Enter Hollywood's inner sanctums in this gosippy and honest book, named one the top 100 film books of all time by The Hollywood Reporter, by the Academy Award-winning screenwriter and bestselling author of The Primcess Bride. No one knows the writer's Hollywood more intimately than William Goldman. Two-time Academy Award-winning screenwriter and the bestselling author of The Princess Bride, Marathon Man, Tinsel, Boys and Girls Together, and other novels, Goldman now takes you behind the scenes for Butch Cassidy and the Sundance Kid, All the President's Men, and other films . . . .into the plush offices of Hollywood producers . . ..into the working lives of acting greats such as Redford, Olivier, Newman, and Hoffman...and into his own professional experiences and creative thought processes in the crafting of screenplays. You get a firsthand look at why and how films get made and what elements make a good screenplay. Says columnist Liz Smith, "You'll be fascinated.."

"A shocking account of how Harvey Weinstein rose to become one of the most iconic figures in the world of movies, how he used that position to feed his monstrous sexual appetites, and how it all came crashing down, from the author who has covered the Hollywood power game for the New Yorker for three decades. Twenty years ago, Ken Auletta wrote one of the iconic New Yorker profiles for which he is famous, of the Hollywood mogul Harvey Weinstein, then at the height of his powers. The profile created waves for exposing how volatile, even violent, Weinstein was to his employees and collaborators. But there was a much darker story that was just out of reach: rumors had long swirled that Weinstein was a sexual predator, but no one was willing to go on the record, and in the end he and the magazine concluded they couldn't close the case. But the story always nagged at him, and many years later, he was able to share his reporting notes and all that he knew with Ronan Farrow, and to cheer him along with Jodi Kantor and Megan Twohey as they broke their pioneering stories and wrote their bestselling books. But the story continued to nag at him. Farrow, Twohey, and Kantor did a brilliant job exposing the trail of assaults and their cover-up, but the larger questions remained: what explained Weinstein's monstrousness? Even more importantly, how and why was it never checked? How does a man run the day to day operations of a company with hundreds of employees and revenues in the hundreds of millions of dollars and at the same time live a shadow life of sexual predation without ever being caught, for years and years? How much is this a story about Harvey Weinstein, and how much is this a story about Hollywood and power? To answer that question fully, Ken Auletta has spent the past three years constructing a full reckoning with a career in film that has no parallel in Hollywood's history in its combination of extraordinary business and creative success and a personal brutality and viciousness that left a trail of ruined lives in its wake. How did one thing relate to the other? Hollywood Ending is an unflinching examination of Weinstein's life and career in full. Not simply a prosecutor's litany of crimes, it embeds them in the context of his overall business, his failures but also his outsized successes. To understand how he could behave as he did, we have to understand the power he wielded. Iconic film stars, Miramax employees and board members, old friends and family, even the person who knew him best, Harvey's brother Bob, all talked to Auletta at length. The result is not simply the portrait of a predator, it is a portrait of the power that allowed Weinstein to operate with such impunity for so many years, the spider web in which his victims found themselves trapped. To understand Weinstein's web is to understand how many other spider webs no doubt still remain."--

In this riveting popular history, the creator of You Must Remember This probes the inner workings of Hollywood’s glamorous golden age through the stories of some of the dozens of actresses pursued by Howard Hughes, to reveal how the millionaire mogul’s obsessions with sex, power and publicity trapped, abused, or benefitted women who dreamt of screen stardom. In recent months, the media has reported on scores of entertainment figures who used their power and money in Hollywood to sexually harass and coerce some of the most talented women in cinema and television. But as Karina Longworth reminds us, long before the Harvey Weinsteins there was Howard Hughes—the Texas millionaire, pilot, and filmmaker whose reputation as a cinematic provocateur was matched only by that as a prolific womanizer. His supposed conquests between his first divorce in the late 1920s and his marriage to actress Jean Peters in 1957 included many of Hollywood’s most famous actresses, among them Billie Dove, Katharine Hepburn, Ava Gardner, and Lana Turner. From promoting bombshells like Jean Harlow and Jane Russell to his contentious battles with the censors, Hughes—perhaps more than any other filmmaker of his era—commoditized male desire as he objectified and sexualized women. Yet there were also numerous women pulled into Hughes’s grasp who never made it to the screen, sometimes virtually imprisoned by an increasingly paranoid and disturbed Hughes, who retained multitudes of private investigators, security personnel, and informers to make certain these actresses would not escape his clutches. Vivid, perceptive, timely, and ridiculously entertaining, The Seducer is a landmark work that examines women, sex, and male power in Hollywood during its golden age—a legacy that endures nearly a century later.

