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"A personal memoir based on of the life of a Hollywood casting icon. Marion Dougherty lent a helping hand with discovering the careers of legendary actors such as James Dean, Warren Beatty, Robert De Niro, Dustin Hoffman, Al Pacino, Robert Redford, Mel Gibson, Danny Glover, Jon Voight, Robert Duvall, Gene Hackman, Bette Midler, Glenn Close, Diane Lane, Brooke Shields, and countless others. Dougherty began her casting profession in New York during the Golden Age of Television, casting well over six hundred episodes of Kraft Television Theatre, Naked City, and Route 66, which led to her very successful career in the motion picture industry. She became the first female casting executive at Paramount Pictures in 1975 before securing the position of vice president of talent at Warner Brothers in 1979, a position she held up until her retirement in the year 2000. Dougherty's casting career spanned over fifty years, and the many personal anecdotes that she shares in My Casting Couch Was Too Short are a must-read."--Amazon.com.
INTERNATIONAL BESTSELLER • The New York Times bestselling author of American Psycho delivers a riveting, tour-de-force sequel to Less Than Zero, set on the seedy side of Los Angeles. • "A haunting vision of disillusionment, twenty-first-century style" (People). Returning to Los Angeles from New York, Clay, now a successful screenwriter, is casting his new movie. Soon he is running with his old circle of friends through L.A.’s seedy side. His ex-girlfriend, Blair, is married to Trent, a bisexual philanderer and influential manager. Then there's Julian, a recovering addict, and Rip, a former dealer. Then when Clay meets a gorgeous young actress who will stop at nothing to be in his movie, his own dark past begins to shine through, and he has no choice but to dive into the recesses of his character and come to terms with his proclivity for betrayal. Look for Bret Easton Ellis’s new novel, The Shards!
A Richard and Judy Book Club pick, set in Paris and Italy, The Truths and Triumphs of Grace Atherton is a beautiful and uplifting exploration of love, loss and hope ‘The real truth and triumph of this gem of a story is simple: it is one of the best and most gripping descriptions of heartbreak that either of us have ever read’ Richard and Judy’s review Grace Atherton, a talented cellist, is in love with David. Together in their apartment in Paris, Grace and David are happy until an unexpected event changes everything. Nadia is seventeen and furious. She knows that love will only let her down: if she is going to succeed it will be on her own terms. At eighty-six Maurice Williams has discovered a lot about love in his long life, and even more about people. And yet he keeps secrets. When Grace’s life falls apart in the most shocking of ways Maurice and Nadia come to her rescue, helping her to find happiness and hope through the healing power of friendship. Praise for The Truths and Triumphs of Grace Atherton 'Glorious on so many levels' A J Pearce, author of Dear Mrs Bird 'Lose yourself among beautiful symphonies, the romantic cities of Europe and quirky characters ... a triumph' Woman's Weekly 'A powerful and passionate novel, awash with heartbreak but still an uplifting tale of friendship and rebirth. Five stars' Daily Express 'Full of hope and charm' Libby Page, author of The Lido 'A hymn to friendship, to getting back up and finding happiness where none seemed possible' Katie Fforde Pre-order Anstey Harris' wonderful new book Where We Belong now - ISBN 97811473837
From the USA TODAY bestselling author of Sweet Thing and Nowhere But Here comes a love story about a Craigslist “missed connection” post that gives two people a second chance at love fifteen years after they were separated in New York City. To the Green-eyed Lovebird: We met fifteen years ago, almost to the day, when I moved my stuff into the NYU dorm room next to yours at Senior House. You called us fast friends. I like to think it was more. We lived on nothing but the excitement of finding ourselves through music (you were obsessed with Jeff Buckley), photography (I couldn’t stop taking pictures of you), hanging out in Washington Square Park, and all the weird things we did to make money. I learned more about myself that year than any other. Yet, somehow, it all fell apart. We lost touch the summer after graduation when I went to South America to work for National Geographic. When I came back, you were gone. A part of me still wonders if I pushed you too hard after the wedding… I didn’t see you again until a month ago. It was a Wednesday. You were rocking back on your heels, balancing on that thick yellow line that runs along the subway platform, waiting for the F train. I didn’t know it was you until it was too late, and then you were gone. Again. You said my name; I saw it on your lips. I tried to will the train to stop, just so I could say hello. After seeing you, all of the youthful feelings and memories came flooding back to me, and now I’ve spent the better part of a month wondering what your life is like. I might be totally out of my mind, but would you like to get a drink with me and catch up on the last decade and a half? M
An amazing race of artificially-spawned beings, the Inhumans reside on Earth inside the fantastic domed city of Atillan. Here, as nowhere else, diversity and individuality are prized beyond compare. Now, with humanity almost at their doorstep, this peaceful alien realm has fallen under vicious attack. And although the blasts raining down on their kingdom are from without, the Inhumans are about to learn that their greatest enemy lies within.
This collection of film reviews and essays focuses on the role of women in films during the 1970s and 1980s. The author, a widely published film critic, examines the shifting portrayals of women from the almost anti-progressive treatment of women in the early 1970s through the integration of more progressive professional women in the films of the late 1980s. She shows that most of the important movies of the period were about women and that these films seemed to reflect the momentous changes that women were going through in the society at large. McCreadie's in-depth analysis of women in cinema is augmented with personal interviews with leading female actresses of the period including Jane Fonda, Kathleen Turner, Jessica Lange, Sissy Spacek, Sally Field, Anjelica Huston, and others. Taking a chronological approach to her subject, McCreadie shows that the late 1970s saw some radical breakthroughs in roles for women in such movies as Annie Hall and Coming Home--perhaps reflecting the outcries earlier in the decade that women were not being treated progressively in current cinema. These more progressive and sometimes shattering images of women were in some cases even more advanced than the society the films were attempting to characterize. Throughout the early 1980s there was a sharp retreat from this position as movies like Ghostbusters and The River showed a definite backlash against feminism and gains made by women. Finally, in the late 1980s, the focus has turned toward more progressive and accomplished women in cinema although, even here, McCreadie argues, there is sometimes a conservative or reactionary hue to even the most advanced role models offered by film. Students of film, women's studies, and popular culture will find McCreadie's analysis fascinating and illuminating reading.