Between 1934 and 1968, no Hollywood studio could make a movie without the permission of and a seal of approval from the Production Code Administration. The Production Code was Hollywood's official censor. Screenplays, books, plays, costumes and even story ideas and songs had to be okayed by the Code before they could be filmed, and the Code monitored every stage of the production process to ensure compliance. The correspondence between the Code and the studios was confidential, and the memos within the Code office itself were even more so.

Well, not any more. The Naughty Bits pores through those files to show how the censors did their job. What was the world prevented from seeing in some of the greatest movies ever made, including Stagecoach, Some Like It Hot, Convention City, Psycho, His Girl Friday and even The Ten Commandments? Here is the sometimes funny, sometimes outrageous, always riveting history of movie censorship on a nitty-gritty level.

The ultimate guide to the Rambo phenomenon--from bestselling novel to Hollywood blockbuster to all-American hero, legend, and icon--written with the full cooperation of Rambo's creator, bestselling author David Morrell . . .

From the beginning, Rambo was more than a character in a 1972 novel by David Morrell. He was the culmination of the author's personal encounters with veterans returning from the Vietnam War. The 1982 movie adaptation of First Blood reflected the novel's powerful insights into a troubled veteran's post-war experience. Then in 1985, the film's explosive sequel Rambo: First Blood Part II transformed the character into something shockingly different. With a focus on blood-and-guts action--and the beefed-up muscles of Sylvester Stallone--Rambo became an invincible one-man army. A new kind of hero for a new day in America. A full-blown pop-culture icon as controversial as he was crowd-pleasing--blasting his way through the most influential action film franchise in Hollywood history . . .

The Rambo legend was born.

Five feature films. Three novels. Seven video games. Countless comic books, action figures, and even an animated TV show for kids. The Rambo machine has been as unstoppable as Rambo himself. Now for the first time, Hollywood insider Nat Segaloff digs deep into the man, the myth, and the massive impact of the phenomenon known as The Rambo Effect. Packed with behind-the-scenes anecdotes, sharp cultural insights, and ongoing debates about violence in the media, this is an explosive no-holds-barred report from the front lines of Hollywood myth-making. A must-read for Rambo fans, movies buffs, and anyone interested in American culture . . .

Since 1973, The Exorcist and its progeny have scared and inspired half a century of filmgoers. Now, on the 50th anniversary of the original movie release, this is the definitive, fascinating story of the scariest movie ever made and its lasting impact as one of the most shocking, influential, and successful adventures in the history of film. Written by Nat Segaloff, an original publicist for the movie and the acclaimed biographer of its director, with a foreword from John Russo, author and cowriter of the seminal horror film Night of the Living Dead.

On December 26, 1973, The Exorcist was released. Within days it had become legend. Moviegoers braved hours-long lines in winter weather to see it. Some audience members famously fainted or vomited. Half a century later, the movie that both inspired and transcends the modern horror genre has lost none of its power to terrify and unsettle.

The Exorcist Legacy reveals the complete story of this cultural phenomenon, from the real-life exorcism in 1949 Maryland that inspired William Peter Blatty's bestselling novel on which the movie is based, to its many sequels, prequels, TV series, and homages. Nat Segaloff, biographer of the film's director, William Friedkin, draws on original interviews with cast, crew, and participants as well as revelations from personal papers to present an intriguing and surprising new view of the making of the movie, and its aftermath.

Segaloff also examines as never before the keys to the movie's enduring appeal. Friedkin and Blatty's goal was far more ambitious than making a scary movie; they aimed to make people think about the concept of good and evil. The Exorcist succeeds, and then some, not just by creating on-screen scares, but by challenging viewers' deepest personal beliefs--and fears.

John comes on a bit strong at first; he plays the Hemingway bit. I think he's very clever. I think he's very talented and kind of refreshing.

- Sean Connery

Francis Coppola] couldn't tell a story like John. George Lucas] is a great storyteller; he couldn't tell a story like John. None of us.

- Steven Spielberg

I think he likes the grandiose. He liked something that. . . borders on the line and pushing people to the edge where you go from reality to ridiculous, and sometimes the ridiculous is more fun.