"In Hooked on Hollywood, Maltin opens up his personal archive to take readers on a fascinating journey through film history. He first interviewed greats of Hollywood as a precocious teenager in 1960s New York City. Early Maltin interviews had literally been stored in his garage for more than 40 years until GoodKnight Books brought them to light for the first time in this volume to entertain readers and inform future film scholars. In addition, key feature articles from Maltin's newsletter Movie Crazy are published here for the first time, providing new perspectives on the Warner Bros. classics Casablanca and Gold Diggers of 1933 as well as many other masterpieces--and bombs--from Hollywood history. Finally, Maltin looks back at what he considers Hollywood's "overlooked" studio, RKO Radio Pictures, which gave us such classics as King Kong and the many dance musicals of Astaire and Rogers. In Leonard's unique and witty style, he looks at dozens of obscure RKO features from the 1930s, including saucy pre-Codes, musicals, comedies, and mysteries. Leonard Maltin's love of movies and vast knowledge about their history shines through from the first page to the last in this unique volume, which includes 150 rare photos and a comprehensive index."--

"Renowned producer, director, and B-movie showman Charles Band takes readers on a wild romp through Hollywood's decidedly un-Oscarworthy underbelly, where mayhem and zombies reign supreme, and cheap thrills and entertainment are king." --

(Applause Books). Here is the original story of a true original, the celebrated and internationally renowned director, playwright and screenwriter Arthur Laurents, whose creative genius continues to energize American stage and screen today. Say his name, and images of West Side Story , Gypsy, Anastasia, The Turning Point , and The Way We Were appear. Laurents' highly praised memoir is a dazzling portrait of his life as he recounts the great moments, the trials and the joys of his incredible career. He takes us into his world, peopled with the creative artists, directors, actors and personalities who came of age in the theatre and in Hollywood after WWII. Later, back in New York, he writes about jump-starting Barbra Streisand's career by casting her in I Can Get It for You Wholesale . He writes about the creation of Gypsy with Jule Styne and Stephen Sondheim. And he writes about coming together in a complex, fraught collaboration with his three old pals, Jerome Robbins, Leonard Bernstein and Sondheim for West Side Story . Throughout, Laurents is funny, fierce, and frank a life recounted as richly as it was lived. "This is a historic work. A 'must' for show biz mavens." LIZ SMITH, Newsday & Syndicated

"Hollywood: The Oral History covers the history of Hollywood from the Silent era up to the 21st century. What makes this book unique from any other survey of Hollywood's history is that it is the history of an art form through the words of those people who created it - from Harold Lloyd to Katharine Hepburn to Warren Beatty to Jane Fonda and beyond, including directors, writers, producers, editors, designers of sets and costumes. As such, the authenticity of the text is irrefutable. The material in the book - gathered over the decades by the American Film Institute - has never been published before, has never been heard before"--Publisher's description.

"From James Bond to the Beatles, from Saturday Night Fever to Grease, from Daniel Day-Lewis to Dustin Hoffman, from Steve Martin to Cheech and Chong. As president of United Artists, Paramount, and Columbia, producer of The Jerk, Lenny, and The Crucible, [David Picker's] seen it all, loved it all (well, most of it), and now he's sharing it all. When the show is over you will have learned about the deals, the hits, the flops, the good guys, the bad guys, and all the rest"--Amazon.com.

