Alfred Hitchcock Classic Cinema Directing Low Budget Filmmaking

Book Interview: The Young Alfred Hitchcock’s Movie Making Masterclass

Alfred Hitchcock Master

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Publisher: Sabana

Release Date: October 31, 2022

“Today’s modern audiences may be more familiar with contemporary directors such as Martin Scorsese, David Fincher, Sam Mendes, Kathryn Bigelow, Christopher Nolan, Wes Anderson, Richard Linklater, Paul Schrader, David Lynch, Bong Joon-ho, Park Chan-wook, Steven Spielberg, and Peter Jackson. All these filmmakers routinely have big budgets at their disposal, and their films are often driven by action sequences, special effects and CGI, often planned using previsualization. But they were all inspired by Hitchcock and his methods of meticulous planning which has been emulated in the years since his death. There is no director whose films are taught more than Hitchcock’s, and whole courses are built around him at schools and universities across the country. Hitchcock believed that film schools should teach the history of cinema as much as anything from the beginning. ‘I’m a puritan and believer in the visual,’ said Hitchcock. ‘And…

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Book Review: Once Upon a Time in Hollywood

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Publisher: Harper Collins

Release Date: August 16, 2022

Quentin Tarantino’s debut novel of has been called a “novelization” of his film of the same name, but those who have read about the genesis of that film know that the screenplay for that film began as a novel (presumably a rough version of this novel). Tarantino fans should be thrilled to find out what original concept would have been. It is also an opportunity to dive a bit deeper into the world of the movie. This is the sort of audacious book one should expect from Tarantino! Here is Hollywood, both the fairy tale and the real thing, as given to us by a master storyteller who knows it like the back of his hand.

"Making of" Classic Cinema

Book Review: E.T. The Extra-Terrestrial — The Ultimate Visual History

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Publisher: Insight Editions

Release Date: August 30, 2022

Those who have had the pleasure of reading Michael Klastorin “Close Encounters of the Third Kind: The Ultimate Visual History” will have a good idea as to what they can expect with Caseen Gaines’s E.T. — The Extra-Terrestrial: The Ultimate Visual History. In some ways, it can be seen as something of a sequel or at least a part of the same series (even though it has been published by Insight Editions and not Harper Design). We opened our review for the former title as follows:

“There are two kinds of coffee table books. The first category includes books that are quick cash-in products and have been built around a generous helping of still photography that includes the occasional quote or caption spread throughout the pages. If these books offer text, it is usually generalized fluff that offers very little in the way of actual information. Needless to say, these books are quite disappointing to the discerning reader.

The second category is quite different… The images mix organically with textual information in a way that creates a relationship between these two ingredients, and the result is incredibly informative and extremely entertaining. It is our pleasure to assure readers that ‘Close Encounters of the Third Kind: The Ultimate Visual History’ belongs to this second category.”

We are happy to report that this new book belongs in the same category and offers the same experience while detailing a comprehensive account of the creative journey behind the making of the film while also discussing its reception and legacy.

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The rare archival production documents included within enhance and elaborate upon the textual information, and the exclusive interviews with key members of the creative team create a first-hand commentary about the making of the classic. It comes as no surprise that we can recommend this beautiful book to fans of the film or devotees of Steven Spielberg without any qualifications.

Alfred Hitchcock Classic Cinema

Book Interview: Dressing Up the Stars — The Story of Movie Costume Designer Edith Head

Alfred Hitchcock Master

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Publisher: Beach Lane Books

Release Date: September 20, 2022

Jeanne Walker Harvey

A Conversation with Jeanne Walker Harvey

Beach Lane Books is about to release an unusual new children’s book entitled “Dressing Up the Stars: The Story of Movie Costume Designer Edith Head.” The book (which is recommended for young people aged 3-8) was written by Jeanne Walker Harvey and illustrated by Diana Toledano.

