This Doesn T Happen In The Movies

Why would a man with no problems and five million dollars in the bank disappear? I should have run when Amanda Ghering walked into my detective agency looking like a femme fatale from a film noir. But I didn't. Instead, I took the job-and my first real case-tracking down her husband Peter, who disappeared without a trace three weeks ago. As beautiful and wealthy as she is dark and dangerous, Amanda's convinced he's been murdered. Who could have wanted him dead? Before long, it's clear there's more to this case than meets the eye. As Amanda's story keeps changing, someone is out there who'll do anything to stop me from finding out what happened to Peter. And time is running out for both of us. "I was halfway through the first chapter when I did something I rarely do - I laughed out loud. From that point on, I was hooked." Amazon Review Grab this good old-fashioned mystery with lots of comedic charm that has been downloaded over a million times.

Audrey gave up on romance before meeting aspiring filmmaker Harry at the cinema where they work, but soon they are deeply in love--and not like it is portrayed in movies.

This exceptional collection explores the mutual concerns of dramatic theater, film, and those who comment on them. Plays, Movies, and Critics opens with an original play by Don DeLillo. In the form of an interview, DeLillo's short play works as a kind of paradigm of the theatrical or cinematic event and serves as a keynote for the volume. DeLillo's interview play is accompanied in this collection by interviews with theater director Roberta Levitow, Martin Scorsese, and film/theater critic Stanley Kauffmann. Other contributions include a critical look at the current American theater scene, analyses of the place of politics in the careers of G. B. Shaw and Luigi Pirandello, a compelling reading of Chekhov's "The Seagull", a detailed inquiry into the obsessions that energize the works of Sam Shepard, provocative reinterpretations of the films Mean Streets and The Sheltering Sky, and a translation of André Bazin's important piece on theology and film. Contributors. André Bazin, Robert Brustein, Bert Cardullo, Anthony DeCurtis, Don DeLillo, Jesse Ward Engdhal, Richard Gilman, Jim Hosney, Mame Hunt, Jonathan Kalb, Stanley Kauffmann, Jody McAuliffe, Mary Ann Frese Witt, Jacquelyn Wollman, David Wyatt

Can you name ten actors who played women or ten actresses who played prostitutes in the movies? What about anyone who gained weight or got into shape for a movie role? And, there are those who fell in love on a movie set, performed together, and were paid big bucks for a divorce. The answers are in this book, although you might have a preference for someone I didn’t recognize. You might even learn something new about the movies or your favorite stars. Did you know that television’s Police Squad! ran for only six episodes, but it led to three movies. Do you remember when Paul Newman played himself on The Simpsons? The idea for the book was based on a childhood pastime similar to hopscotch, but without the hopping or standing on one leg. This book is sure to bring hours of entertainment. There are over 1000 entries, organized into ten chapters with ten sections each. Sit down, keep reading, and enjoy!

Mike Ovitz told him his Wilshire Blvd. "foot soldiers" would hunt him down. He's antagonized almost everyone at the top in Tinseltown. And now, Joe Eszterhas tells everything he knows -- in brief, quotable bursts -- about the business, the history of Hollywood, and how to write screenplays that make millions. Idiosyncratic, gruff and as shaggy as Eszterhas himself, The Devil's Guide to Hollywood makes a character/leitmotif of Eszterhas' fellow Hungarian Zsa Zsa Gabor ("Money is like a sixth sense that makes it possible for you to fully enjoy the other five."), and makes the case that Marilyn Monroe was the sharpest tack in Hollywood ("Hollywood is a place where they'll pay you a thousand dollars for a kiss and fifty cents for your soul. I know, because I turned down the first offer often enough and held out for the fifty cents."). Refreshing, dirty, tough, there's no book like it.

Martin Scorsese (b. 1942) has long been considered one of America's greatest cinematic storytellers. Over the last fifty years he has created some of the most iconic moments in American film, never afraid to confront controversial issues with passion. While few of his films are directly autobiographical, his upbringing in New York's Little Italy, the childhood asthma that kept him from playing sports, and his early desire to enter the priesthood all helped form his sensibilities and later shaped his distinct style. Community, religion, violence--these themes drive a Scorsese picture, and whether he examines the violence that bursts forth in the hand of Travis Bickle or the passion of Jesus Christ, Scorsese's mastery of the history, art, and craft of filmmaking is undeniable. This collection was originally edited by the late Peter Brunette in 1999 and is now revised and extensively updated by Robert Ribera. It traces Scorsese's evolution from the earliest days of the New American Cinema, his work with Roger Corman, and his days at New York University's film program to his efforts to preserve the legacy of cinema, his documentary work, and his recent string of successes. Among new movies discussed are The Departed, Hugo, and The Wolf of Wall Street, and the documentaries No Direction Home and The Blues. Scorsese stands out as a director, producer, scholar, preservationist, and icon. His work both behind the camera and in the service of its history are a cornerstone of American and world cinemas. In these interviews, Scorsese takes us from Elizabeth Street to the heights of Hollywood and all the journeys in between.

After a summer spent trying to prevent a catastrophic war among the Greek gods, Percy Jackson finds his seventh-grade school year unnervingly quiet. His biggest problem is dealing with his new friend, Tyson—a six-foot-three, mentally challenged homeless kid who follows Percy everywhere, making it hard for Percy to have any "normal" friends. But things don't stay quiet for long...