Here are 52 books that Steven Spielberg fans have personally recommended if you like
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I was old (or young) enough to have only seen two Kubrick films in the cinema: Full Metal Jacket and Eyes Wide Shut. I began teaching film studies and Hollywood in 1998, and I have been teaching and researching Kubrick intensively since 2007, visiting his archive in London on numerous occasions. At one point, I held the record for the researcher who had spent the most hours in the Archive. I also met Christiane and Jan and spoke to many others who knew and worked with Kubrick. Having been familiar with Robert Kolker’s work, it became clear that collaborating with an international authority on film was a necessity as well as a pleasure.
Peter Biskind chronicles the rise of New Hollywood in the 1970s, featuring such "movie brat" directors as Martin Scorsese, Francis Ford Coppola, and Steven Spielberg. But he also refers to such older directors as Stanley Kubrick.
It’s written in a chatty and easy-to-read style and is full of useful tidbits of information about Kubrick and especially his new backers at Warner Brothers.
When the low-budget biker movie Easy Rider shocked Hollywood with its success in 1969, a new Hollywood era was born. This was an age when talented young filmmakers such as Scorsese, Coppola, and Spielberg, along with a new breed of actors, including De Niro, Pacino, and Nicholson, became the powerful figures who would make such modern classics as The Godfather, Chinatown, Taxi Driver, and Jaws. Easy Riders, Raging Bulls follows the wild ride that was Hollywood in the '70s -- an unabashed celebration of sex, drugs, and rock 'n' roll (both onscreen and off) and a climate where innovation and…
I was old (or young) enough to have only seen two Kubrick films in the cinema: Full Metal Jacket and Eyes Wide Shut. I began teaching film studies and Hollywood in 1998, and I have been teaching and researching Kubrick intensively since 2007, visiting his archive in London on numerous occasions. At one point, I held the record for the researcher who had spent the most hours in the Archive. I also met Christiane and Jan and spoke to many others who knew and worked with Kubrick. Having been familiar with Robert Kolker’s work, it became clear that collaborating with an international authority on film was a necessity as well as a pleasure.
This novel follows a famous Hollywood director called Boris Adrian but known as "King B" who is shooting a big-budget arthouse porn film.
The auteur was allegedly based on Kubrick, with whom Southern collaborated on Dr. Strangelove, and the book is dedicated to "the great Stanley K" whom Southern alleges wanted to make such a film. As Southern also had screenwriting credits for Easy Rider and Casino Royale, it offers a first-hand account, albeit fictionalized, of someone who worked with the director but also with others in Hollywood.
“Terry Southern writes a mean, coolly deliberate, and murderous prose.” ―Norman Mailer
King B., an Oscar-winning director, is now determined to shoot the dirtiest and most expensive X-rated movie ever made. Displaced to Liechtenstein (which, in order to boost tourism, has negotiated the exclusive rights to show the film for ten years) and fueled by suspiciously rejuvenating vitamin B-12 injections, the set of The Faces of Love is fraught with monstrous egos and enormous libidos ― the kind of situation that could only come from the imagination of the irrepressible Terry Southern.
I was old (or young) enough to have only seen two Kubrick films in the cinema: Full Metal Jacket and Eyes Wide Shut. I began teaching film studies and Hollywood in 1998, and I have been teaching and researching Kubrick intensively since 2007, visiting his archive in London on numerous occasions. At one point, I held the record for the researcher who had spent the most hours in the Archive. I also met Christiane and Jan and spoke to many others who knew and worked with Kubrick. Having been familiar with Robert Kolker’s work, it became clear that collaborating with an international authority on film was a necessity as well as a pleasure.
This is one of the few novels I’ve read twice for pleasure (rather than work). It’s a noirish novel that delves into the esoteric along the lines of Umberto Eco’s Foucault’s Pendulum (which Kubrick allegedly considered adapting at one point but which I was unable to read twice!).
The book follows a film scholar who uncovers an incredible conspiracy around a fictional B-movie director called Max Castle, and the imperceptible images he placed in the gap between each of the twenty-four frames played every second in a movie: the so-called flicker of the title. Its author, Roszak, is better known for having coined the term "the counter-culture."
