Polly Platt

This book examines the career and creative labour of production designer Polly Platt. It focuses mainly on her contributions to 1970s Hollywood, but also considers her later work. Considering films such as The Last Picture Show, Paper Moon, The Bad News Bears, and The Witches of Eastwick, it argues that Platt’s construction of their visual palette and mise-en-scène was so creative and so comprehensive that it can be considered authorial. Chapters discuss Platt’s life and its influence on her work, her attention to detail, her role in location decisions and costume design, and her use of colour. An epilogue discusses her later career as a producer and her mentorship to young filmmakers like Cameron Crowe and Wes Anderson. This is the first full-length examination of the career of one of the women practitioners whose work was so important to 1970s cinema, and provides an alternative methodology to the auteur-driven framing that so regularly defines the era.

About the etiquette, social life and customs in France from a humoristic perspective.

It's been nine months since Bobby Conlon's wife dumped him for a hot young film director and he's doing great. Okay, so he occasionally breaks into Natalie's apartment and sobs along to her old Carole King records, but that's only when he's out of meds. He's better now. One hundred percent. And to prove it, he's throwing out that year-old Christmas tree decorated with five hundred empty Vicodin bottles and flying to Texas to work on a movie starring Ralph the Swimming Pig. But once in Texas, Bobby realizes he's signed on to the most dysfunctional movie ever. The director can't direct, the pig catches pneumonia, and just when things can't get any worse, Natalie and her boyfriend are hired to take over the movie. Suddenly, Bobby's personal and professional lives collide, and no matter which way he turns, fresh disasters await. Still, in spite of everything, Bobby clings to the hope that a happy ending might still be possible. This is the movie business, right? Based on the Movie is a laugh-out-loud look at what actually happens on a film location, told from the perspective of the hardworking -- and long-suffering -- men and women behind the scenes. As real life meets reel life, prepare to be captivated by one of the most entertaining reads of the season.

Which words of French unlock a warm welcome? What should you expect in hotels? Taxis? In cafe restrooms? What is the code for getting great customer service? What is all the fuss about food and French restaurants? Do you know how to charm French waiters? How do you entertain business contacts, intrigue French women and French men?

Earning critical acclaim and commercial success upon its 1998 release, Rushmore-the sophomore film of American auteur Wes Anderson-quickly gained the status of a cult classic. A melancholic coming-of-age story wrapped in comedy drama, Rushmore focuses on the efforts of Max Fischer (Jason Schwartzman)-a brazen and precocious fifteen-year-old-to find his way. Restless, energetic, struggling, and overcompensating for his insecurities, Max pursues a dizzying range of possible futures, leading him into the orbit of local steel magnate Herman Blume (Bill Murray), elementary school teacher Rosemary Cross (Olivia Williams), and a host of cooperative schoolmates who help him to stage lavish film-derivative plays. Kristi McKim's compelling study of the film argues that despite the film's titular call for haste and excess (rush/more), it challenges a drive toward perfectionism and celebrates the quiet connections that defy such passion and speed. After establishing Rushmore's history and reception, McKim closely reads Rushmore's energetic musical montages relative to slower moments that introduce tenderness and ambiguity, in a form subtler than Max's desire-built drive or genre-based plays. Her analysis offers an urgent corrective to what might be perceived as an endearing portrait of privilege that perpetuates a status quo power. Drawing out Rushmore's subtleties that soften, temper, ease, expand, and equalize the film's zeal, she reads the film with a generosity learned from the film itself.

As a period of film history, The American New Wave (ordinarily understood as beginning in 1967 and ending in 1980) remains a preoccupation for scholars and audiences alike. In traditional accounts, it is considered to be bookended by two periods of conservatism, and viewed as a (brief) period of explosive creativity within the Hollywood system. From Bonnie and Clyde to Heaven's Gate, it produced films that continue to be watched, discussed, analysed and poured over. It has, however, also become rigidly defined as a cinema of director-auteurs who made a number of aesthetically and politically significant films. This has led to marginalization and exclusion of many important artists and filmmakers, as well as a temporal rigidity about what and who is considered part of the 'New Wave proper'. This collection seeks to reinvigorate debate around this area of film history. It also looks in part to demonstrate the legacy of aesthetic experimentation and political radicalism after 1980 as part of the 'legacy' of the New Wave. Thanks to important new work that questions received scholarly wisdom, reveals previously marginalised filmmakers (and the films they made), considers new genres, personnel, and films under the banner of 'New Wave, New Hollywood', and reevaluates the traditional approaches and perspectives on the films that have enjoyed most critical attention, New Wave, New Hollywood: Reassessment, Recovery, Legacy looks to begin a new discussion about Hollywood cinema after 1967.

A guide to everything you need to know about writing thank-you notes—even in today’s electronic society. We all have something to give thanks for, but we’re not always sure of the best way to convey our appreciation. This elegant volume in Town & Country’s popular etiquette line will help. It gathers the magazine’s time-tested wisdom on the subject, and offers the last, best word on the how and why of thank-you notes—when to write them and what to say, including examples readers can adapt for personal use. The Art of Gratitude explains why the hand-written note is still relevant in today’s electronic society, discusses the basic stationery suite, and answers the pressing question: is it ever acceptable to send a thank-you note via e-mail? Find out about the correct language and structure to use; appropriate forms of address; ways of varying the tone for different occasions; and how to create wedding-related notes, including advice on designing your monogram as a couple. All situations receive careful attention, from the personal to the professional: letters for gifts, social occasions, in response to a kindness, condolences, and to follow up on a job interview. And, because no one is ever too young to learn good manners, the book includes guidelines for thank-you notes from children and teenagers, too.

The thrilling story of two Cold War spies, CIA case officer Jack Platt and KGB agent Gennady Vasilenko -- improbable friends at a time when they should have been anything but. In 1978, CIA maverick Jack Platt and KGB agent Gennady Vasilenko were new arrivals on the Washington, DC intelligence scene, with Jack working out of the CIA's counterintelligence office and Gennady out of the Soviet Embassy. Both men, already notorious iconoclasts within their respective agencies, were assigned to seduce the other into betraying his country in the urgent final days of the Cold War, but instead the men ended up becoming the best of friends-blood brothers. Theirs is a friendship that never should have happened, and their story is chock full of treachery, darkly comic misunderstandings, bureaucratic inanity, the Russian Mafia, and landmark intelligence breakthroughs of the past half century. In Best of Enemies, two espionage cowboys reveal how they became key behind-the-scenes players in solving some of the most celebrated spy stories of the twentieth century, including the crucial discovery of the Soviet mole Robert Hanssen, the 2010 Spy Swap which freed Gennady from Soviet imprisonment, and how Robert De Niro played a real-life role in helping Gennady stay alive during his incarceration in Russia after being falsely accused of spying for the Americans. Through their eyes, we see the distinctions between the Russian and American methods of conducting espionage and the painful birth of the new Russia, whose leader, Vladimir Putin, dreams he can roll back to the ideals of the old USSR.