John Huston's Filmmaking offers an analysis of the life and work of one of the greatest American independent filmmakers. Always visually exciting, Huston's films sensitively portray humankind in all its incarnations, chronicling the attempts by protagonists to conceive and articulate their identities. Fundamental questions of selfhood, happiness and love are intimately connected to the idea of home, which for the filmmaker also signified a congenial place among other people in the world. In this study, Lesley Brill shows Huston's films to be far more than formulaic adventures of masculine failure, arguing instead that they demonstrate the close connection between humanity, the natural world, and divinity.

Over thirty years of interviews with the American director of such classic films as The Maltese Falcon, Key Largo, The African Queen, and The Night of the Iguana

Recounts the life of the influential director, writer, and actor and offers insight into his professional achievements as well as his extensive hobbies, five marriages, and homes in Mexico and Ireland.

"Bogie always said that, if there's an impossible location, you can be sure John will find it. John's authentic. He was about something." - Lauren Bacall "He was a landmark in film history, a great friend, and I'll miss him very much." - Michael Caine "There is nothing more fascinating-and more fun-than making movies. Besides, I think I'm finally getting the hang of it." - John Huston IN THE SUMMER OF 1987, a group of the screen's most notable stars gathered in glamorous Newport, Rhode Island to make Mr. North, a charming but unpretentious film about a magical man who turns the town upside-down. They included Anthony Edwards, Anjelica Huston, Lauren Bacall, Harry Dean Stanton, Virginia Madsen, Tammy Grimes, and a host of other talents, including legendary director John Huston (The Maltese Falcon, The African Queen). The filmmaker was Danny Huston, John's son. But just as the cameras turned, John fell ill and was replaced by Robert Mitchum. There were daily reports on Huston's failing health, and the world wondered whether the lion of Hollywood, after surviving so many close calls with death over the years, would finally succumb. Nat Segaloff was the only journalist-in fact, the only outsider-allowed onto the set and behind the scenes of Mr. North, and he reported on it for The Boston Herald. But only some of it. Now, after more than a quarter century, the full story can be told of the daily interactions of these famous egos struggling to finish their movie while being overshadowed by the one person who wasn't even in it.

A classic look at Hollywood and the American film industry by The New Yorker's Lillian Ross, and named one of the "Top 100 Works of U.S. Journalism of the Twentieth Century." Lillian Ross worked at The New Yorker for more than half a century, and might be described not only as an outstanding practitioner of modern long-form journalism but also as one of its inventors. Picture, originally published in 1952, is her most celebrated piece of reportage, a closely observed and completely absorbing story of how studio politics and misguided commercialism turn a promising movie into an all-around disaster. The charismatic and hard-bitten director and actor John Huston is at the center of the book, determined to make Stephen Crane’s The Red Badge of Courage—one of the great and defining works of American literature, the first modern war novel, a book whose vivid imagistic style invites the description of cinematic—into a movie that is worthy of it. At first all goes well, as Huston shoots and puts together a two-hour film that is, he feels, the best he’s ever made. Then the studio bosses step in and the audience previews begin, conferences are held, and the movie is taken out of Huston’s hands, cut down by a third, and finally released—with results that please no one and certainly not the public: It was an expensive flop. In Picture, which Charlie Chaplin aptly described as “brilliant and sagacious,” Ross is a gadfly on the wall taking note of the operations of a system designed to crank out mediocrity.

Years after his death, American filmmaker John Huston (1906-1987) remains an enigmatic and compelling figure. This wide-ranging collection of new essays encompasses a variety of topics relating to Huston's lifestyle, political activities and cinematic legacy. Fresh analyses of such films as Key Largo, The Asphalt Jungle, The African Queen, The Misfits and Prizzi's Honor are included along with insightful studies of Huston's oft-overlooked literary adaptations In This Our Life, Moby Dick and A Walk With Love and Death. Also evaluated are Huston's controversial World War II documentary Let There Be Light, and two a clef portraits of the "real" Huston in the films The Way We Were and White Hunter, Black Heart. Bookending these essays are revealing interviews with John's actress daughter Angelica Huston and film producer Wieland Schultz-Keil.

