Rebels On The Backlot

“Admirably reported . . . Waxman unearths juicy anecdotes that’ll keep film fans cackling and turning the pages.” — Salon.com “Riveting tales of Hollywood hubris . . . a fun read.” — Entertainment Weekly “Vivid . . . fascinating . . . delightful . . . [Waxman’s] background as a hard news reporter serves her well.” — New York Times Book Review “A behind-the-cameras fireball of wicked insider revelations . . . Love it!” — Liz Smith, syndicated columnist “[Waxman’s] thorough reporting results in a compulsively readable chronicle of the decade’s auteurs and their work.” — Premiere “Enjoyably dishy.” — Variety “Addictively readable . . . fascinating” — Miami Herald “A lively book with gossipy and readable stories about some obsessive guys who are as much rascals as rebels.” — Los Angeles Times Book Review “Terrific . . . wildly informative and readable about the plight of the biggest young talents in modern movies” — Buffalo News “[Rebels on the Backlot] makes a case for creating a new film canon of this late ‘90s renaissance.” — Pittsburgh Tribune “Waxman perceptively depicts the vocabulary of the new Hollywood . . . well-written . . . recommended.” — Library Journal “Hums along on detail and gossip, adding up to a template for making it in contemporary Hollywood.” — men.style.com “Up-close, often gossipy” — The Hollywood Reporter “Fascinatingly candid” — Minneapolis Star Tribune

The 1990s saw a shock wave of dynamic new directing talent that took the Hollywood studio system by storm. At the forefront of that movement were six innovative and daring directors whose films pushed the boundaries of moviemaking and announced to the world that something exciting was happening in Hollywood. Sharon Waxman, editor and chief of The Wrap.com and for Hollywood reporter for the New York Times spent the decade covering these young filmmakers, and in Rebels on the Backlot she weaves together the lives and careers of Quentin Tarantino, Pulp Fiction; Steven Soderbergh, Traffic; David Fincher, Fight Club; Paul Thomas Anderson, Boogie Nights; David O. Russell, Three Kings; and Spike Jonze, Being John Malkovich.

A journey across four continents to the heart of the conflict over who should own the great works of ancient art Why are the Elgin Marbles in London and not on the Acropolis? Why do there seem to be as many mummies in France as there are in Egypt? Why are so many Etruscan masterworks in America? For the past two centuries, the West has been plundering the treasures of the ancient world to fill its great museums, but in recent years, the countries where ancient civilizations originated have begun to push back, taking museums to court, prosecuting curators, and threatening to force the return of these priceless objects. Where do these treasures rightly belong? Sharon Waxman, a former culture reporter for The New York Times and a longtime foreign correspondent, brings us inside this high-stakes conflict, examining the implications for the preservation of the objects themselves and for how we understand our shared cultural heritage. Her journey takes readers from the great cities of Europe and America to Egypt, Turkey, Greece, and Italy, as these countries face down the Louvre, the Metropolitan Museum, the British Museum, and the J. Paul Getty Museum. She also introduces a cast of determined and implacable characters whose battles may strip these museums of some of their most cherished treasures. For readers who are fascinated by antiquity, who love to frequent museums, and who believe in the value of cultural exchange, Loot opens a new window on an enduring conflict.

Ryan O’Neal’s intimate memoir of his turbulent and passionate love story with Farrah Fawcett Ryan O’Neal and Farrah Fawcett. He was the handsome Academy Award–nominated star of Paper Moon and the classic romance Love Story. She was the beautiful, all-American Charlie’s Angel, whose poster adorned the bedroom walls of teenage boys everywhere. One of the most storied love affairs in Hollywood history, their romance has captivated fans and media alike for more than three decades. In a tragic turn, the world lost Farrah after a tragic battle with cancer in 2009, but in his intimate memoir Both of Us, Ryan brings their relationship to vivid life. Fans of each other from afar, Ryan and Farrah met through her husband, Lee Majors, and fell passionately in love. Soon, however, reality threatened their happiness and they struggled with some serious matters, including the disintegration of Farrah’s marriage; Ryan’s troubled relationship with his daughter, Tatum, and son, Griffin; mismatched career trajectories; and raising their young son, Redmond—all leading Ryan and Farrah to an inevitable split in 1997. Ryan fought to create a life on his own but never stopped longing for Farrah. Eventually he realized that he had lost his true soul mate. Older and wiser, he and Farrah found their way back to each other and were excited to start a new life together. But their bliss was cut short when Farrah was diagnosed with cancer and passed away just three years later. Ryan’s deep love for Farrah and his devotion to preserving her memory are evident in Both of Us. Drawing on decades’ worth of personal records and keepsakes, he has included never-before-seen photographs, letters exchanged between him and Farrah, and his own diaries, making this a poignant and compelling memento for her fans. Written with candor and emotional honesty, it is a true Hollywood love story.

