Murder Movie Makers

Serial killers, mass murderers, spree killers, outlaws, and real-life homicidal maniacs have long held a grim fascination for both filmmakers and viewers. Since the 1970s, hundreds of films and television movies have been made covering killers from Charles Manson to Ted Bundy and the Zodiac Killer creating a uniquely morbid sub-genre within horror and thrillers. This collection of interviews sheds light on 17 filmmakers and screenwriters who tackled this controversial subject while attempting to explore the warped world of infamous killers. The interviews include John McNaughton (Henry: Portrait of a Serial Killer), Tom Hanson (The Zodiac Killer), David Wickes (Jack the Ripper), Chris Gerolmo (Citizen X), Chuck Parello (The Hillside Stranglers), David Jacobson (Dahmer) and Clive Saunders on his ill-fated experience directing Gacy. Offering candid insights into the creative process behind these movies, the interviews also show the pitfalls and moral controversy the filmmakers had to wrestle with to bring their visions to the screen.

It's time to set the record straight about Steven Avery. The Netflix series Making a Murderer was a runaway hit, with over 19 million US viewers in the first 35 days. The series left many with the opinion that Steven Avery, a man falsely imprisoned for almost 20 years on a previous, unrelated assault charge, had been framed by a corrupt police force and district attorney's office for the murder of a young photographer. Viewers were outraged, and hundreds of thousands demanded a pardon for Avery. The chief villain of the series? Ken Kratz, the special prosecutor who headed the investigation and trial. Kratz's later misdeeds—prescription drug abuse and sexual harassment—only cemented belief in his corruption. This book tells you what Making a Murderer didn't. While indignation at the injustice of his first imprisonment makes it tempting to believe in his innocence, Avery: The Case Against Steven Avery and What Making a Murderer Gets Wrong and the evidence shared inside—examined thoroughly and dispassionately—prove that, in this case, the criminal justice system worked just as it should. With Avery, Ken Kratz puts doubts about Steven Avery's guilt to rest. In this exclu- sive insider's look into the controversial case, Kratz lets the evidence tell the story, sharing details and insights unknown to the public. He reveals the facts Making a Murderer conveniently left out and then candidly addresses the aftermath—openly discussing, for the first time, his own struggle with addiction that led him to lose everything. Avery systematically erases the uncertainties introduced by the Netflix series, confirming, once and for all, that Steven Avery is guilty of the murder of Teresa Halbach.

ONE OF THE HOLLYWOOD REPORTER'S 100 GREATEST FILM BOOKS OF ALL TIME • The first book to bring together interviews of master moviemakers from the American Film Institute’s renowned seminars, Conversations with the Great Moviemakers, offers an unmatched history of American cinema in the words of its greatest practitioners. Here are the incomparable directors Frank Capra, Elia Kazan, King Vidor, David Lean, Fritz Lang (“I learned only from bad films”), William Wyler, and George Stevens; renowned producers and cinematographers; celebrated screenwriters Ray Bradbury and Ernest Lehman; as well as the immortal Ingmar Bergman and Federico Fellini (“Making a movie is a mathematical operation. It’s absolutely impossible to improvise”). Taken together, these conversations offer uniquely intimate access to the thinking, the wisdom, and the genius of cinema’s most talented pioneers.

Contributions by Donald L. Anderson, Brian Brems, Eric Brinkman, Matthew Edwards, Brenda S. Gardenour Walter, Andrew Grossman, Lisa Haegele, Gavin F. Hurley, Mikel J. Koven, Sharon Jane Mee, Fernando Gabriel Pagnoni Berns, Émilie von Garan, Connor John Warden, and Sean Woodard The giallo (yellow) film cycle, characterized by its bloody murders and blending of high art and cinematic sleaze, rose to prominence in Italy in the 1960s and 1970s. Beginning with Mario Bava’s The Girl Who Knew Too Much (1963) and Dario Argento’s The Bird with the Crystal Plumage (1970), giallo films influenced the American slasher films of the 1980s and attracted an increasingly large fandom. In Bloodstained Narratives: The Giallo Film in Italy and Abroad, contributors explore understudied aspects of gialli. The chapters introduce readers to a wide range of films, including masterpieces from Argento and overlooked gems, all of them examined in close detail. Rather than understanding giallo as focalized exclusively in Italy in the 1970s, this collection explores the extension of gialli narratives abroad through different geographies and times. This book examines Italian gialli of the 1970s as well as American neo-gialli, French productions, Canadian horror films of the 1980s, and Asian rewritings of this “yellow” cycle of crime/horror films. Bloodstained Narratives also features interviews with two giallo film directors, including cult favorite Antonio Bido. Rather than fading from the cinematic stage, gialli serves as a precursor and steady accomplice to horror-thriller films through the twenty-first century.

One of the New York Times Best True Crime of 2022 A “spellbinding, thriller-like” (Shelf Awareness) history about the invention of the motion picture and the mysterious, forgotten man behind it—detailing his life, work, disappearance, and legacy. The year is 1888, and Louis Le Prince is finally testing his “taker” or “receiver” device for his family on the front lawn. The device is meant to capture ten to twelve images per second on film, creating a reproduction of reality that can be replayed as many times as desired. In an otherwise separate and detached world, occurrences from one end of the globe could now be viewable with only a few days delay on the other side of the world. No human experience—from the most mundane to the most momentous—would need to be lost to history. In 1890, Le Prince was granted patents in four countries ahead of other inventors who were rushing to accomplish the same task. But just weeks before unveiling his invention to the world, he mysteriously disappeared and was never seen or heard from again. Three and half years later, Thomas Edison, Le Prince’s rival, made the device public, claiming to have invented it himself. And the man who had dedicated his life to preserving memories was himself lost to history—until now. The Man Who Invented Motion Pictures pulls back the curtain and presents a “passionate, detailed defense of Louis Le Prince…unfurled with all the cliffhangers and red herrings of a scripted melodrama” (The New York Times Book Review). This “fascinating, informative, skillfully articulated narrative” (Kirkus Reviews, starred review) presents the never-before-told history of the motion picture and sheds light on the unsolved mystery of Le Prince’s disappearance.

Twenty horror and science fiction moviemakers--both in front of and behind the camera--reminisce about some of their great (and not so great!) films. Merry Anders, Charles Bennett, Ben Chapman, Herman Cohen, Robert Day, Val Guest, Susan Hart, Candace Hilligoss, Rose Hobart, Betsy Jones-Moreland, Jacques Marquette, Cameron Mitchell, Ed Nelson, William Phipps, Vincent Price, Ann Robinson, Herbert Rudley, Harry Spalding, Kenneth Tobey, and Lupita Tovar reflect on their work in such movies as Berserk, I Was a Teenage Werewolf, Cat-Women of the Moon and many other movies. Some interviews were previously published.