An illustrated mid-career monograph exploring the 30-year creative journey of the 8-time Academy Award–nominated writer and director Paul Thomas Anderson has been described as "one of American film's modern masters" and "the foremost filmmaking talent of his generation." Anderson's ï¬?lms have received 25 Academy Award nominations, and he has worked closely with many of the most accomplished actors of our time, including Lesley Ann Manville, Julianne Moore, Daniel Day-Lewis, Joaquin Phoenix, and Philip Seymour Hoffman. In Paul Thomas Anderson: Masterworks, Anderson’s entire career—from Hard Eight (1996), Boogie Nights (1997), Magnolia (1999), Punch Drunk Love (2002), There Will Be Blood (2007), The Master (2012), Inherent Vice (2014), and Phantom Thread (2017) to his music videos for Radiohead to his early short ï¬?lms—is examined in illustrated detail for the ï¬?rst time. Anderson’s influences, his style, and the recurring themes of alienation, reinvention, ambition, and destiny that course through his movies are analyzed and supplemented by ï¬?rsthand interviews with Anderson’s closest collaborators—including producer JoAnne Sellar, actor Vicky Krieps, and composer Jonny Greenwood—and illuminated by ï¬?lm stills, archival photos, original illustrations, and an appropriately psychedelic design aesthetic. Masterworks is a tribute to the dreamers, drifters, and evil dentists who populate his world.

"Oscar-winning cinematographer Oswald ("Ossie") Morris looks back over his fifty-eight-film career as director of photography for such top-rank directors as John Huston, Carol Reed, Stanley Kubrick, Ronald Neame, Vittorio De Sica, Franco Zeffirelli, and Sidney Lumet. Morris provides many personal and amusing insights into the making of such films as Moulin Rouge, Moby Dick, The Man Who Would Be King, Lolita, The Guns of Navarone, The Hill, and Oliver!" "Morris photographed many of the top stars, and relates a fund of intimate anecdotes about them. He describes his early years in films during the era of the "quota-quickies," advancing from clapper boy through camera assistant to operator and then to director of photography. He has many stories to tell about the legendary producer David O. Selznick who battered him with his infamous memos throughout the making of Stazione Termini, Beat the Devil, and A Farewell to Arms. Additionally, Morris describes technical revelations about making films in the predigital era, including groundbreaking innovations and camera tricks." "Morris also writes about his early life and describes his Royal Air Force exploits in World War II, during which he won the Distinguished Flying Cross and the Air Force Cross. His personal accounts of death-defying sorties in bombers over enemy territory make thrilling reading."--BOOK JACKET.

Anjelica Huston’s “gorgeously written” (O, The Oprah Magazine) memoir is “an elegant, funny, and frequently haunting reminiscence of the first two decades of her life…A classic” (Vanity Fair). In her first, dazzling memoir, Anjelica Huston shares the story of her deeply unconventional early life—her enchanted childhood in Ireland, living with her glamorous and artistic mother, educated by tutors and nuns, intrepid on a horse. Huston was raised on an Irish estate to which—between movies—her father, director John Huston, brought his array of extraordinary friends, from Carson McCullers and John Steinbeck to Peter O’Toole and Marlon Brando. In London, where she lived with her mother and brother in the early sixties when her parents separated, Huston encountered the Rolling Stones and Fleetwood Mac. She understudied Marianne Faithfull in Hamlet. Seventeen, striking, precocious, but still young and vulnerable, she was devastated when her mother died in a car crash. Months later she moved to New York, fell in love with the much older, brilliant but disturbed photographer, Bob Richardson, and became a model. Living in the Chelsea Hotel, working with Richard Avedon and other photographers, she navigated a volatile relationship and the dynamic cultural epicenter of New York in the seventies. A Story Lately Told is an “evocative” (The New York Times), “magically beautiful” (The Boston Globe) memoir. Huston’s second memoir, Watch Me, will be published in November 2014.