This book explores fan films, an underground movement of amateur filmmakers creating illegal movies starring world-famous characters, from Batman to Captain Kirk to Harry Potter. It traces fan films from the twenties, when con men made fake Little Rascals movies, to the YouTube videos of today.

A “lively” memoir by the Hollywood legend about the making of Spartacus, with a foreword by George Clooney (Los Angeles Times). One of the world’s most iconic movie stars, Kirk Douglas has distinguished himself as a producer, philanthropist, and author of ten works of fiction and memoir. Now, more than fifty years after the release of his enduring epic Spartacus, Douglas reveals the riveting drama behind the making of the legendary gladiator film. Douglas began producing the movie in the midst of the politically charged era when Hollywood’s moguls refused to hire anyone accused of Communist sympathies. In a risky move, Douglas chose Dalton Trumbo, a blacklisted screenwriter, to write Spartacus. Trumbo was one of the “Unfriendly Ten,” men who had gone to prison rather than testify before the House Un-American Activities Committee about their political affiliations. Douglas’s source material was already a hot property, as the novel Spartacus was written by Howard Fast while he was in jail for defying HUAC. With the financial future of his young family at stake, Douglas plunged into a tumultuous production both on- and off-screen. As both producer and star of the film, he faced explosive moments with young director Stanley Kubrick, struggles with a leading lady, and negotiations with giant personalities, including Sir Laurence Olivier, Charles Laughton, Peter Ustinov, and Lew Wasserman. Writing from his heart and from his own meticulously researched archives, Kirk Douglas, at ninety-five, looks back at his audacious decisions. He made the most expensive film of its era—but more importantly, his moral courage in giving public credit to Trumbo effectively ended the notorious Hollywood blacklist. A master storyteller, Douglas paints a vivid and often humorous portrait in I Am Spartacus! The book is enhanced by newly discovered period photography of the stars and filmmakers both on and off the set.

To tie-in with a major film, starring Michelle Williams, Eddie Redmayne, Judi Dench, Emma Watson, Kenneth Branagh and Dominic Cooper. This edition combines Colin Clark’s acclaimed The Prince, the Showgirl and Me and My Week with Marilyn.

"New York Times" Hollywood correspondent Sharon Waxman presents a revealing and page-turning account of the new generation of directors who are changing the face of modern filmmaking.

An illustrated mid-career monograph exploring the 30-year creative journey of the 8-time Academy Award–nominated writer and director Paul Thomas Anderson has been described as "one of American film's modern masters" and "the foremost filmmaking talent of his generation." Anderson's ï¬?lms have received 25 Academy Award nominations, and he has worked closely with many of the most accomplished actors of our time, including Lesley Ann Manville, Julianne Moore, Daniel Day-Lewis, Joaquin Phoenix, and Philip Seymour Hoffman. In Paul Thomas Anderson: Masterworks, Anderson’s entire career—from Hard Eight (1996), Boogie Nights (1997), Magnolia (1999), Punch Drunk Love (2002), There Will Be Blood (2007), The Master (2012), Inherent Vice (2014), and Phantom Thread (2017) to his music videos for Radiohead to his early short ï¬?lms—is examined in illustrated detail for the ï¬?rst time. Anderson’s influences, his style, and the recurring themes of alienation, reinvention, ambition, and destiny that course through his movies are analyzed and supplemented by ï¬?rsthand interviews with Anderson’s closest collaborators—including producer JoAnne Sellar, actor Vicky Krieps, and composer Jonny Greenwood—and illuminated by ï¬?lm stills, archival photos, original illustrations, and an appropriately psychedelic design aesthetic. Masterworks is a tribute to the dreamers, drifters, and evil dentists who populate his world.

ReFocus: The Films of Spike Jonze is the first collection of essays on this important and original contemporary filmmaker. It looks at his ground-breaking work in both features and short forms, exploring the impact of his filmmaking across a range of philosophical and cultural discussions. Each of Jonze's feature films, from Being John Malkovich (1999) to Her (2013), is discussed at length, focusing on issues of authorship, narration, genre and adaptation. As well as the textual aspects of Jonze's feature films, the contributors consider his work in music videos and shorts - investigating his position as a filmmaker on the blurred boundaries between studio and independent modes of production.