Discover the incredible and revelatory autobiography from one of the most iconic actors in the history of film. **Buy now to get your hands on a special foiled design beneath the jacket, EXCLUSIVE to the first print run while stocks last** ‘So unique and special’ Robert De Niro ‘Al Pacino is magical’ Martin Scorsese ‘The greatest actor in the world’ Jamie Foxx ____________________________________________________________________________ To the wider world, Al Pacino exploded onto the scene like a supernova. He landed his first leading role, in The Panic in Needle Park, in 1971, and by 1975, he had starred in four movies?The Godfather and The Godfather Part II, Serpico, and Dog Day Afternoon?that were not just successes, but landmarks in the history of film. In reality, Pacino was in his mid-thirties by then, and had already lived several lives. Growing up in New York City’s South Bronx and raised by a loving but mentally unwell mother, Pacino worked odd jobs to support himself. But, in good times and bad, in poverty and in wealth and in poverty again, through pain and joy, acting was his lifeline, its community his tribe. Exploring his iconic roles, essential collaborations, and important relationships, as well as the ever-present struggle between creativity and commerce, Sonny Boy is the revelatory account of an incredible life. This is the memoir of a man who has nothing left to fear and nothing left to hide. _________________________________________________________________________ Praise for Al Pacino: ‘A legend’ Francis Ford Coppola ‘Charming, hilarious, a nonstop talker. There is an aspect of him that is like a lost orphan, like this kind of crazy idiot savant’ Diane Keaton ‘A wicked sense of humour’ Oliver Stone ‘As Michael in The Godfather, Pacino was everything I wanted that character to be on screen. I couldn’t believe it. It was, in my eyes, a perfect performance, a work of art’ Mario Puzo, author of The Godfather ‘Comedic, talented, and certifiably insane’ Johnny Depp ‘Al is money, the man in charge, making it happen. I got to act with Al Pacino and it was worth more to me than anything’ Samuel L Jackson ‘The depth of Al Pacino's artistry is only more overwhelmed by the generosity of his spirit and his warmth. Al Pacino is Van Gogh. Modigliani' Andy Garcia ‘A marvellous actor and man’ Sean Connery ‘A singular, special talent, whose work stands the test of time’ Robin Williams
I am down to a pencil, a pen, and a bottle of ink. I hope one day to eliminate the pencil. Al Hirschfeld redefined caricature and exemplified Broadway and Hollywood, enchanting generations with his mastery of line. His art appeared in every major publication during nine decades of the twentieth and twenty-first centuries, as well as on numerous book, record, and program covers; film posters and publicity art; and on fifteen U.S. postage stamps. Now, The Hirschfeld Century brings together for the first time the artist’s extraordinary eighty-two-year career, revealed in more than 360 of his iconic black-and-white and color drawings, illustrations, and photographs—his influences, his techniques, his evolution from his earliest works to his last drawings, and with a biographical text by David Leopold, Hirschfeld authority, who, as archivist to the artist, worked side by side with him and has spent more than twenty years documenting the artist’s extraordinary output. Here is Hirschfeld at age seventeen, working in the publicity department at Goldwyn Pictures (1920–1921), rising from errand boy to artist; his year at Universal (1921); and, beginning at age eighteen, art director at Selznick Pictures, headed by Louis Selznick (father of David O.) in New York. We see Hirschfeld, at age twenty-one, being influenced by the stylized drawings of Miguel Covarrubias, newly arrived from Mexico (they shared a studio on West Forty-Second Street), whose caricatures appeared in many of the most influential magazines, among them Vanity Fair. We see, as well, how Hirschfeld’s friendship with John Held Jr. (Held’s drawings literally created the look of the Jazz Age) was just as central as Covarrubias to the young artist’s development, how Held’s thin line affected Hirschfeld’s early caricatures. Here is the Hirschfeld century, from his early doodles on the backs of theater programs in 1926 that led to his work for the drama editors of the New York Herald Tribune (an association that lasted twenty years) to his receiving a telegram from The New York Times, in 1928, asking for a two-column drawing of Sir Harry Lauder, a Scottish vaudeville singing sensation making one of his (many) farewell tours, an assignment that began a collaboration with the Times that lasted seventy-five years, to Hirschfeld’s theater caricatures, by age twenty-five, a drawing appearing every week in one of four different New York newspapers. Here, through Hirschfeld’s pen, are Ethel Merman, Benny Goodman, Judy Garland, Mickey Rooney, Katharine Hepburn, the Marx Brothers, Barbra Streisand, Elia Kazan, Mick Jagger, Ella Fitzgerald, Laurence Olivier, Martha Graham, et al. . . . Among the productions featured: Fiddler on the Roof, West Side Story, Rent, Guys and Dolls, The Wizard of Oz (Hirschfeld drew five posters for the original release), Gone with the Wind, The Sopranos, and more. Here as well are his brilliant portraits of writers, politicians, and the like, among them Ernest Hemingway (a pal from 1920s Paris), Tom Wolfe, Charles de Gaulle, Nelson Mandela, Joseph Stalin, Winston Churchill, and every president from Franklin D. Roosevelt to Bill Clinton. Sumptuous and ambitious, a book that gives us, through images and text, a Hirschfeld portrait of an artist and his age.
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