The first biography of the man Vanity Fair described as “the philosopher poet of character acting.” After a series of minor parts in forgettable westerns, Harry Dean Stanton gradually began to get film roles that showcased his laid-back acting style, appearing in Cool Hand Luke, Kelly’s Heroes, The Godfather: Part II, and Alien. He became a headliner in the eighties?starring in Wim Wenders’s moving Paris, Texas and Alex Cox’s Repo Man?but it was his extraordinary skill as a character actor that established him as a revered cult figure and kept him in demand throughout his career. Here, Joseph B. Atkins unwinds Stanton’s enigmatic persona, shedding light on his early life in West Irvine, Kentucky, and exploring his difficult relationship with his Baptist parents, his service in the Navy, and the events that inspired him to drop out of college and pursue acting. Atkins also chronicles Stanton’s early years in California, describing how he honed his craft at the renowned Pasadena Playhouse before breaking into television and movies. In addition to examining his acclaimed body of work, Atkins explores Harry Dean Stanton as a Hollywood legend, following his years rooming with Jack Nicholson, partying with David Crosby and Mama Cass, jogging with Bob Dylan, and playing poker with John Huston. Stanton is often remembered for his crowd-pleasing roles in movies like Pretty in Pink or Escape from New York, but this impassioned biography illuminates the entirety of his incredible sixty-year career, drawing on interviews with the actor’s friends, family, and colleagues.

On October 26, 1961, after an evening of studying with friends on the campus of Transylvania University, nineteen-year-old student Betty Gail Brown got into her car around midnight—presumably headed for home. But she would never arrive. Three hours later, Brown was found dead in a driveway near the center of campus, strangled to death with her own brassiere. Kentuckians from across the state became engrossed in the proceedings as lead after lead went nowhere. Four years later, the police investigation completely stalled. In 1965, a drifter named Alex Arnold Jr. confessed to the killing while in jail on other charges in Oregon. Arnold was brought to Lexington, indicted for the murder of Betty Gail Brown, and put on trial, where he entered a plea of not guilty. Robert G. Lawson was a young attorney at a local firm when a senior member asked him to help defend Arnold, and he offers a meticulous record of the case in Who Killed Betty Gail Brown? During the trial, the courtroom was packed daily, but witnesses failed to produce any concrete evidence. Arnold was an alcoholic whose memory was unreliable, and his confused, inconsistent answers to questions about the night of the homicide did not add up. Since the trial, new leads have come and gone, but Betty Gail Brown's murder remains unsolved. A written transcript of the court proceedings does not exist; and thus Lawson, drawing upon police and court records, newspaper articles, personal files, and his own notes, provides an invaluable record of one of Kentucky's most famous cold cases.

Max is used to being called Stupid. And he is used to everyone being scared of him. On account of his size and looking like his dad. Kevin is used to being called Dwarf. And he is used to everyone laughing at him. On account of his size and being some cripple kid. But greatness comes in all sizes, and together Max and Kevin become Freak The Mighty and walk high above the world. An inspiring, heartbreaking, multi-award winning international bestseller.

Though he never reached the lead actor status he labored so relentlessly to achieve, Warren Oates (1928--1982) is one of the most memorable and skilled character actors of the 1970s. With his rugged looks and measured demeanor, Oates crafted complex characters who were at once brazen and thoughtful, wild and subdued. Friends remember the hard-living, hard-drinking actor as kind and caring, but also sometimes as mean as a blue-eyed devil. Married four times, partial to road trips in his RV affectionately known as the "Roach Coach," and famous for performances for directors ranging from Sam Peckinpah to Steven Spielberg, Warren Oates remained a Hollywood outsider perfectly suited to the 1960s and 1970s counterculture. Born in the small town of Depoy in rural western Kentucky and reared in Louisville, Oates began his career in the late 1950s with bit parts in television westerns. Though hardly lucrative work, it was during this time Oates met renegade director Sam Peckinpah, establishing the creative relationship and destructive friendship that produced some of Oates's most unforgettable roles in Ride the High Country (1962), Major Dundee (1965), and The Wild Bunch (1969), as well as a leading part in Bring Me the Head of Alfredo Garcia (1974). Though Oates maintained a close association with Peckinpah, he had a penchant for working with a variety of visionary directors who understood his approach and were eager to enlist the subtle talents of the consummate character actor. With supporting roles in In the Heat of the Night (1967), The Hired Hand (1971), Badlands (1973), 1941 (1979), and Stripes (1981), Oates delivered solid performances for filmmakers as diverse and talented as Norman Jewison, Peter Fonda, Terrence Malick, Steven Spielberg, and Ivan Reitman. Oates's offscreen personality was just as complex as his on-screen persona. Notorious for being a nightlife reveler, he was as sensitive and introspective as he was outgoing and prone to periods of exuberant, and at times illegal, excess. Though he never became a marquee name, Warren Oates continues to influence actors like Billy Bob Thornton and Benicio Del Toro, as well as directors such as Quentin Tarantino and Richard Linklater, all of whom have cited Oates as a major inspiration. In Warren Oates: A Wild Life, author Susan Compo skillfully captures the story of Oates's eventful life, indulgent lifestyle, and influential career.