Harvey studied literature and psychology at Stanford University and has worn many job hats, ranging from being a roller coaster ride operator to an attorney, a middle school language arts teacher, and a long-time docent for school groups at the San Francisco Museum of Modern Art. She is the author of several other books for young readers, including the picture book biographies “Ablaze with Color: A Story of Painter Alma Thomas,” and “Maya Lin: Artist-Architect of Light and Lines.” Jeanne lives in Northern…

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"Making of" Alfred Hitchcock Classic Cinema

Book Interview: The First True Hitchcock — The Making of a Filmmaker

Alfred Hitchcock Master

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Publisher: University of California Press

Release Date: January11, 2022

A Conversation with Henry K. Miller

Alfred Hitchcock called The Lodger “the first true Hitchcock movie,” and yet the story of how The Lodger came to be made is shrouded in myth, often repeated and much embellished (especially by Hitchcock himself). “The First True Hitchcock: The Making of a Filmmaker” focuses on the twelve-month period that encompassed The Lodger’s production in 1926 and release in 1927 while presenting a new picture of this pivotal year in Hitchcock’s life. Using fresh archival discoveries, Henry K. Miller situates Hitchcock’s formation as a director against the backdrop of a continent shattered by war and confronted with the looming presence of a new superpower, the United States, and its most visible export — film. The previously untold story of The Lodger’s making in the London fog (and attempted remaking in the Los Angeles sun)…

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"Making of" Classic Cinema

Book Review: A Lot Can Happen in The Middle of Nowhere — The Untold Story of The Making of Fargo


Publisher: Minnesota Historical Society Press

Release Date: March 02, 2021

Before writing “A Lot Can Happen in The Middle of Nowhere: The Untold Story of The Making of Fargo,” Todd Melby coproduced a one-hour radio documentary about the movie titled “We Don’t Talk Like That: Fargo and the Midwest Psyche.” His work on this certainly informed this carefully researched, but it goes into even more depth. In fact, it seems that Melby has interviewed pretty much everyone connected with the production in his attempt to take the reader on a comprehensive tour behind the scenes. The script, pre-production, a day-by-day account of principal photography, and the film’s reception is covered in quite a bit of detail. In fact, the only weakness the book really has is that there isn’t much in the way of information about the film’s editing process. This is essential reading for Coen fans.

Alfred Hitchcock Classic Cinema

Book Review: The Intertextual Knot

Alfred Hitchcock Master

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Publisher: Springer Nature

Release Date: November 21, 2021

When we reviewed Neil Badmington’s Perpetual Movement: Alfred Hitchcock’sRope last August, it had the distinction of being the only available book devoted to Alfred Hitchcock’s Rope. However, last November saw the release of another book-length analysis of that same film. Both texts are instructive and offer a very different approach to examining the film, and it is quite difficult to choose a favorite between the two. While the earlier book probably includes a slightly more assessable style, both texts are easy to digest.

Dr. Dario Martinelli’s text “is a thorough analysis of Alfred Hitchcock’s Rope (1948) and of its multiple connections with the Leopold and Loeb murder case and the adaptation of Patrick Hamilton’s eponymous play. As an all-encompassing portrait of the movie, the book discusses its aesthetics, style, role within cinema history, challenges in production, innovations introduced…

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Book Interview: David Fincher — Mind Games

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Publisher: Abrams Books

Release Date: November 23, 2021

A Conversation with Adam Nayman

David Fincher: Mind Games” is the third in a series of three books (The Coen Brothers: This Book Really Ties the Films Together and Paul Thomas Anderson: Masterworks are the other two) that focuses on various contemporary auteurs. His latest is the most significant book currently available that offers any sort of “definitive critical and visual survey of the incredible works” of David Fincher. It discusses each of his features — including Alien 3, Se7en, The Game, Fight Club, Panic Room, Zodiac, The Curious Case of Benjamin Button, The Social Network, The Girl with the Dragon Tattoo, Gone Girl, and Mank — but also discusses other works such as various commercials, music videos, and especially House of Cards and Mindhunter. Each chapter weaves production history with original critical analysis and is beautifully illustrated with behind-the-scenes photography, still-frames, and original illustrations. Better yet, Mind Games also features interviews with Fincher’s frequent collaborators — including Jeff Cronenweth, Angus Wall, Laray Mayfield, Holt McCallany, Howard Shore and Erik Messerschmidt. One of the more interesting aspects of this text is that Adam Nayman eschews a chronological approach in favor of grouping Fincher’s films around “themes of procedure, imprisonment, paranoia, prestige, and relationship dynamics.” The marketing materials claim that the book is “styled as an investigation into a filmmaker obsessed with investigation,” and that is a pretty deft way to sum it up. The director’s fanbase is certain to find the book an essential addition to their bookshelves.

