In 1983, Goldcrest Films was hailed as the saviour of the British film industry but within two years the company was virtually bankrupt. This book tells the story of Goldcrest Films and was one of The Financial Times Business Books of the Year.
Dwight B. Wilmerding is only twenty-eight, but he’s having a midlife crisis. He lives a dissolute existence in a tiny apartment with three (sometimes four) slacker roommates, holds a mind-numbing job at the pharmaceutical giant Pfizer, and has a chronic inability to make up his mind. Encouraged by one of his roommates to try an experimental drug meant to banish indecision, Dwight jumps at the chance (not without some vacillation about the hazards of jumping) and swallows the first fateful pill. And when all at once he is “pfired” by Pfizer and invited to a rendezvous in exotic Ecuador with the girl of his long-ago prep-school dreams, he finds himself on the brink of a new life. The trouble–well, one of the troubles–is that Dwight can’t decide if the pills are working. Deep in the jungles of the Amazon, in the foreign country of a changed outlook, his would-be romantic escape becomes a hilarious journey into unbidden responsibility and unwelcome knowledge–and an unexpected raison d’être.
We make thousands of decisions each day, and while most of them are simple and relatively easy, many of us get stuck in the larger, life-altering decisions. This can lead to frustration, anxiety, and confusion. "It would be so much easier if life just came with a road map!" But life doesn't work like that--it's full of twists and turns, the unexpected and the unforeseen. And yet, the uncertainty of life also brings adventure and exploration, surprises and wonder. In Make a Move, pastor and coach Stephanie Williams O'Brien offers practical advice and action steps for moving through the experiments of life. These steps help us narrow down the choices when it seems like the options are endless, and allow us to discern God's leadership in a way we never could while standing still. It's time to move from a disoriented life to a life of direction and intention. It's time to make a move!
Whatever you do, DON'T give away that ending... "Terribly addictive" * * * * * Three good friends. One tragic summer. A book that tells it all. "A tremendously compelling page-turner" * * * * * When little Julie goes missing in summer 1986, David and Samuel share the terrible secret of her disappearance. Thirty years later, David has become a famous author and Samuel his publisher. Both receive identical manuscript chapters telling the story of what really happened that tragic summer. Chapter after chapter, the author reveals their darkest secrets. They know the book will end with its 12th chapter. A race against time begins: will David and Samuel expose the mysterious author's identity before he exposes them? And did one of them kill Julie?
Sir Ronald Harwood (1934-2020) was one of the most prolific playwrights and screenwriters of his generation. His acclaimed play, The Dresser, has been constantly revived since its premiere in 1980 and has been adapted for both cinema and television, most recently the 2015 BBC production starring Sir Anthony Hopkins and Sir Ian McKellen. Harwood's other notable film adaptations included Roman Polanski's haunting depiction of life in the Warsaw Ghetto, The Pianist (2002), Baz Luhrmann's frontier epic, Australia (2008), and Dustin Hoffman's poignant celebration of old age, Quartet (2012). His many awards included an Oscar for The Pianist and a BAFTA for The Diving Bell and the Butterfly (2007). Speak Well of Me turns the focus onto Harwood himself. Based on extensive interviews with the playwright during his final years, the biography recounts Harwood's gradual transformation from lacklustre South African schoolboy to doyen of theatreland and Hollywood. While dissecting each of his major works, the book candidly explores Harwood's friendships with the likes of Harold Pinter, J. B. Priestley, André Previn, Sir Donald Wolfit (who inspired The Dresser) and, most controversially, Roman Polanski. The result is a biography as gripping and morally complex as one of Harwood's own dramas. This new paperback edition includes memoirs and assessments of Harwood by Gyles Brandreth, Sir Tom Courtenay, Lady Antonia Fraser, Frederic Raphael, Sir Antony Sher and the playwright's oldest friend, Gerald Masters.