What happens after we die? _x000D_ _x000D_ Author and award winning filmmaker Richard Martini explores startling new evidence for life after death, via the "life between lives," where we reportedly return to find our loved ones, soul mates and spiritual teachers. Based on the evidence of thousands of people who claim that under deep hypnosis, they saw and experienced the same basic things about the Afterlife, the book documents interviews with hypnotherapists around the world trained in the method pioneered by Dr. Michael Newton, as well as examining actual between life sessions. The author agrees to go on the same journey himself, with startling and candid results, learning we are fully conscious between our various incarnations, and return to connect with loved ones and spiritual soul mates, and together choose how and when and with whom we'll reincarnate. Martini examines how "Karmic law" is trumped by "Free will," with souls choosing difficult lives in order to learn from their spiritually; no matter how difficult, strange or complex a life choice appears to be, it was made in advance, consciously, with the help of loved ones, soul mates and wise elders. Extensively researched, breathtaking in scope, "Flipside" takes the reader into new territory, boldly going where no author has gone before to tie up the various disciplines of past life regression. near death experiences, and between life exploration. In the words of author Gary Schwartz, Phd, once you've read "Flipside" "you'll never see the world in the same way again."_x000D_ _x000D_ Praise for Flipside:_x000D_ _x000D_ "Richard has written a terrific book. Insightful, funny, provocative and deep; I highly recommend it!" - Robert Thurman, author of Why the Dalai Lama Matters_x000D_ _x000D_ “Inspiring, well written and entertaining. The kind of book where once you have read it, you will no longer be able to see the world in the same way again.” - Gary E. Schwartz, author of The Sacred Promise_x000D_ _x000D_ "Everyone should have a Richard Martini in their life." - Charles Grodin, author of If I Only Knew Then... What I Learned From Mistakes

From New Yorker film critic Richard Brody, Everything Is Cinema: The Working Life of Jean-Luc Godard presents a "serious-minded and meticulously detailed . . . account of the lifelong artistic journey" of one of the most influential filmmakers of our age (The New York Times). When Jean-Luc Godard wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Unlike any earlier films, Godard's work shifts fluidly from fiction to documentary, from criticism to art. The man himself also projects shifting images—cultural hero, fierce loner, shrewd businessman. Hailed by filmmakers as a—if not the—key influence on cinema, Godard has entered the modern canon, a figure as mysterious as he is indispensable. In Everything Is Cinema, critic Richard Brody has amassed hundreds of interviews to demystify the elusive director and his work. Paying as much attention to Godard's technical inventions as to the political forces of the postwar world, Brody traces an arc from the director's early critical writing, through his popular success with Breathless, to the grand vision of his later years. He vividly depicts Godard's wealthy conservative family, his fluid politics, and his tumultuous dealings with women and fellow New Wave filmmakers. Everything Is Cinema confirms Godard's greatness and shows decisively that his films have left their mark on screens everywhere.

THE INSPIRATION FOR JUSTIFIED: CITY PRIMEVAL ON FX “As gritty and hard-driving a thriller as you’ll find….The action never stops, the language sings and stings.” —Washington Post The City Primeval in Elmore Leonard’s relentlessly gripping classic noir is Detroit, the author’s much-maligned hometown and the setting for many of the Grand Master’s acclaimed crime novels. The “Alexander the Great of crime fiction” (Pittsburgh Post-Gazette) shines in these urban mean streets, setting up a downtown showdown between the psychopathic, thrill-killing “Oklahoma Wildman” and the dedicated city copy who’s determined to take him down. The creator of U.S. Marshal Raylan Givens of TV’s Justified fame, Elmore Leonard is the equal of any writer who has ever captivated readers with dark tales of heists, hijacks, double-crosses, and murder—John D. MacDonald, Dashiell Hammett, James M. Cain, and Robert Parker included—and nobody then or now is better.

"An impressive novel . . . the most brutal and authentic account of a road gang that we have had."--New York Times Out of his experiences working on a chain gang, Donn Pearce created Cool Hand Luke, the larger-than-life war hero--Good Guy Number One--turned drunkard, vandal, and convict. A blasphemer and "pretty evil feller" who "could work the hardest, eat the mostest, and tell the biggest lies." Luke's outsized feats of gambling and gluttony--he bets Society Red, a college man from Boston, that he can eat fifty eggs--and his harrowing escapes and recaptures are recounted by Dragline, who followed Luke in his last, fatal escape attempt and who basks in Luke's reflected glory. To the convicts left behind on the chain gang, Luke has become the hope of freedom and defiance that they dare not act upon themselves. Luke's refusal to "git his mind right" and submit to the sadistic discipline of the Walking Boss becomes part of their mythology of survival.

"Everyone who has ever lived continues to exist on the Flipside and if possible, can be asked direct questions." In "Backstage Pass" Richard interviews people "no longer on the planet" with the assistance of Jennifer Shaffer, Medium/intuitive, and lifelong friend Luana Anders (who is on the flipside)

Hollywood Godfather is Gianni Russo's over-the-top memoir of a real-life mobster-turned-actor who helped make The Godfather a reality, and his story of life on the edge between danger and glamour. Gianni Russo was a handsome 25-year-old mobster with no acting experience when he walked onto the set of The Godfather and entered Hollywood history. He played Carlo Rizzi, the husband of Connie Corleone, who set her brother Sonny—played by James Caan—up for a hit. Russo didn't have to act—he knew the mob inside and out: from his childhood in Little Italy, where Mafia legend Frank Costello took him under his wing, to acting as a messenger for New Orleans mob boss Carlos Marcello during the Kennedy assassination, to having to go on the lam after shooting and killing a member of the Colombian drug cartel in his Vegas club. Along the way, Russo befriended Frank Sinatra, who became his son's godfather, and Marlon Brando, who mentored his career as an actor after trying to get Francis Ford Coppola to fire him from The Godfather. Russo had passionate affairs with Marilyn Monroe, Liza Minelli, and scores of other celebrities. He went on to become a producer and starred in The Godfather: Parts I and II, Seabiscuit, Any Given Sunday and Rush Hour 2, among many other films. Hollywood Godfather is a no-holds-barred account of a life filled with violence, glamour, sex—and fun.