In addition to The Coen Brothers: This Book Really Ties the Films Together and Paul Thomas Anderson: Masterworks, Adam Nayman is a contributing editor to Cinema Scope. Needless to say, we are honored that he agreed to discuss this excellent new book with us.


CL: Thanks for taking the time to discuss your new book with us during these busy days! Could you tell us how it all began for you? When did you first become interested in cinema, and how did you begin writing about it?

AN: I grew up in a household filled with books by Pauline Kael. My mother Evelyne is a movie fan and instilled a passion for cinema as well as for cinema appreciation. By the time I was eleven or twelve, I’d inhaled a decade’s worth of Roger Ebert ‘Movie Yearbooks’ and moved on to Danny Peary’s ‘Cult Movies’ guides. I also picked up used copies of ‘Midnight Movies’ and ‘Cronenberg on Cronenberg’ and started trying to write my own reviews, diaristically, but in a similar vein. In seventh grade, I convinced my teacher to let me do a collection of movie reviews as an independent assignment and turned it in with pride. She couldn’t believe how many of the movies in there were things she hadn’t seen or heard of. In high school, I volunteered to review movies for my school paper and did the same in university, after which I bridged into professional work.

CL: You’ve written about so many different directors. Does any particular filmmaker stand out as your favorite of all time? Who has made the biggest impression on you?

AN: I think the answer to that question changes over time, but it’s not as if each new candidate cancels out their predecessor. The first movie to completely hold me in any kind of thoughtful, grown-up way was The Manchurian Candidate, and the way John Frankenheimer synthesized horror and drama with satire made an indelible impression on me. I’m always interested in anything that feels hallucinatory in the same purposeful, deconstructable way. After that, in my teens, I think the filmmakers who captured my imagination most were the ones who went to different kinds of extremes — not only Lynch and Cronenberg (who offered illicit, intellectual stimulation) but also long, slow, spacious minimalism: I cottoned on to Tarkovsky and Tarr. My favorite living, working filmmaker is Claire Denis, for her boldness and refusal of categories, and obviously I’m fond of the directors I’ve written books on as well — the Coens most of all, for some of the same reasons I loved The Manchurian Candidate (and I wish they would remake it).

CL: Is there a single film that is of special importance for you?

AN: The answer to this question will always be Jaws. The reasons are pretty much self-evident, but one bit of context I’ll offer is that it was the first time I remember my mother hesitating before letting me watch something; that little hesitation, and the excitement of her going through with it as the cassette slid into the VCR, is one of the great memories of my childhood.

CL: Those paying attention might notice that this new book about David Fincher follows two similar volumes about the work of various auteurs. How was this series born — or were these books even conceived of as a series? How do you choose which filmmakers to cover?

AN: The Coens book came out of a very spontaneous and fortunate series of circumstances made possible by my connection to the UK film magazine “Little White Lies.” The series was born out of a relationship between LWL and the US publisher Abrams, specifically between two guys in London — David Jenkins and Clive Wilson — and an editor in New York named Eric Klopfer. The concept was always a kind of thorough, essayistic “auteurist” overview that melded big-format pictorial criticism. While it took a while to figure out the flow, the layout, and the relationships between images and text, it came together really well, and did really well. The Anderson book was a logical sequel that constituted a challenge insofar as I’m more ambivalent about the filmmaker — a fan, for sure, but with reservations that I don’t have about the Coens. Fincher represents an even deeper level of ambivalence, which means that the books keep getting harder even though certain features of the format — and the workflow — are the same.

CL:  That’s interesting because each of the books inspire an enthusiastic appreciation for the filmmakers and their work. How do these volumes differ from similar books?

AN: That’s not for me to say, although if you read them carefully, you’ll see how much I try to acknowledge, cite and build upon existing criticism and reception. I always read a lot of books — and articles, and press kits, and blog posts, and so on — before I write, and also as I’m writing, and as I’m editing.


CL: How does David Fincher stand apart from his contemporaries, and what are the qualities that define him as an artist?

AN: He’s a brilliant technician, and I think there’s a tension between his adroitness with a certain kind of imagery — sleek, cool, edgy, seductiveness—and the cautionary themes of the scripts he works with. So many of his movies are about iconcolastic confidence men in a marketplace of ideas: his serial killers and cult figureheads are all trying to promote ideology through mass media forms. Given Fincher’s background in advertising, these narratives can’t help but feel double-edged, and trying to locate the relationship between his showmanship and his worldview — where they align, where they diverge, and whether they contradict one another in helpless or productive ways — is what the book is about.