Memo to: Filmmakers, Dealmakers, Scribes, Stars, Suits, and Readers Who killed Hollywood? Who's responsible for studios hellbent on assembly-line "event" pictures? Why are production costs so high that no one can take artistic risks? Who decided that the studios should be a development arm of them parks? What happened to putting actual stories with characters onscreen? And while we're at it, what happened to taste? Where are the believable human characters buried? Are all the execs out of control? How does so much money get spent for so little? Who Killed Hollywood? is a passionate love/hate letter to the film industry. In it, Peter Bart pulls together his best columns form Variety and GQ. He groups them, juxtaposes them, and interprets them, outlining in detail the history and inner workings of Hollywood. This could only be done by someone powerful enough to phone an star or head of studio and have his calls taken on the first ring. In story after story, Bart shows how the major studios have diverted their energies away from production of the shrewdly crafted pictures that once made the industry powerful. There isn't, for example, much range or innovation in the movies. There is only a handful of salable subjects-natural disasters, aliens, dinosaurs, ghosts, monsters, or any combination thereof. All the subjects easily parlayed into theme-park environments, action figures, video games, and clothing lines. Similarly, since Jaws twenty years ago, there's been a very short list of acceptable settings. The 1998 Academy Award nominations for best picture all went to films set in Elizabethan times or during World War II. A few years ago it looked as though Pulp Fiction and other independent films were going to save showbiz. Now independent producers like Miramax and New Line have been acquired by conglomerates. Who and what will resurrect Hollywood? Peter Bart has the answers.

Oscar« Fever is both history and appreciation, filled with insider stories and little-known facts, such as who came up with the idea of the Academy Awards«; who the youngest and oldest winners are; which film garnered the most nominations; who has been nominated the most times without ever winning and more. Included are all the latest anecdotes and statistics, as well as a selection of film stills from the greatest winners, nostalgic and new, to tell the inside story of Oscar«. .The Academy Awards ceremony is the single most anticipated and widely viewed spectacle in the world. It has close to one billion viewers every year. How has this event grown, in some seventy-five years, from an intimate gathering of directors and actors to a global phenomenon that dominates magazines, newspapers, radio, TV and the internet.Oscar« Fever is a completely new and far more popular rewriting of And the Winner Is...(1987;1990). It is both history and appreciation, chockablock with inside stories and little-known facts. Included are all the latest facts and statistics, as well as film stills, nostalgic and new, to tell the inside story of Oscar and what the awards really say about our times.

"A fascinating history."-- Time Out New York The acclaimed producer of such classic films as Chariots of Fire and The Killing Fields , and the only European ever to head a major Hollywood studio, former Columbia Pictures chief David Puttnam has written a fascinating behind-the-scenes history of the movie business and of the unique and frequently unholy alliance between commerce and art that underpins it. Puttnam's story moves from the early days of cinema and the rivalry between Edison and the Lumiere brothers, through the rise of the studio system, and up to the present day, with European filmmakers and politicians struggling to protect their industry and even their cultural identity from a triumphant and all-devouring Hollywood. In the process he introduces a host of colorful characters: from Goldwyn and Zanuck to Eisner and Ovitz. Movies and Money is a groundbreaking book that will change our understanding of the movie business. "Excellent.... A book so well written that it can easily be read at a single sitting."-- San Francisco Chronicle and Examiner "Puttnam has a dry sense of humor, and most of his book is jammed with astonishing anecdotes and seething portraits of the personalities of film history."-- Newsday

