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In shrink wrap. Looks like an interesting title!

In shrink wrap. Looks like an interesting title!

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 story of California is the story of dreamers—explorers, gold miners, immigrants, ranchers, moviemakers, farmers, and everyday Americans who headed west for a fresh start. The first native inhabitants arrived 9,000 years ago, ancestors of the tribes who would greet the Spanish in the 1700s. Father Junípero Serra later established a chain of missions along the coast, expanding European and Mexican influence. But when gold was discovered in 1848, the rush was on, and two short years later California became a state. After the gold ran out, other rushes followed, from agriculture to industry, Hollywood to Silicon Valley.            California History for Kids includes a time line of significant events, a list of historic sites to visit or explore online, and Web resources for further study. And to get a better idea of the scope of California history and the lives of its citizens, readers can:* create a Chumash rock painting* play the Miwok Hoop-and-Pole game* bake and eat hardtack like a gold miner* design a cattle brand* decode a railroad cipher* immortalize their handprints in plaster * assemble an earthquake preparedness kit* and more            Author Katy Duffield tells the rich story of the men and women who, despite challenges and occasional hardships, settled and built the vibrant cities and bountiful farms, ranches, and orchards of the Golden State. 

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.

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.

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.

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.

In this remarkable documentary, Leni Riefenstahl, that woman best know as Hitler's moviemaker, addresses her past for the first time on camera. Creator of the single most effected propaganda film ever made, Riefenstahl has spent much of her life trying to live down her association with the Nazi Party, which she never actually joined. Feisty and charismatic at 91, Riefenstahl revisits the landmarks of her turbulent life. A riveting story that leaves the viewer in total awe of it's controversial s

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.

Jack Denham, grandson of moviemaker Carl Denham (who brought Kong to New York in 1933) clashes with a ruthless business magnate, Carlton Hemming, as both attempt to clone the giant ape, Kong, from blood samples discovered by a high-steel worker in 1999. Succeeding beyond their wildest dreams, it is quickly apparent the cloned ape belongs back in his native wilderness and not the wilds of New York. The final life-and-death struggle is played out on Skull Island—a lost world in the Indian Ocean, full of monstrous creatures—where the original Kong was found over 70 years ago.

Since the earliest days of the movies more than a century ago, moviemakers have been intrigued by "the greatest story ever told." They have tried, with varying degrees of success, to capture the life of Jesus on film. In Jesus at the Movies Barnes Tatum has created a fascinating and exhaustively-researched viewer's guide to the movies about Jesus. Tatum guides the reader film-by-film from Sidney Olcott's silent classic "From the Manger to the Cross" through Denis Arcand's award-winning "Jesus of Montreal" to the future of Jesus movies. With his experience as author, biblical scholar, and teacher on religion and film, he presents this unique look at Jesus films in all dimensions: as cinematic art, as literature, as biblical history and as theology.

David Hedison, who plays a tiny human-headed insect menaced by a spider at the climax of The Fly (1958), says the moviemakers spoiled the scene by giving him a squeaky voice. "Imagine if, as the camera moved in closer, you actually heard me screeeeaming for my life. That is horror. That is horror." In Tom Weaver's eighth interview book, Hedison--and 22 other moviemakers--talk about their horror and science fiction movie experiences as part of such films and TV series as The Blob, It Came from Outer Space, Tarzan the Ape Man, Star Trek, The Wild Wild West, Somewhere in Time, The Devil Bat and Forbidden Planet. Among those interviewed are Dan O'Herlihy, Kate Phillips, John Alvin, Anthony Cardoza, Tod Griffin, Alex and Richard Gordon, Suzanne Kaaren, and Warren Stevens. Full credits are provided for the actors, actresses, and producers.

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.

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.

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.