CL: Do you have a favorite David Fincher film?

AN: I think Zodiac is an almost perfectly written, directed, acted, shot, and edited movie that is then somehow more than the sum of its parts — more than almost perfect, I guess, and probably better even than a “perfect” movie insofar as its little flaws and frustrations place the brilliant bits in context. I think it’s one of the richest, densest, and most re-watchable American movies ever made.

CL: I agree completely. It might be my Fincher-favorite as well. I find that my appreciation for it only grows with each viewing, and I always see something new. I experience it differently every time that I watch it.

This new volume is structured differently than a lot of similar career-spanning volumes as most tend to discuss films in a chronological manner. Could you discuss the structure of “Mind Games,” and tell us why you decided to present the information in this manner?

AN: I experimented with a non-chronological approach in my PTA book, and thought Fincher lent himself well to a dossier approach: different tendencies and themes, enumerated and filed like a psychological profile. So those themes/topics were: procedural structure; entrapment; paranoia; an existential relationship to history and time; a satirical relationship to gender and romance. The connections go in other directions as well, of course, but this arrangement seemed to make sense and helped me elide clichés about his career. The exception to the structure was Mank, which got stuck in at the end as a kind of bookend — a way of beginning and ending in a present tense.

CL: Have any aspects of Fincher’s work changed or evolved throughout his career?

AN: He’s somehow become simultaneously speedier and more contemplative: notwithstanding the odd ricketiness of Mank, he’s a filmmaker who locates clarity in momentum. I don’t think of the early films as being especially fast no matter how intricately they were edited. Now, he just powers through everything – narrative, character development, world-building, set-ups payoffs. The sheer amount of information (and data) that is still conveyed — lucidly — by this approach strikes me as remarkable. In other ways, he’s very much the same director he was at the beginning, and the juvenile or playful elements of the first movies still work in the context of his style, but they’re also more purposeful and refined. Seven is a movie that works brilliantly in a pulp-fiction context; Gone Girl is sort of about that pulp fiction context, without sacrificing entertainment value or craftsmanship.

CL: Were there any unique challenges to covering the career of David Fincher that you didn’t face when writing about other artists?

AN: Just trying to find a language to describe such a clean, precise, lucid aesthetic, and to sidestep the clichés around his reputation — to say something that’s not simply about perfectionism, or control, or confidence, etc.

CL:  Do you have a favorite out of the books that you have written so far?

AN: I’ve never been happier than I was after finishing my first book for ECW Press, about Showgirls: that felt like a victory over something.

CL: Can readers expect similar volumes on other auteurs in the future?

AN: One can only hope.


"Making of" Classic Cinema Filmmakers

Book Interview: Guillermo Del Toro — The Iconic Filmmaker and His Work

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Publisher: Quarto Press

Release Date: November 09, 2021

A Conversation with Ian Nathan

Ian Nathan’s wonderful “Iconic Filmmakers” series is continued with this lovely coffee table-style book about the work of Guillermo Del Toro. Those who have already discovered this wonderful series of coffee table books know that they can expect a “complete and intimate study of the life and work of one of modern cinema’s most truly unique directors, whose distinct aesthetic and imagination are unmatched in contemporary film” as Nathan “charts the progression of a career that has produced some of contemporary cinema’s most revered scenes and idiosyncratic characters. This detailed examination looks at how the strands of Del Toro’s career have woven together to create one of modern cinema’s most ground-breaking bodies of work.” The book is an excellent blend of career biography, production information, and analysis that attempts to delve into the director’s psyche. “The book starts by examining his beginnings in Mexico, the creative but isolated child surrounded by ornate Catholicism and monster magazines, filming stop motion battles between his toys on a Super-8 film camera” before following him through film school and eventually into the productions of some of cinemas most unique films.  The book is illustrated with rich and alluring production photographs, and thematic illustrations that enhance Nathan’s text. There is even an eight-page “gatefold section” that offers a career timeline.

