Recounts the life of the influential director, writer, and actor and offers insight into his professional achievements as well as his extensive hobbies, five marriages, and homes in Mexico and Ireland.

Over thirty years of interviews with the American director of such classic films as The Maltese Falcon, Key Largo, The African Queen, and The Night of the Iguana

A classic look at Hollywood and the American film industry by The New Yorker's Lillian Ross, and named one of the "Top 100 Works of U.S. Journalism of the Twentieth Century." Lillian Ross worked at The New Yorker for more than half a century, and might be described not only as an outstanding practitioner of modern long-form journalism but also as one of its inventors. Picture, originally published in 1952, is her most celebrated piece of reportage, a closely observed and completely absorbing story of how studio politics and misguided commercialism turn a promising movie into an all-around disaster. The charismatic and hard-bitten director and actor John Huston is at the center of the book, determined to make Stephen Crane’s The Red Badge of Courage—one of the great and defining works of American literature, the first modern war novel, a book whose vivid imagistic style invites the description of cinematic—into a movie that is worthy of it. At first all goes well, as Huston shoots and puts together a two-hour film that is, he feels, the best he’s ever made. Then the studio bosses step in and the audience previews begin, conferences are held, and the movie is taken out of Huston’s hands, cut down by a third, and finally released—with results that please no one and certainly not the public: It was an expensive flop. In Picture, which Charlie Chaplin aptly described as “brilliant and sagacious,” Ross is a gadfly on the wall taking note of the operations of a system designed to crank out mediocrity.

John Huston's Filmmaking offers an analysis of the life and work of one of the greatest American independent filmmakers. Always visually exciting, Huston's films sensitively portray humankind in all its incarnations, chronicling the attempts by protagonists to conceive and articulate their identities. Fundamental questions of selfhood, happiness and love are intimately connected to the idea of home, which for the filmmaker also signified a congenial place among other people in the world. In this study, Lesley Brill shows Huston's films to be far more than formulaic adventures of masculine failure, arguing instead that they demonstrate the close connection between humanity, the natural world, and divinity.

The actress and director shares the first half of her unconventional life, from her childhood in Ireland and her teen years in London to her coming of age as a model and budding actress in New York.

The lovers were already legends by the 1930 collaboration between a future director and a fashionable illustrator. Distinctive images enhance the play's script, plus 20 variations on the story and song.

Over a period of nearly two months, John and Tyler skied more than 500 miles, hauling sleds that contained everything they needed to survive. They maneuvered their 300-pound loads through punishing rubble fields and swam across stretches of open water.