From the golden age of art movies and underground cinema to X-rated porn, splatter films, and midnight movies, this breathtaking thriller is a tour de force of cinematic fact and fantasy, full of metaphysical mysteries that will haunt the dreams of every moviegoer. Jonathan Gates could not have anticipated that his student studies would lead him to uncover the secret history of the movies—a tale of intrigue, deception, and death that stretches back to the 14th century. But he succumbs to what will be a lifelong obsession with the mysterious Max Castle, a nearly forgotten genius of the silent screen…
Tap Dancing on Everest, part coming-of-age memoir, part true-survival adventure story, is about a young medical student, the daughter of a Holocaust survivor raised in N.Y.C., who battles self-doubt to serve as the doctor—and only woman—on a remote Everest climb in Tibet.
I was old (or young) enough to have only seen two Kubrick films in the cinema: Full Metal Jacket and Eyes Wide Shut. I began teaching film studies and Hollywood in 1998, and I have been teaching and researching Kubrick intensively since 2007, visiting his archive in London on numerous occasions. At one point, I held the record for the researcher who had spent the most hours in the Archive. I also met Christiane and Jan and spoke to many others who knew and worked with Kubrick. Having been familiar with Robert Kolker’s work, it became clear that collaborating with an international authority on film was a necessity as well as a pleasure.
I like this book because it is controversial – it suggests that Stanley Kubrick always wanted to make a film about the Holocaust but never did, so the film he made that ended up being about the Holocaust was The Shining.
While I don’t always agree with its conclusions, the research and analysis are first-rate, in-depth, detailed, and penetrating. It also uses a lot of archival research, which still tends to be rare in academic writing about film. I would love to see more books about film and Hollywood like this.
The Wolf at the Door explores the remarkable formal and substantive patterns of cinematic discourse on Germany and the Holocaust in Stanley Kubrick’s films. It is the first book on Kubrick to place his cinema into the full context of his life and times – his Jewish past, early years spent under the shadows of fascism and war, and his 1957 marriage into a German family of artists and filmmakers – all provoked his deeply ambivalent preoccupation with the history of Nazi Germany and the Holocaust. While personal and artistic reservations caused Kubrick to abandon several plans for a film…
I started my career as a graduate student studying the Victorian period, a great age for autobiography. And although autobiography is no longer taught much in English departments, I guess I retain my passion for the genre. The greatest, of course, is Rousseau’s Confessions.
Mekas was a Lithuanian émigré who became an impresario of experimental cinema. He lived a long and eventful life, and this eccentric book is a fascinating account of it.
A Dance with Fred Astaire is an extraordinary collection of anecdotes and rare ephemera featuring a dizzying cast of cultural icons both underground and mainstream, both obscure and celebrated. Memories and diary entries, conversations and insights into his work sit alongside collages of beautifully reproduced postcards, newspaper cuttings, film negatives, lists, posters and photographs, envelopes and letters, book covers, telegrams, cartoons and doodles. Mekas has kept and archived the artifacts of his life as a cultural touchstone down to the minutiae, all of which is brought together here in the form of a unique and fascinating scrapbook of a life…
Shawn Levy is the author of 11 books of biography and pop culture history, including The Castle on Sunset: Life, Death, Love, Art, and Scandal at Hollywood's Chateau Marmont, Paul Newman: A Life, Rat Pack Confidential, and Ready, Steady, Go! The Smashing Rise and Giddy Fall of Swinging London. He was the longtime film critic of The Oregonian newspaper and KGW-TV in his beloved home city of Portland. He has written a history of the women pioneers of standup comedy which will be published by Doubleday in 2022 and at work on a podcast about the dark connections of politics and show business.
