Livres d'anglais

Hail, Caesar! is the story of Eddie Mannix, tireless pursuer of the interests of fictional Capitol Pictures, circa 1951. He is the ultimate studio fixer and—since the studio is his world—the ultimate earthly one. There is no star scandal he cannot cover up, no studio misstep he cannot repair, no sin he cannot make right. His powers are tested, though, when production on the studio’s most expensive picture ever—biblical epic Hail, Caesar!—is halted by the kidnapping of its star. The kidnappers are a mysterious gaggle seeking not just ransom but the destruction of everything Eddie Mannix lives for, and everything he lives by. . .

JOY is the story of a family across four generations centered on the girl
who becomes the woman who founds a business dynasty and, in the process,
recovers her childhood magic and finds her place in the world.

Betrayal, treachery, the loss of innocence and the scars of love, pave the road in this
intense emotional and human comedy about becoming a true boss of family and enterprise.

Documentary films are the rock and roll of our times. Why are they made? Who are in the tribe of documentary film-makers? Do their films really change the world?

Eighteen years ago, Nick Fraser created BBC Storyville, producing films that won Oscars, BAFTAs, and Peabody Awards. He found film-makers from all across the world covering important subjects in documentaries. In Say What Happened he describes the frenzied, intense world of documentary film-making, tracing its history back to the early pioneers, such as Dziga Vertov and his ground-breaking Man with a Movie Camera.

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.

Inspired by Dostoyevsky’s short story, The Double tells the story of Simon, a timid man, scratching out an isolated existence in an indifferent world. He is overlooked at work, scorned by his mother, and ignored by the woman of his dreams. He feels powerless to change any of these things. The arrival of a new co-worker, James, serves to upset the balance. James is both Simon’s exact physical double and his opposite – confident, charismatic and good with women. To Simon’s horror, James slowly starts taking over his life.

Over the past year the success of British films at international film festivals – as well as the numerous awards bestowed on 12 Years a Slave – have demonstrated that British cinema has undergone a genuine renaissance that has caused new voices to emerge. At the same time, directors whose work have enthralled over the past five years have also continued to develop and expand their visions.

In Directing Herbert White James Franco writes about making a film of Frank Bidart’s poem, Herbert White. Though the main character, Herbert White, is a necrophiliac and a killer, the poem – and the film – are an expression of life’s isolation and loneliness. A poem became a film.

In the rest of book, Franco uses poems to express what he feels about film: about acting; about the actors he admires – James Dean, Marlon Brando, Sean Penn; about the cult of celebrity and his struggles with it; about his teenage years in Palo Alto, and about mortality prompted by the death of his father.

The Grand Budapest Hotel recounts the adventures of Gustave H (Ralph Fiennes), a legendary concierge at a famous European hotel between the wars, and Zero Moustafa (Tony Revolori), the lobby boy who becomes his most trusted friend. Acting as a kind of father-figure, M. Gustave leads the resourceful Zero on a journey that involves the theft and recovery of a priceless Renaissance painting; the battle for an enormous family fortune; a desperate chase on motorcycles, trains, sledges and skis; and the sweetest confection of a love affair – all against the back-drop of a suddenly and dramatically changing Continent.

Inside Llewyn Davis chronicles a struggling young folk singer, played by Oscar Isaacs, who arrives in Manhattan in 1961 and tries to navigate the treacherous waters of the the Greenwich Village coffeehouse scene, as well as having to deal with a disaffected girlfriend, his father’s dementia, the suicide of his musical partner, and the loss of his friend’s cat . . .

All drama takes the form of one of 36 situations. That was Georges Polti’s theory about theatre, which he put forward in his book 36 Dramatic Situations, published in French in the mid-19th century.

A century and a half later, Mike Figgis was struggling with a film treatment. He couldn’t get it right. But when he turned to Polti’s book, the sample situations helped clarify his ideas and broaden the landscape of his creativity.
He saw just how useful this sort of a framework could be for writers, and decided to rework Polti’s theory for a modern, film-focused audience.

In this indispensable guide to digital film-making, leading film-maker Mike Figgis offers the reader a step-by-step tutorial in how to use digital technology so as to get the best from it.

Mike Figgis, with experience from films such as Miss Julie and Leaving Las Vegas – for which he received two Oscar nominations – is an authoritative and insightful guide through the details of film-making. He outlines the equipment and its uses, and provides an authoritative guide to the shooting process – from working with actors to lighting, framing, and camera movement. He further dispenses wisdom on the editing process and the use of sound and music, all the while establishing a sound aesthetic basis for the digital format.

Sally Potter has been renowned for her rapport with actors, and for the luminous performances she works with them to produce. Now she strips bare the art and craft of directing actors for the camera, from casting a film to the moment of first screening when the work goes public.