Livres

Chinatown and the Last Years of Hollywood

Released in 1942, the film won 4 Oscars, including Best Picture and featured unforgettable performances by Humphrey Bogart and Ingrid Bergman.
The book offers a rich account of the film’s origins, the myths and realities behind its production, and the reasons it remains so revered today.

Through extensive research and interviews with film-makers, Noah Isenberg explores he ways in which the film continues to dazzle audiences and saturate popular culture 75 years after its release.

John Boorman is one of the cinema’s authentic visionaries, drawn to myths and dreams. The undisputed heir to David Lean, his films, such as Point Blank, Deliverance and Excalibur, exhibit a continual search for the truth that only art can convey.

In Conclusions Boorman summarises what he has learned about the craft of film-making, and wishes to pass on to the next generation of film-makers. Into this tapestry of cinematic memories, he also weaves the story of his kith and kin, including the death of his cherished elder daughter, and an evocation of the forest of trees that he has planted as his final legacy.

A rare, intimate portrait of Hollywood’s reigning ‘blockbuster auteur’ whose deeply personal billion-dollar movies have established him as the most successful director to come out of the British Isles since Alfred Hitchcock.
More than just the tinkerings of a glass watchmaker, Christopher Nolan’s films have an unerring grasp of the way time makes us feel. Time steals people away in his films, and he takes careful note of the theft. Time is Nolan’s great antagonist, his lifelong nemesis. He seems almost to take it personally.

A message from the Captain:
‘On behalf of myself and the entire Ayoade team, welcome to Ayoade on Top. At last, the definitive book about perhaps the best cabin-crew dramedy ever filmed: View from the Top, starring Gwyneth Paltrow.’

Buckle up for the flight of your life.

‘The most profoundly silly book on film I’ve ever read and somehow one of the most insightful too.’ Edgar Wright

‘A brilliant satire of film, academia, commerce and Richard Ayoade . . . The funniest book I’ve ever read.’ Jesse Eisenberg

‘I haven’t laughed this much reading a book in a long time. The man is a national treasure.’ Big Issue

You SLUG the guy.
You KISS the dame.
You TOTAL the car.

That’s movies. And I love ’em.

Gordy LaSure’s passionate about film. He eats film, he drinks film, and sometimes he’ll even watch a film. But most of all he loves talking about film, and how they’d be a shit-ton better if only people would pull their asses out of their ears and listen to Gordy LaSure.

The voyage of this book can be categorised as an attempt to understand How In Hell Film Works. Why are some films bad, and some films terrible? How come just a handful of films (Titanic, Porky’s, Dirty Harry) are any good at all? Gordy’ll tell you How and Why, and he’ll give you a shot of Wherefore on the side. And he doesn’t shoot from the hip; he shoots from the gut.

Wim Wenders’ body of work is among the most formidable in modern cinema: Paris Texas, Wings of Desire, The Buena Vista Social Club, The Million Dollar Hotel. And Wenders writes about cinema as passionately as he produces it. This volume collects three previously published books of Wenders’ essays: Emotion Pictures, The Logic of Images, and The Act of Seeing. In them, he discusses his development as a filmmaker from the moment he picked up a camera aged 12, and offers a broader analysis of his guiding passions – rock ‘n’ roll, avant-garde cinema, questions of German identity, and the influence of America.