferences. Additionally, the lens length remains constant during any changes, making it easy to use with matte boxes and other lens accessories. Also, in a first for Sony Alpha lenses, a 0.8mm pitch focus gear is built right onto the ring, providing direct compatibility with standard focusing accessories. Optimum optical performance and operability is complimented by a dust and moisture-resistant design, making the lens ideal for location use. Extra versatility is afforded by Optical SteadyShot technology that provides in-lens image stabilization during handheld shooting. The lens also features a compact and lightweight design making it a truly mobile solution. Additional flexibility is afforded when used with the SEL14TC and SEL20TC teleconverters for 1.4x and 2.0x extension of focal range.

Taking you behind the scenes, through history, to the essence of the craft, Roman introduces the reader to moviemakers who are redefining the rules of their own game.

With his thumbprint on the most ubiquitous films of childhood, Walt Disney is widely considered to be the most conventional of all major American moviemakers. The adjective "Disneyfied" has become shorthand for a creative work that has abandoned any controversial or substantial content to find commercial success.But does Disney deserve that reputation? Douglas Brode overturns the idea of Disney as a middlebrow filmmaker by detailing how Disney movies played a key role in transforming children of the Eisenhower era into the radical youth of the Age of Aquarius. Using close readings of Disney projects, Brode shows that Disney's films were frequently ahead of their time thematically. Long before the cultural tumult of the sixties, Disney films preached pacifism, introduced a generation to the notion of feminism, offered the screen's first drug-trip imagery, encouraged young people to become runaways, insisted on the need for integration, advanced the notion of a sexual revolution, created the concept of multiculturalism, called for a return to nature, nourished the cult of the righteous outlaw, justified violent radicalism in defense of individual rights, argued in favor of communal living, and encouraged antiauthoritarian attitudes. Brode argues that Disney, more than any other influence in popular culture, should be considered the primary creator of the sixties counterculture—a reality that couldn't be further from his "conventional" reputation.

European cinema has always excelled when it comes to "bad" movies. When continental moviemakers combined horror with sex, they unleashed a tidal wave of celluloid strangeness that lasted nearly thirty years. From sexy thrillers to pulp surrealism, from decadent erotica to blood-soaked vampire epics, nothing could go too far. Immoral Tales tells the fascinating story of this unique period, peeking into the kaleidoscope of visceral horror, maverick directors, and erotic invention.

A hot young director known for his hugely successful violent horror films finds himself trapped in his house with a man who has a violent grudge against him. Frank Bennet (Academy Award Nominee Michael O'Keefe) wants revenge on the moviemaker for the death of his daughter in an incident inspired by the director's first film, and is hell bent on getting it when he shows up at the director's house determined to teach the filmmaker the true meaning of horror.

Twenty horror and science fiction moviemakers--both in front of and behind the camera--reminisce about some of their great (and not so great!) films. Merry Anders, Charles Bennett, Ben Chapman, Herman Cohen, Robert Day, Val Guest, Susan Hart, Candace Hilligoss, Rose Hobart, Betsy Jones-Moreland, Jacques Marquette, Cameron Mitchell, Ed Nelson, William Phipps, Vincent Price, Ann Robinson, Herbert Rudley, Harry Spalding, Kenneth Tobey, and Lupita Tovar reflect on their work in such movies as Berserk, I Was a Teenage Werewolf, Cat-Women of the Moon and many others.

By the turn of the 20th century, West Adams had become one of the first bedroom communities in fast-growing Los Angeles. Mansions and bungalows housed bankers and merchants who commuted to their businesses downtown, as well as moviemakers, debutantes, the social elite, and one or two scoundrels. Anchored by Adams Boulevard, this area just west of downtown has been through many changes. Today the neighborhood is one of the most racially and architecturally diverse in the country and contains the highest concentration of historic cultural monuments in Los Angeles. Residents and local archives, including the University of Southern California and the Automobile Club of Southern California, have contributed images to this volume illustrating life and architecture from Victorian times onward.

From the 1970s to the 1990s, Italian moviemakers produced the goriest exploitation films ever made, using recurring plot devices of cannibalism and putrefied zombie flesh eaters. Eaten Alive! dissects this outrageous period, setting it within its cultural and cinematic context. With an introduction explaining the origins of the gruesome genre, the book charts every bloody step, from the renowned Pasolini, who employed cannibalism as a satirical metaphor, to shocking documentaries” such as Cannibal Holocaust, an acknowledged influence on The Blair Witch Project. Informed, irreverent contributions from legends of the modern horror scene round out this fascinating book.

Fanciful worlds of hobbits and pixies, magical glimpses into the future, doting guardian angels, and dangerous, seductive devils on our shoulder... this is the world of fantasy cinema, from the earliest silent days to the mega-budget extravaganzas of Peter Jackson, Tim Burton, and other world-class moviemakers who are obsessed with worlds beyond reality. Screenwriter/historian Gary Gerani follows up his exploration of the best horror and sci-fi offerings with Top 100 Fantasy Movies, a super-colorful trade paperback containing more than 600 rare visuals and an introduction by a famed Hollywood director associated with the genre.

The history of Hollywood is often seen only through the lens of the major studios, forgetting that many of Tinseltown’s early creations came from micro-studios stretched along Sunset Boulevard in an area disparagingly known as Poverty Row. Here, the first wave of West Coast moviemakers migrated to the tiny village of Hollywood, where alcohol was illegal, actors were unwelcome, and cattle were herded down the unpaved streets. Most Poverty Row producers survived from film to film, their fortunes tied to the previous week’s take from hundreds of nickelodeon tills. They would routinely script movies around an event or disaster, often creating scenarios using sets from more established productions, when the bosses weren’t looking, of course. Poverty Row quickly became a generic term for other fly-by-night studios throughout the Los Angeles area. Their struggles to hang on in Hollywood were often more intriguing than the serialized cliffhangers they produced.

From the 1970s to the 1990s, Italian moviemakers produced the goriest exploitation films ever made, using recurring plot devices of cannibalism and putrefied zombie flesh eaters. Eaten Alive! dissects this outrageous period, setting it within its cultural and cinematic context. With an introduction explaining the origins of the gruesome genre, the book charts every bloody step, from the renowned Pasolini, who employed cannibalism as a satirical metaphor, to shocking documentaries” such as Cannibal Holocaust, an acknowledged influence on The Blair Witch Project. Informed, irreverent contributions from legends of the modern horror scene round out this fascinating book.