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Everyone who has ever thought about writing or working in Hollywood will want to read this book. These are the personal and often outrageous adventures of a veteran screenwriter who has worked extensively for the major studios, as well as with major directors such as Richard Donner and James Cameron. There are abundant writing lessons to be learned here, but "life" lessons, as well. In fact, this story is about "getting over" Hollywood, more than just "getting into" Hollywood. Readers looking past the material or superficial (e.g., celebrity) for something more meaningful in their lives, will find this book truly uplifting."If you’re thinking of being a screenwriter, jamming all your possessions into a subcompact and driving cross-country, then it behooves you to read Carter’s experiences."Tim Clifton—Renaissance Magazine
This ultimate insider's guide reveals the secrets that none dare admit, told by a show biz veteran who's proven that you can sell your script if you can save the cat!
Bill Carter, executive producer of CNN’s docuseries The Story of Late Night and host of the Behind the Desk: Story of Late Night podcast, details the chaotic transition of The Tonight Show from host Jay Leno to Conan O’Brien—and back again. In 2010, NBC’s CEO Jeff Zucker, had it all worked out when he moved Jay Leno from behind the desk at The Tonight Show, and handed the reins over to Conan O'Brien. But his decision was a spectacular failure. Ratings plummeted, affiliates were enraged—and when Zucker tried to put everything back the way it was, that plan backfired as well. No one is more uniquely suited to document the story of a late-night travesty than veteran media reporter and bestselling author, Bill Carter. In candid detail, he charts the vortex that sucked in not just Leno and O'Brien—but also Letterman, Stewart, Fallon, Kimmel, and Ferguson—as frantic agents and network executives tried to manage a tectonic shift in television’s most beloved institution.
Emmy-winning CHEERS writer Ken Levine presents a brutally honest and hilarious satire on the television industry In order to keep his once-proud TV network afloat, beleaguered president Charles Muncie must keep his number one star happy. By killing his ex-girlfriend. What's more important? Human life or the Tuesday night line-up? Network television gets royally skewered in this fun, surprising, suspenseful romp. And there are no commercials!
In the process of providing the most extensive analysis of Alfred Hitchcock’s Rear Window to date, John Fawell also dismantles many myths and clichés about Hitchcock, particularly in regard to his attitude toward women. Although Rear Window masquerades quite successfully as a piece of light entertainment, Fawell demonstrates just how complex the film really is. It is a film in which Hitchcock, the consummate virtuoso, was in full command of his technique. One of Hitchcock’s favorite films, Rear Window offered the ideal venue for the great director to fully use the tricks and ideas he acquired over his previous three decades of filmmaking. Yet technique alone did not make this classic film great; one of Hitchcock’s most personal films, Rear Window is characterized by great depth of feeling. It offers glimpses of a sensibility at odds with the image Hitchcock created for himself—that of the grand ghoul of cinema who mocks his audience with a slick and sadistic style. Though Hitchcock is often labeled a misanthrope and misogynist, Fawell finds evidence in Rear Window of a sympathy for the loneliness that leads to voyeurism and crime, as well as an empathy for the film’s women. Fawell emphasizesa more feeling, humane spirit than either Hitchcock’s critics have granted him or Hitchcock himself admitted to, and does so in a manner of interest to film scholars and general readers alike.
Everyone who has ever thought about writing or working in Hollywood will want to read this book. These are the personal and often outrageous adventures of a veteran screenwriter who has worked extensively for the major studios, as well as with major directors such as Richard Donner and James Cameron. There are abundant writing lessons to be learned here, but "life" lessons, as well. In fact, this story is about "getting over" Hollywood, more than just "getting into" Hollywood. Readers looking past the material or superficial (e.g., celebrity) for something more meaningful in their lives, will find this book truly uplifting. "If youre thinking of being a screenwriter, jamming all your possessions into a subcompact and driving cross-country, then it behooves you to read Carters experiences." Tim CliftonRenaissance Magazine
Whether rocketing to other worlds or galloping through time, science fiction television has often featured the best of the medium. The genre's broad appeal allows youngsters to enjoy fantastic premises and far out stories, while offering adults a sublime way to view the human experience in a dramatic perspective. From Alien Nation to World of Giants, this reference work provides comprehensive episode guides and cast and production credits for 62 science fiction series that were aired from 1959 through 1989. For each episode, a brief synopsis is given, along with the writer and director of the show and the guest cast. Using extensive research and interviews with writers, directors, actors, stuntmen and many of the show's creators, an essay about each of the shows is also provided, covering such issues as its genesis and its network and syndication histories.
Text and more than 400 illustrations provide information on every science fiction and fantasy program that has been shown on television.
Best remembered for his 60s Vincent Price/Edgar Allan Poe films and other cult classics, Corman dabbed in anything for a quick buck. But his films were often highly innovative and exciting. Each is covered here in depth; a biography of Corman is included, along with bios of his stock players--all profusely illustrated.