The books author, Ian Nathan, lives and works in London as one of the UK’s best-known film writers. He is the author of nine previous books — including Anything You Can Imagine: Peter Jackson and the Making of Middle-earth, Alien VaultTerminator Vault, and the other books in his “Iconic Filmmakers” series (which includes volumes on Tim Burton, The Coen Brothers, Quentin Tarantino, and Wes Anderson). He is the former editor and executive editor of Empire, the world’s biggest movie magazine, where he remains a contributing editor. He also regularly contributes to The TimesThe IndependentThe Mail on SundayCahiers Du Cinema, and the Discovering Film documentary series on Sky Arts. Needless to say, we are honored to have an opportunity to discuss this new volume with the author.

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CL: First of all, I would just like to thank you for sitting down to answer a few questions about this excellent series of volumes about contemporary “Iconic Filmmakers.” Let’s start at the beginning. How did you first begin your career as a writer?

IN: This is a long story. The key moment really came as a student, when I was given the entertainment desk on the university newspaper. I had always loved film, almost to an obsessive level, but the chance to express my opinion about what I had seen was transformative – it was a real road to Damascus event, I knew exactly what I wanted to do. Then a montage: local newspapers, freelance writing, getting into magazines, joining the staff of Empire (Europe’s biggest film magazine), rising within the ranks to editor. And then, years later, books…

CL: I’m curious as to who you would choose as your favorite filmmaker of all time. Who has made the biggest impression on you as a cinephile?

IN: This is so hard. I’m married to the sheer variety that cinema offers, but I’ll cheat and pick two (out of the multitudes). Billy Wilder managed to squeeze such darkness into his comedies and such life into his dramas. The Apartment is a masterpiece. And the films of the Coen brothers endlessly intrigue me. Every time I return to the likes of Miller’s Crossing or Barton Fink or Fargo, they offer something new.

CL: If the world was burning and you had a chance to save one single film, which film would you rescue from destruction?

IN: One film? Out of all of them? You are cruel. But the world is burning, so I’m going to grab Blade Runner. It has haunted me since the day I saw it in the cinema, aged 12, and I couldn’t imagine not returning to its dystopian embrace.

CL: How was the “Iconic Filmmakers” series was born, and how do you choose which filmmakers to cover for the series?

IN: Well, I had written a couple of books for the publisher, and we got into a discussion about potential books on directors. At that stage, it was picking a director I might want to write about and what might be appealing to a potential readership. Out of that came Tim Burton, and the series was underway. Each choice comes via a mix of things: my passion, a director with a cult following, and a fitting visual palate so the book will look good. (I always joke that you should be able to hang an “esque” on the end of their names: Burtonesque or Tarantinoesque.) Market forces come into play. It is always a discussion with the publisher about what might sell. If the chosen subject has a forthcoming project, so much the better.

CL:  How do the volumes in this series differ from similar books that focus on a particular filmmaker’s work?

IN: Well, the “Iconic” element of the title is important. As I mentioned, the director has to have a personality that inspires a following. It isn’t simply about successful directors. It’s about those who have reshaped the world of film, who have the capacity to surprise us, while having a very distinctive style, ready to be deciphered. You know when you’re watching a film by Quentin Tarantino, the Coens, or Wes Anderson.

CL:  Do you have a favorite out of the books that you have written so far — particularly out of those in the series?

IN: You’re asking me to choose between my children. In terms of the series, each has brought its own pleasures and challenges. It’s never easy to sum up the work of iconic directors. Out of them all, both the Wes Anderson and the Del Toro books feel like I have cracked something of the mystery. Outside of the Iconic Filmmakers series, I’m very proud of a book I wrote on Ridley Scott, plus a more recent tome, The Coppolas: A Movie Dynasty.

CL: How does Guillermo Del Toro stand apart from his contemporaries, and what are the qualities that define him as an artist?

IN: Wow, you could say I’ve written an entire book on this very subject! I’ll try and boil it down. What I love about his work is that he has become a hugely successful Hollywood filmmaker without ever relinquishing his Mexican heart. In fact, that passion and exoticism is what has allowed him to thrive. He is tuned to a more primal part of storytelling — the myths and legends on which the world turn. Fairy-tales are his medium, and he understands how they convey great meaning about the human heart. No one has used fantasy quite as he has done. While he has only made one film on home soil, he still draws deep on the Mexican mix of religion and mysticism. He is also one of the last great physical filmmakers, building sets and props and mechanical creatures to maintain that tactile richness to his creations.

CL: Do you have a favorite Del Toro film?

