Cleopatra faced countless problems during its filming and production: passionate casting disputes, broken contracts, a costly re-location from London to Rome, an emergency tracheotomy for its star, Elizabeth Taylor, scandal-ridden gossip surrounding relationships on set, and a budget of $2 million that ballooned to final costs of $44 million. Legendary producer Walter Wanger recalls the drama that occurred both on and off the set, including the incredible obstacles he had to overcome and the exhilaration of producing a cinematic triumph. A revealing story about Elizabeth Taylor and Richard Burton’s tempestuous romance and an insightful filmmaker’s journal, now back in print for the 50th anniversary of Cleopatra’s release, My Life with Cleopatra shares the true story of the relationship and film that enthralled the world. “I have been told by responsible journalists that there was more world interest in Cleopatra, which I produced, and in its stars—Elizabeth Taylor, Richard Burton, and Rex Harrison—than in any event of 1962.” —Walter Wanger
Cleopatra faced countless problems during its filming and production: passionate casting disputes, broken contracts, a costly re-location from London to Rome, an emergency tracheotomy for its star, Elizabeth Taylor, scandal-ridden gossip surrounding relationships on set, and a budget of $2 million that ballooned to final costs of $44 million. Legendary producer Walter Wanger recalls the drama that occurred both on and off the set, including the incredible obstacles he had to overcome and the exhilaration of producing a cinematic triumph. A revealing story about Elizabeth Taylor and Richard Burton’s tempestuous romance and an insightful filmmaker’s journal, now back in print for the 50th anniversary of Cleopatra’s release, My Life with Cleopatra shares the true story of the relationship and film that enthralled the world. “I have been told by responsible journalists that there was more world interest in Cleopatra, which I produced, and in its stars—Elizabeth Taylor, Richard Burton, and Rex Harrison—than in any event of 1962.” —Walter Wanger
In an immensely alive and pointed memoir by a writer who was himself blacklisted during what Lillian Hellman so aptly called "scoundrel time, " Bernstein recounts his passage from idealist to scapegoat. Chronicling his writing careers in Hollywood and then television, Bernstein tells of the blacklisting for communism which brought ostracism, FBI surveillance, and a search for "fronts" to take credit for his work. of photos.
This volume is largely a source book of genealogical and historical materials, compiled from the public records of Rockingham, Augusta, Greenbrier, Wythe, Montgomery and other counties of Virginia, with valuable contributions from various other parts of the United States.
This is a moving, star-filled account of one of Hollywood’s true golden ages as told by a man in the middle of it all. Walter Mirisch’s company has produced some of the most entertaining and enduring classics in film history, including West Side Story, Some Like It Hot, In the Heat of the Night, and The Magnificent Seven. His work has led to 87 Academy Award nominations and 28 Oscars. Richly illustrated with rare photographs from his personal collection, I Thought We Were Making Movies, Not History reveals Mirisch’s own experience of Hollywood and tells the stories of the stars—emerging and established—who appeared in his films, including Natalie Wood, John Wayne, Peter Sellers, Sidney Poitier, Steve McQueen, Marilyn Monroe, and many others. With hard-won insight and gentle humor, Mirisch recounts how he witnessed the end of the studio system, the development of independent production, and the rise and fall of some of Hollywood’s most gifted (and notorious) cultural icons. A producer with a passion for creative excellence, he offers insights into his innovative filmmaking process, revealing a rare ingenuity for placating the demands of auteur directors, weak-kneed studio executives, and troubled screen sirens. From his early start as a movie theater usher to the presentation of such masterpieces as The Apartment, Fiddler on the Roof, and The Great Escape, Mirisch tells the inspiring life story of his climb to the highest echelon of the American film industry. This book assures Mirisch’s legacy—as Elmore Leonard puts it—as “one of the good guys.” Best Books for Special Interests, selected by the American Association of School Librarians, and Best Books for General Audiences, selected by the Public Library Association
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