Before he became a writer of potboiler novels and true-crime journalism, Dominick Dunne was a film and television producer and a social butterfly who also happened also to be an avid amateur photographer. This memoir of his Hollywood days, which resulted in a crash-and-burn from which he emerged as a writer, is filled with intimate, candid images of such friends (not all faithful) as Jane Fonda, Elizabeth Taylor, Natalie Wood, Paul Newman, and Frank Sinatra, as well, of course, as Dunne and his family. There are dreamy and even eye-popping tales throughout, and if you're at all familiar with Dunne's books or magazine writing, you'll marvel at how so much of it so neatly dovetails with the life he actually lived and, thankfully, captured on film and in these frank and candid pages.
Mesmerizing, revelatory text combines with more than two hundred photographs -- most of them taken by the author -- in a startling illustrated memoir that will both astonish and move you.
When Dominick Dunne lived and worked in Hollywood, he had it all: a beautiful family, a glamorous career, and the friendship of the talented and powerful. He also had a camera and loved to take pictures. These photographs, which Dunne carefully preserved in more than a dozen leatherbound scrapbooks -- along with invitations, telegrams, personal notes, and other memorabilia -- record the parties, the glittering receptions, the society weddings,…
This irreverent biography provides a rare window into the music industry from a promoter’s perspective. From a young age, Peter Jest was determined to make a career in live music, and despite naysayers and obstacles, he did just that, bringing national acts to his college campus atUW-Milwaukee, booking thousands of…
Maureen Callahan is a New York Times bestselling author, award-winning investigative journalist, columnist, and commentator. She has covered everything from pop culture to politics. Her writing has appeared in Vanity Fair, New York, Spin, and the New York Post, where she is Critic-at-Large. She lives in New York. For Shepherd, Callahan has selected her favorite books about American pop culture, which is currently dominated by her favorite subgenre, true crime.
The New York Times called this memoir “The Hollywood Chainsaw Massacre!” and it still stands as one of the best. Phillips, who died New Year’s Day 2002, was a self-described “nice Jewish girl from Great Neck,” Long Island who loved the movies, movie stars — and books. She was sharp, unsparing, and became the first female producer to win an Oscar for Best Picture. The closest comp title, I think, is The Kid Stays In The Picture by the late Robert Evans, but Phillips does him better in eviscerating no one so much as herself. And this is someone who describes Rolling Stone Ronnie Wood as “very sweet, but . . . smells terrible,” before asking, “Why don’t the English like to bathe?” An observation that could get one canceled today.
“The Hollywood memoir that tells all . . . Sex. Drugs. Greed. Why, it sounds just like a movie.”—The New York Times
Every memoir claims to bare it all, but Julia Phillips’s actually does. This is an addictive, gloves-off exposé from the producer of the classic films The Sting, Taxi Driver, and Close Encounters of the Third Kind—and the first woman ever to win an Academy Award for Best Picture—who made her name in Hollywood during the halcyon seventies and the yuppie-infested eighties and lived to tell the tale. Wickedly funny and surprisingly moving, You’ll Never Eat Lunch in This…
Kubrick has fascinated me since I watchedPaths of Gloryat MoMA, one of Stanley’s old haunts, in the early 1960s. I first saw 2001 in London and then once a year after that back home in New York. I taught courses devoted to Kubrick, and when I taught the course online at the University of Virginia, welcomed his brother-in-law, Jan Harlan, to talk to us long distance. With each move, I drew closer and closer to our subject. I visited the Manor at Childwickbury and had lunch with Kubrick’s wife, Christiane. I studied documents in the Kubrick Archive in London. There became a point of recognizing myself in Kubrick himself and his films. A biography was inevitable.
Until David wrote his book, there hadn’t been a biography of Kubrick in over twenty years. While his book is short, it is very readable, and I found it the most intriguing of the short biographies.
Mikics conducted new interviews and visited Kubrick’s archive in London. His readings of Kubrick’s films are precise and elegant.
