The most recommended books about the film industry

This book coined the maxim far and away the most quoted in Hollywood to this day: “Nobody knows anything.” I first read it the year before I broke in. My copy is heavily annotated with yellow highlighter and red pen; a black paperclip still marks the second of Goldman’s two capitalized maxims, “Screenplays are structure.” The value of this book to anyone wanting to understand – or survive in – Hollywood is that, ironically, Goldman, one of the most successful screenwriters and novelists in Hollywood history, knew almost everything, not only about screenwriting, but also the psychology, cautious care, and perilous feeding of actors, directors, executives, and the rest of the Hollywood zoo. It’s both a textbook and survival guide, illustrated with a veteran’s vivid stories about life behind the tinsel.

A tense, incident-packed, brilliantly researched account of the making of the epic 1963 film, Cleopatra, starring Elizabeth Taylor and Richard Burton. It received mammoth publicity for all the wrong reasons, mainly because of their lavish affair, Burton’s drinking, and Taylor’s illnesses.

Cleopatra was seen as more about them than the Queen of the Nile. Some great stories about the rest of the cast too (notably Rex Harrison) and you can tell that Patrick Humphries loves telling these tales. I even want to see the film again and I never thought I’d write those words!

Olympic runner, actress, filmmaker and writer, Alexi Pappas’ wisdom and wit are beyond her age. This book will have you laughing, crying and cheering, sometimes all at once!

A treasure trove of artwork, photos, and most of all, a record of the women of Disney history. Expertly and lovingly researched.

This book chronicles Disney animation behind-the-scenes throughout its entire run, decade by decade. Sometimes arduous, sometimes creative, but generally positive. Who would have thought that among the women of the Ink & Paint department were actual chemists mixing colors?! These women have been widely unsung, making them the true underdogs of Disney animation. And I’m always a sucker for an underdog.

Not to mention the few women early on who rose through the ranks to become designers and even animators, lest they be forgotten. This book breathed vibrant life into a wing of Disney animation that I personally had never explored before.  

As Hollywood’s Golden Age sputtered to a close and the old studio behemoths collapsed, United Artists became the Little Studio That Still Could, thanks largely to the discerning eye and risk-taking appetite of David Picker, its young head of marketing and production. Under his leadership, UA made deals that snagged the James Bond series, the Beatles’ two feature films, and Woody Allen’s best movies. Picker’s formula was simple—sign the most intriguing filmmakers in America and Europe to low-budget, one-movie contracts and then leave them alone to do their finest work. Picker praises his pals and lacerates his foes, including Robert Altman, Otto Preminger, and most especially Bill Cosby, whom he despised long before the sexual assault allegations. Anyone recall Cosby’s woeful Leonard Part 6?

Anything to do with Jim Carrey, I’m in. In fact, when teachers would ask me what I wanted to be when I grew up, I’d reply “Be Jim Carrey.” As a longtime fan, I was excited to learn that he would finally be charting his life in an autobiography. As it turns out, the book was mostly wild fiction. What’s so engaging about this book is how he blends real-life occurrences like his body of film work and relationship with Renee Zellweger with completely off-the-wall fantasy like mentor Rodney Dangerfield returning as a Rhino, Kelsey Grammar leading a cult, and Carrey struggling with his career as his entire essence goes virtual. It’s extremely experimental, but the inclusion of celebrities will leave you grinning.     

As perfectly tragic as one of his Jazz Age characters, Fitzgerald drank himself to death before finishing this novel which in my opinion, could have been his best. Like Gatsby, Monroe Stahr is an eloquent, rich, and isolated character, pining for a mysterious woman. He is a hugely successful movie mogul in the golden age of Hollywood, and Fitzgerald’s contempt for the studio system’s treatment of writers is here on full satirical display. The sparse prose sparkles with diamond-like harshness and clarity as the doomed love affair plays out. I’m sure it's his least known novel since it is technically “unfinished,” but most editions publish Fitzgerald’s unfinished future chapters, his pass at the ending as well as his notes and outlines, making this a master class in novel writing.

Gabler offers a detailed and persuasive history of Hollywood’s first producers, all immigrant Jewish Americans seeking to achieve the American dream.

This handful of men started in New York as peddlers or small business owners and then moved west to build their own film empires. No one saw motion pictures as more than a superficial pastime, but it seemed a good business opportunity. Unfortunately, Thomas Edison owned the rights and patents that kept Jewish entrepreneurs from accessing New York, so the immigrants went west.

MGM, Warner Brothers, Paramount, 20th Century Fox, and Universal: these were their kingdoms and are still the names we know today as the major Hollywood studios. Meet the remarkable (and sometimes horrible) men who built this world and learn about their lives and ambitions in Gabler’s engaging book.

The perfect companion to Final Cut from a radically different perspective. Salamon is a journalist who was given extraordinary access by director Brian De Palma during the making of The Bonfire of the Vanities, which, like Heaven’s Gate, turned out to be an infamous flop.

Salamon was on set constantly and shows just how difficult it was for De Palma to manage a massive production and try to keep his vision intact; the difficulty of managing stars like Tom Hanks, Bruce Willis, and Melanie Griffith; and the pressure studios put on filmmakers as budgets escalate and the desperation to release a hit skyrockets.

Despite wars, plagues, and technological revolutions, the psychology of Hollywood endures and Schulberg’s novel about screenwriters in pre-World War Two Hollywood remains an obligatory read for anyone contemplating a life in showbusiness or wanting, as a member of the audience, to have a deeper understanding of the business. The book still so accurately describes the challenges of a writer’s life and work, that when I served on the Writers Guild of America West’s board, I’d sometimes read passages from the book to the rest of the board members during our discussions of potential strike issues or matters affecting Guild unity. Schulberg’s eloquent yet plain-spoken insights were simply still that valuable, convincing – and entertaining.