{"title":"Actors \u0026 Directors","description":"\u003cp\u003eDiscover a captivating selection of books celebrating the lives and works of legendary actors and directors, perfect for film enthusiasts and cinephiles alike.\u003c\/p\u003e","products":[{"product_id":"the-coen-brothers-this-book-really-ties-the-films-together","title":"The Coen Brothers: This Book Really Ties the Films Together","description":"\u003cp\u003eFrom such cult hits as \u003cem\u003eRaising Arizona\u003c\/em\u003e (1987) and \u003cem\u003eThe Big Lebowski\u003c\/em\u003e (1998) to major critical darlings \u003cem\u003eFargo\u003c\/em\u003e (1996), \u003cem\u003eNo Country for Old Men\u003c\/em\u003e (2007), and \u003cem\u003eInside Llewyn Davis\u003c\/em\u003e (2013), Ethan and Joel Coen have cultivated a bleakly comical, instantly recognizable voice in modern American cinema. 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Along the way, Roffman was involved in the production of at least 400 movies including award-winning documentaries. He is, perhaps, best known as the director of cult films The Bloody Brood (1959) and The Mask (1961), Canada's first 3-D Film. A victim of the HUAC film-world blacklist, Julian Roffman was a working producer-director and the next deal was always around the corner. He often worked in the background, at times under assumed names, on a varied slate ranging from a Franklin Delano Roosevelt documentary to Flipper. Back in Canada in the 1950s, Roffman, with partners, contributed much-needed support and infrastructure to a small but growing film industry. 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The ones I have avoided, the ones I haven’t told, the ones that have kept me awake on countless nights. As these stories found echoes in my adult life, and then went another, better way than they did in childhood, they became lighter and easier to carry.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eIn this extraordinary book, Sarah Polley explores what it is to live in one’s body, in a constant state of becoming, learning, and changing. Each of these six essays captures a piece of Polley’s life as she remembers it, while at the same time examining the fallibility of memory, the mutability of reality in the mind, and the possibility of experiencing the past anew, as the person she is now but was not then. As Polley writes, the past and present are in a “reciprocal pressure dance.”\u003c\/p\u003e\n\u003cp\u003ePolley contemplates stories from her own life ranging from stage fright to high-risk childbirth to endangerment and more. 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