IN: It’s interesting. Before I begin these books, I write out my order of preference for the films of the director in question. Then once I’ve finished, I do it again to see if the order has changed. And it always does. Hellboy and Cronos moved up in my estimation, but my favourites remained the same. Depending on how I’m feeling it’s either Pan’s Labyrinth or The Devil’s Backbone. I think Del Toro might agree.

CL: Were there any unique challenges to covering the career of Guillermo Del Toro that you didn’t face when writing about other artists?

IN: The biggest challenge was sifting through the sheer volume of material that Del Toro presents to the movie archeologist. He is an extraordinary voice on his own work – like a living biography, which is thrilling. Indeed, he has discussed his films in such depth, noting the many references, that the book could have been three times the length. I say it in the book, he could have been a great critic. Interviewing him is like standing in a waterfall, but that can feel overwhelming at times. Wrestling the story into shape was tough.

CL: The book discusses a number of “unborn films” — or projects that Del Toro was forced to abandon. Which of these films would you most like to see receive a future greenlight?

IN: I know that most would opt for the curiosity of what Del Toro’s Hobbit films might have been like or the icy magnitude of his beloved Lovecraft adaptation At the Mountains of Madness, but I would choose The Left Hand of Darkness. This was Del Toro’s Mexican spin on The Count of Monte Cristo — a  hugely important book to him — that in his hands would have been transformed into a gothic Western. I’ve read the script, and while there are bizarre and wonderful steampunk elements, it stays true to the roots of its genre. And being set in the country of his birth, it would have been both epic and personal.

CL:  Do you believe that the director’s approach to creature design is different from other filmmakers? What sets his creations apart from those found in other films?

IN: I do, very much so. Given his process of storytelling begins with design, sketching out his creatures and annotating them in his fabulous, leather-bound notebooks (themselves a trove of del Toro lore), there is something highly individual about the look and feel of his creatures. They are rarely there simply to frighten us (though often they do). They possess a physicality — he avoids CGI if possible — and embody the themes of his stories. You can tell his heart is with the beasts, maybe he sees himself in them. The aquatic man of The Shape of Water is his leading man! It is the humans who are more often the true monsters.

CL: Which of the director’s iconic monsters is your personal favorite?

IN: Wow, there are so many: the insects in Mimic, the great kaiju of Pacific Rim, half the cast of Hellboy. Since you’ve cornered me, I will opt for a creature that has so much presence, he’s truly unforgettable. The Pale Man in Pan’s Labyrinth leans toward the terrifying, with his eyeballs on the plate in front of him, ready to be inserted into the palms of his hands, but del Toro also saw him as a vision of the rich and corrupt in Spain doing nothing as the masses starve. Note how he lords it over the feast, and we cross cut with the dinner table of the wealthy locals and the fascist captain.

CL: The Pale Man is my personal favorite as well. Can readers expect future volumes in the series?

IN: They certainly can. I’m not permitted to reveal too much at this stage, suffice to say that I am well underway on the next book in the series. The director in question presents very different challenges to previous subjects. I’ll give you a single word: “cerebral.” It’s always interesting how much the personality and films of the individual shapes the book in question. This book will look and feel very different to previous entries, but, boy, will it be gorgeous. Let the guessing game commence.

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Classic Cinema

Book Review: Serial Killers at the Movies

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Publisher: Ad Lib

Release Date: November 12, 2020

Christopher Berry-Dee’s “Serial Killers at the Movies: My Intimate Talks with Mass Murderers Who Became Stars of the Big Screen” is something of a mixed bag. There’s no doubt that the author knows about his subject, but he doesn’t tend to delve particularly deep into the worlds of the monsters that inspired the films discussed in the book. There are exceptions. The chapters on Silence of the Lambs and The Amityville Horror are well worth the reader’s time and manage to explore the true life monsters that inspired the films in question. Unfortunately, he seems at a loss in other chapters and tends to grasp at straws. For instance, the chapter on Psycho discusses crimes that didn’t even occur until 2013 (most likely because he had already delved into the world of Ed Gein in a previous chapter). His text can be repetitive at times — as in repeating certain opinions “word for word” throughout the book. The book is a very light read and a pleasant way to pass time, but one does feel that it could have been a more comprehensive study than it is at the end of the day. This reader was also a bit disappointed to discover that the author devoted so many pages to fairly pedestrian (and completely forgettable) made-for-television titles that haven’t really endured (even if they were fairly accurate). After all, the book was titled “Serial Killers at the Movies.”