“[A] collection of Clive James’s essays on a variety of literary topics . . . This is sanity, humor and acuity in the face of death” (The Wall Street Journal). In 2010, Clive James was diagnosed with terminal leukemia. Deciding that “if you don’t know the exact moment when the lights will go out, you might as well read until they do,” James moved his library to his Cambridge house, where he would “live, read, and perhaps even write.” James is the award-winning author of dozens of works of literary criticism, poetry, and history, and this volume contains his reflections on what may well be his last reading list. A look at some of James’s old favorites as well as some of his recent discoveries, this book also offers a revealing look at the author himself, sharing his evocative musings on literature and family, and on living and dying. As thoughtful and erudite as the works of Alberto Manguel, and as moving and inspiring as Randy Pausch’s The Last Lecture and Will Schwalbe’s The End of Your Life Book Club, this valediction to James’s lifelong engagement with the written word is a captivating valentine from one of the great literary minds of our time. “These essays and poems are death-haunted but radiant with the felt experience of what it means to be alive, even when mortally sick, especially when mortally sick.” —Financial Times “Latest Readings is a plain demonstration that Mr. James remains as learned and as funny as any critic on earth.” —The New York Times
This book explores the organization of creative industries, including the visual and performing arts, movies, theater, sound recordings, and book publishing. In each, artistic inputs are combined with other, "humdrum" inputs. But the deals that bring these inputs together are inherently problematic: artists have strong views; the muse whispers erratically; and consumer approval remains highly uncertain until all costs have been incurred. To assemble, distribute, and store creative products, business firms are organized, some employing creative personnel on long-term contracts, others dealing with them as outside contractors; agents emerge as intermediaries, negotiating contracts and matching creative talents with employers. Firms in creative industries are either small-scale pickers that concentrate on the selection and development of new creative talents or large-scale promoters that undertake the packaging and widespread distribution of established creative goods. In some activities, such as the performing arts, creative ventures facing high fixed costs turn to nonprofit firms. To explain the logic of these arrangements, the author draws on the analytical resources of industrial economics and the theory of contracts. He addresses the winner-take-all character of many creative activities that brings wealth and renown to some artists while dooming others to frustration; why the "option" form of contract is so prevalent; and why even savvy producers get sucked into making "ten-ton turkeys," such as Heaven's Gate. However different their superficial organization and aesthetic properties, whether high or low in cultural ranking, creative industries share the same underlying organizational logic.
Sliding Doors meets To All the Boys I've Loved Before in a sweet, smart holiday romance about a girl who decides to stop letting her anxiety stand in the way of true love. The average person makes 35,000 decisions every single day. That's about 34,999 too many for Paige Collins, who lives in debilitating fear of making the wrong choice. The simple act of picking an art elective is enough to send her into a spiral of what-ifs. What if she's destined to be a famous ceramicist but wastes her talent in drama club? What if there's a carbon monoxide leak in the ceramics studio and everyone drops dead? (Grim, but possible!)That's why when Paige is presented with two last-minute options for Christmas vacation, she's paralyzed by indecision. Should she go with her best friend (and longtime crush) Fitz to his family's romantic mountain cabin? Or should she accompany her mom to New York, a city Paige has spent her whole life dreaming about?Just when it seems like Paige will crack from the pressure of choosing, fate steps in -- in the form of a slippery grocery store floor -- and Paige's life splits into two very different parallel paths. One path leads to New York where Paige falls for the city . . . and the charms of her unexpected tour guide. The other leads to the mountains where Paige might finally get her chance with Fitz . . . until her anxiety threatens to ruin everything.However, before Paige gets her happy ending in either destiny, she'll have to face the truth about her struggle with anxiety -- and learn that you don't have to be "perfect" to deserve true love.
From the bestselling author of Kafka on the Shore: A magnificent coming-of-age story steeped in nostalgia, “a masterly novel” (The New York Times Book Review) blending the music, the mood, and the ethos that were the sixties with a young man’s hopeless and heroic first love. Now with a new introduction by the author. Toru, a serious young college student in Tokyo, is devoted to Naoko, a beautiful and introspective young woman, but their mutual passion is marked by the tragic death of their best friend years before. As Naoko retreats further into her own world, Toru finds himself drawn to a fiercely independent and sexually liberated young woman. Stunning and elegiac, Norwegian Wood first propelled Haruki Murakami into the forefront of the literary scene.
A new collection of short stories from the woman Rick Moody has called "the best prose stylist in America" Her stories may be literal one-liners: the entirety of "Bloomington" reads, "Now that I have been here for a little while, I can say with confidence that I have never been here before." Or they may be lengthier investigations of the havoc wreaked by the most mundane disruptions to routine: in "A Small Story About a Small Box of Chocolates," a professor receives a gift of thirty-two small chocolates and is paralyzed by the multitude of options she imagines for their consumption. The stories may appear in the form of letters of complaint; they may be extracted from Flaubert's correspondence; or they may be inspired by the author's own dreams, or the dreams of friends. What does not vary throughout Can't and Won't, Lydia Davis's fifth collection of stories, is the power of her finely honed prose. Davis is sharply observant; she is wry or witty or poignant. Above all, she is refreshing. Davis writes with bracing candor and sly humor about the quotidian, revealing the mysterious, the foreign, the alienating, and the pleasurable within the predictable patterns of daily life.