Jon Landau, the Academy Award-winning film producer behind Titanic, Avatar, Alita: Battle Angel, Honey, I Shrunk the Kids, and Dick Tracy, knew two things well: how to tell an unforgettable story and how to find solutions. So, when he found himself confronting his fate, a diagnosis of improbable odds, he began to problem solve, ensuring that everything he learned behind the camera would live on after he was gone.In his retrospective and advice-driven memoir, Landau shares behind-the-scenes stories about some of the greatest movies of our time and advice on how to live well while working in a notoriously all-consuming job by centering the things that mattered to him most--his love for his family and his dedication to his friends and creative partners--turning his own story into another blockbuster hit.The Bigger Picture is at once a deeply poignant memoir, a tribute to storytelling in its many forms, and a celebration of a life well lived, told from the third act. Imbued with Landau's trademark compassion, humanity, and humor, the stories he shares and the wisdom he imparts in The Bigger Picture will inspire, delight, and touch the hearts of readers for years to come.

To movie audiences, the work of Andrew Marton (born in Hungary in 1904) is memorable: the famous chariot race in Ben-Hur and the meticulously accurate Normandy invasion in The Longest Day are two of his important achievements. But because his credits were very often "Second Unit Director" or "Co-Director," Marton is often not immediately associated with his work. For the first time this oral history reveals just what were Andrew Marton's contributions to the cinema. This extensive interview, filled with great detail on how he did his movie magic, covers Marton's 55-year career. Technically clever, he always retained his humanity, humor, and humaneness.

"These lit-crit essays are at once spoofable and brilliant".-Esquire. "'Trauma TV' is . . . the most illuminating essay on TV and video ever written".-Artforum. "Ronell is one of the few critical theorists of talent who can write her way out of the hermeticism typically associated with the deconstructionism of Derrida, Blanchot, Nancy, or Lacoue-Labarthe. She jumps between the vulgate of television talk shows and the high theoretical jargon of the academy with the adroitness of a speed-fiend switchboard operator . . . [She is] the reigning queen of termino-millenarianism".-Poetics Today. Suspending the distinction between headline news and high theory, Ronell examines diverse figures of finitude in our modern world: war, guerrilla video, trauma TV, AIDS, music, rumor. Her essays address such questions as: How do rumors kill? How has video become the call of conscience of TV? How have the police come to be everywhere, even when they are not? Is peace possible? Ronell writes to "the community of those who have no community-to those who have known the infiniteness of abandonment". Avital Ronell is also the author of The Telephone Book: Technology, Schizophrenia, Electric Speech (1989) and Crack Wars: Literature, Addiction, Mania (1992), both published by the University of Nebraska Press. She is a professor in and chair of the Department of German and a professor of comparative literature at New York University.