The Kid Stays In The Picture

The motion picture producer describes his early career as an actor, liasons with actresses, rise to powerful studio executive, time in a mental institution, drug use, loss of status in Hollywood, and rise back to power.

The autobiography of Robert Evans, producer of 'The Godfather', 'Rosemary's Baby' and 'Love Story', and whose life story reads like a decadent, insider's Who's Who of Hollywood.

The fascinating rise, fall and rise again of legendary producer Robert Evans. This is one life story you'll never forget: a kid actor in New York on radio plays...popularizing "women in pants" at Evan-Picone...being discovered poolside at the Beverly Hills Hotel by Norma Shearer...becoming the first actor to ever run a motion picture studio...reviving the moribund Paramount Pictures...overseeing production of Love Story, The Godfather, Chinatown, Rosemary's Baby, The Odd Couple...marriage to golden girl Ali McGraw and birth of son Joshua...long friendships with Nicholson, Beatty and Hoffman...disgrace and drugs...the Cotton Club scandal...self-commitment and escape from a mental institution...and an eventual triumphant return to the catbird seat. An extraordinary reconteur, Evans spares no one, least of all himself, on this legendary no-holds-barred Hollywood journey. The Kid Stays in the Picture is now a major motion picture. Adapted from this autobiography, the documentary is narrated by Mr. Evans in his distinctive voice and trademark staccato delivery. This incredible story is brought to life using visual effects, archival footage, clips from classic films and 35mm photography. The film premiered at the Sundance Film Festival and was released nationally to wide acclaim in 2002.

In March 1980 Francis Coppola purchased the dilapidated Hollywood General Studios facility with the hope and dream of creating a radically new kind of studio, one that would revolutionize filmmaking, challenge the established studio machinery, and, most importantly, allow him to make movies as he wished. With this event at the center of Whom God Wishes to Destroy, Jon Lewis offers a behind-the-scenes view of Coppola's struggle--that of the industry's best-known auteur--against the changing realities of the New Hollywood of the 1980s. Presenting a Hollywood history steeped in the trade news, rumor, and gossip that propel the industry, Lewis unfolds a lesson about power, ownership, and the role of the auteur in the American cinema. From before the success of The Godfather to the eventual triumph of Apocalypse Now, through the critical upheaval of the 1980s with movies like Rumble Fish, Hammett, Peggy Sue Got Married, to the 1990s and the making of Bram Stoker's Dracula and Kenneth Branagh's Frankenstein, Francis Coppola's career becomes the lens through which Lewis examines the nature of making movies and doing business in Hollywood today.

The Godfather trilogy is among the most significant works of Hollywood cinema of the last quarter century. They provide a richly complex look at a whole segment of American life and culture spanning almost the whole century. In six essays, written especially for this volume, The Godfather trilogy is re-examined from a variety of perspectives. Providing analyses on the form and significance of Coppola's achievement, they demonstrate how the filmmaker revised the conventions of the American crime film in the Viet Nam era, his treatment of the capitalism of the criminal underworld and its inherent violence, the power struggles within Hollywood over the film, and the contribution of opera to the epic force and cinematic style of Coppola's vision of an American criminal dynasty. The Godfather articulates the themes, styles, mythologies, performances, and underlying cultural values that have made the film a modern classic.

Featuring every review Ebert wrote from January 2001 to mid-June 2003, this treasury also includes his essays, interviews, film festival reports, and In Memoriams, along with his famous star ratings.

Of all the job titles listed in the opening and closing screen credits, producer is certainly the most amorphous. There are businessmen (and women)-producers, writer-director- and movie-star-producers; producers who work for the studio; executive producers whose reputation and industry clout alone gets a project financed (though their day-to-day participation in the project may be negligible). The job title, regardless of the actual work involved, warrants a great deal of prestige in the film business; it is the credited producers, after all, who collect the Oscar for Best Picture. But what producers do and what they don’t or won’t do varies from project to project. Producing is the first book to provide a comprehensive overview of the roles that producers have played in Hollywood, from the dawn of the twentieth century to the present day. It introduces readers to the colorful figures who helped to define and reimagine the producer’s role, including inventors like Thomas Edison, moguls like Darryl F. Zanuck, entrepreneurs like Walt Disney, and mavericks like Roger Corman. Readers also get an inside look at the less glamorous jobs producers have often performed: shepherding projects through many years of development, securing financial backers, and supervising movie shoots. The latest book in the acclaimed Behind the Silver Screen series, Producing includes essays written by seven film scholars, each an expert in a different period of cinema history. Together, they give readers a full picture of how the art and business of producing films has changed over time—and how the producer’s myriad job duties continue to evolve in the digital era.

Praise for New Documentary: 'It's refreshing to find a book that cuts through the tired old debates that have surrounded documentary film and television. It heralds a welcome new approach.' Sight and Sound 'Documentary practice changes so fast that books on the subject are often out of date before they are published. Bruzzi's achievement is to have understood the genre as an activity based on performance rather than observation. This is a fresh perspective which illuminates the fundamental shifts that will continue to take place in the genre as it enters its second century.' John Ellis, Professor of Media Arts, Royal Holloway, University of London New Documentary provides a contemporary look at documentary and fresh and challenging ways of theorising the non-fiction film. As engaging as the original, this second edition features thorough updates to the existing chapters, as well as a brand new chapter on contemporary cinema release documentaries. This new edition includes: Contemporary films such as Capturing the Friedmans, Être et avoir, Farenheit 9/11, The Fog of War and Touching the Void as well as more canonical texts such as Hoop Dreams and Shoah Additional interviews with influential practitioners, such as director Michael Apted and producer Stephen Lambert A comprehensively revised discussion of modern observational documentary, including docusoaps, reality television and formatted documentaries The work of documentary filmmakers such as Nicholas Barker, Errol Morris, Nick Broomfield, Molly Dineen and Michael Moore and the work of Avant-Garde filmmakers such as Chris Marker and Patrick Keiller Gender identity, queer theory, performance, race and spectatorship. Bruzzi shows how theories of documentary filmmaking can be applied to contemporary texts and genres, and discusses the relationship between recent, innovative examples of the genre and the more established canon of documentary.