An engrossing biography of one of the most influential filmmakers in cinematic history
"A cool, cerebral book about a cool, cerebral talent. . . . A brisk study of [Kubrick's] films, with enough of the life tucked in to add context as well as brightness and bite."-Dwight Garner, New York Times
"An engaging and well-researched primer to the work of a cinematic legend."-Library Journal
Kubrick grew up in the Bronx, a doctor's son. From a young age he was consumed by photography, chess, and, above all else, movies. He was a self-taught filmmaker and self-proclaimed outsider, and his films exist…
From a very early age, writing has always been my one true passion. Ever since I was in eighth grade and my teacher would pass out copies of my journal assignment for that week, I was hooked on the idea of writing. I could create my own world where no one could tell me how my characters should behave. Well, two Pushcart Prize nominations and many awards later, I’m grateful I pursued my dream to become a writer. I hope you’ve enjoyed the list I provided and please feel free to pick up one of my Nick Bracco thrillers about a Sicilian FBI agent who uses his Mafia-connected cousin to track terrorists.
I’ll admit, the Russian villain in this thriller is a very bit part, but I can’t have a top 5 list of any thriller without including Elmore Leonard. I read one of Leonard’s first urban thrillers, Glitz, back in ‘80’s and was blown away with how gritty it was. I’d never heard dialogue coming out of character’s mouths like that before. He wrote dialogue like people actually spoke—not with perfect dialect, but street language. It’s the reason he was dubbed the Dickens of Detroit. If you’ve read Elmore Leonard and liked him, then pick this up and read it. It’s a quasi-sequel to Get Shorty with shylock Chili Palmer moving from the movie industry to the music business.
If you’ve never read Leonard, then start with this one. My writing career would never have flourished like is has without reading Leonard, so this on is near to my heart. Enjoy.
The sequel to Chili Palmer's hit movie tanked and now Chili's itching for a comeback. So when a power lunch with record-label executive and former associate Tommy Athens ends in a mob hit, he soon finds himself in an unlikely alliance with organized-crime detective Darryl Holmes and the likely next target of Russian gangsters. But where others see danger, Chili Palmer sees story possibilities.
Enter Linda Moon, a singer with aspirations that go further than her current gig in a Spice Girls cover band. Chili takes over as Linda's manager, entering the world of rock stars, pop divas, and hip-hop…
Adventures in the Radio Trade documents a life in radio, largely at Canada's public broadcaster. It's for people who love CBC Radio, those interested in the history of Canadian Broadcasting, and those who want to hear about close encounters with numerous luminaries such as Margaret Atwood, J. Michael Straczynski, Stuart…
I worked for 27 years at The Washington Post, where I won a Pulitzer Prize for International Reporting. But when I returned home in 2006, I wanted to write about my own country, and what could be more American than the movies? They’re a wonderful looking glass into the past, and my books explore the making of an iconic movie and the historical era in which it was created. My recent ones have recounted the making of The Searchers, starring John Wayne, and High Noon, the Gary Cooper classic and its connection to the Hollywood blacklist, a time of vicious conflict eerily similar to our own troubled era.
Okay, it’s more of an autobiography than a memoir, but Kazan’s 826-page volcano is the most explosive and mesmerizing show-business book I’ve ever plunged into. From his salad days as a struggling actor with New York’s Group Theatre to his conquest of Broadway as the hottest, most pugnacious stage director of the mid-20th century (Streetcar Named Desire, Death of a Salesman, Cat on a Hot Tin Roof), to his Oscar-winning films (Streetcar, Gentleman’s Agreement, On the Waterfront), Kazan vividly recounts his triumphs, missteps and misdeeds, his mistreatment of his wife and many lovers, and his betrayal of former friends and comrades, in a voice overflowing with self-laceration and self-justification. With a supporting cast that includes Tennessee Williams, Vivien Leigh, Arthur Miller, Marilyn Monroe, Marlon Brando, and James Dean.
Elia Kazan's varied life and career is related here in his autobiography. He reveals his working relationships with his many collabourators, including Harold Clurman, Lee Strasberg, Clifford Odets, Arthur Miller, Tennessee Williams, Marilyn Monroe, Marlon Brando, James Dean, John Steinbeck and Darryl Zanuck, and describes his directing "style" as he sees it, in terms of position, movement, pace, rhythm and his own limitations. Kazan also retraces his own decision to inform for the House Un-American Activities Committee, illuminating much of what may be obscured in McCarthy literature.