"Los Angeles is a city that runs from its own past" explains historian and Bison Archives owner Marc Wanamaker. Many of Hollywood's legendary sets and props, mansions, theaters, restaurants, nightclubs, hotels, and even the studios and the films they produced are now either gone or have been redeveloped, repurposed, or remade beyond recognition. Even more disarmingly, the physical ephemera associated with such items is often MIA as well. Photographs, files, maps, documents, menus, production paperwork, records, manuscripts, everything from matchbooks to movie magazines and entire movie backlots have now been lost in the backwash of dubious progress, short-sighted corporate mindsets, and civic indifference. Fortunately, for the last fifty years, in the very epicenter of Hollywood, thanks to Wanamaker, there has existed a haven where over 70,000 of these items, physically or photographically, have been collected and protected. These artifacts tell the story of Hollywood's glorious past, as well as its uncertain future as the hub of filmmaking in America"--

"The film Casablanca opens with the words, "With the coming of the Second World War, many eyes in imprisoned Europe turned hopefully, or desperately, toward the freedom of the Americas." Leslie Epstein's Hill of Beans is the story of how one nation, one industry, and in particular one man responded to that desperate hope. That man is Jack Warner. His impossible goal is to make world events--most importantly, the invasion of North Africa by British and American forces in 1942--coincide with the release of his new film about a group of refugees marooned in Morocco. Arrayed against him are Stalin and Hitler, as well as Josef Goebbels, Franklin Roosevelt, a powerful gossip columnist, and above all a beautiful young woman with a terrible secret. His only weapons are his hutzpah and his heroism as he struggles to bring cinema and city, conflict and conference together in an epic command performance. Hill of Beans is the novel that Leslie Epstein--the son and nephew of Philip and Julius Epstein, the screenwriters of Casablanca--was born to write"--

This is the story of how the politicians took Tinseltown to task in the late 1940s and 1950s. As the Cold War began in earnest, the search for 'Reds under the bed', later led by Senator Joseph McCarthy, was felt most keenly in Hollywood where the investigations were carried out under the full glare of the flashlights.

"Since pioneer filmmakers arrived on its shoreline in the early 20th century, the Santa Monica beach has been a popular location for the making of movies and television productions. Its enchanting beauty led studio moguls, producers, and celebrities to build beach houses there, creating what became known as "Hollywood's Playground." The sand and shore of the Santa Monica beach became a favored site for the likes of Charlie Chaplin, Marion Davies, William Randolph Hearst, and Cary Grant. It was on this beach that the Academy Awards were conceived, the movie The Wizard of Oz sprang forth, and a young Pres. John F. Kennedy stunned beachgoers with a surprise ocean swim without the protection of Secret Service agents. In 1962, the beach became the center of the universe as the site of President Kennedy's "Western White House," where the visitors included Frank Sinatra, Dean Martin, Sammy Davis Jr., Marilyn Monroe, and--famously--"anyone who was anyone."--

Former Saturday Night Live writers Patricia Marx and Douglas G. McGrath take aim at Hollywood in this wicked, satirical novel about the making of the flop of flops. Through the 1930s and 40s, X. Y. Schwerdloff brought us the best: the best comedies ( Let's Play Golf ), the best dramas ( Surprise Witness ), the best musicals ( Sing-a-ling ), even the best World War II propaganda ( Tokyo, Kansas ). But by the 60s, the legendary Schwerdloff studio had fallen on hard times. To get out of accepting an assignment at the studio, many actors served in Vietnam. Fugitives liked to appear in a Schwerdloff film because they would be safe from being seen. Now, it is up to Bucky Schwerdloff to save his father's studio. He must produce a blockbuster. To do so, he hires the most successful director in Hollywood, Ferris Keneally, whose last film, The Blinkies, broke box office records. Bucky promises Keneally that he can make whatever film he wants. Thus begins the hilarious drama of the most breathtaking flop in Hollywood history. There has never been a film to match Keneally's version of The Pilgrim's Progress, about which one film critic wrote: "You are mesmerized by it . . . the same way you can't take your eyes away from a bad car accident." "One of the most original and witty takeoffs on Hollywood . . . a delicious read."--Judith Crist