- Clint Eastwood

John is such an interesting person and such a great storyteller just in life. Everything memorable of Apocalypse Now was invented by John Milius.

- Francis Ford Coppola

For over half a century John Milius has either written, directed, or written and directed some of the movies' most memorable moments: I know what you're thinking from Dirty Harry; the Indianapolis speech from Jaws; I love the smell of napalm in the morning from Apocalypse Now; and more. His films as director include Big Wednesday, Conan the Barbarian, Red Dawn, The Wind and the Lion, Flight of the Intruder, and Rough Riders. Drawn from nearly fifty years of personal encounters and interviews, and exploring his life and craft in a riveting Q&A format, Big Bad John is the first full-length book about this iconoclastic, battle-scarred, remarkable filmmaker.

Nat Segaloff has written books and/or produced documentaries on William Friedkin, Stan Lee, Larry King, Arthur Penn, Paul Mazursky, John Belushi, Stirling Silliphant, Harlan Ellison, Shari Lewis & Lamb Chop, and other figures. He lives in Los Angeles waiting for his phone calls to be returned.

Between 1934 and 1968, no Hollywood studio could make a movie without the permission of and a seal of approval from the Production Code Administration. The Production Code was Hollywood's official censor. Screenplays, books, plays, costumes and even story ideas and songs had to be okayed by the Code before they could be filmed, and the Code monitored every stage of the production process to ensure compliance. The correspondence between the Code and the studios was confidential, and the memos within the Code office itself were even more so.

Well, not any more. The Naughty Bits pores through those files to show how the censors did their job. What was the world prevented from seeing in some of the greatest movies ever made, including Stagecoach, Some Like It Hot, Convention City, Psycho, His Girl Friday and even The Ten Commandments? Here is the sometimes funny, sometimes outrageous, always riveting history of movie censorship on a nitty-gritty level.

During the 1950s and 1960s it seemed that every TV show was written by Stirling Silliphant. His scripts for Alfred Hitchcock Presents, Tightrope, Alcoa-Goodyear Theatre, Perry Mason, and, of course, Naked City and Route 66, made him Hollywood's most produced writer. Later he dominated the disaster film cycle with The Poseidon Adventure and The Towering Inferno, brought martial arts phenomenon Bruce Lee to screen prominence with Marlowe and Longstreet, won an Oscar^(R) for In the Heat of the Night, and helped create the TV mini-series. He lived the life of a movie star, not a movie writer, attending A-list parties, sailing his yacht around the world, driving posh cars, and turning out one hit after another.

But it came at a price: Four marriages, estranged children, a son's death, and, ultimately, expatriation. Stirling Silliphant: The Fingers of God intimately explores the life and creative process of the man behind Charly, Pearl, The Grass Harp, Village of the Damned, and other big and small screen events. Drawn from exhaustive interviews conducted by author Nat Segaloff in the years before Silliphant's 1996 death and augmented by material from his private files, what emerges is a complex portrait of a larger-than-life figure who rose to the top of a larger-than-life industry.

About the Author

Nat Segaloff has written biographies of Arthur Penn and William Friedkin, in-depth profiles of Paul Mazursky, John Milius, and Walon Green; and TV biographies of Stan Lee, Larry King, John Belushi, Darryl F. Zanuck, and Shari Lewis & Lamb Chop. He is a playwright, college instructor, journalist, and producer who loves writing books.

Celebrating the 40th anniversary of Scarface starring Al Pacino--Brian DePalma's 1983 gangster film that shook the world, shocked the critics, and shot bullet holes through the American Dream--this explosive Hollywood tell-all charts not only the phenomenon of this controversial classic but also the equally controversial legacy of the original 1932 Scarface that inspired it . . .

WITH A FOREWORD FROM STEVEN BAUER

How many movies in the history of film have truly shaken society? Scarface did it twice.

When Brian DePalma's operatically violent and profane Scarface debuted in 1983, the film drew almost as much fire as the relentless gunfire in the film itself. Starring Al Pacino as Cuban refugee-turned-crime-boss Tony Montana, Steven Bauer as his best friend Manny, and rising star Michelle Pfeiffer as an Eighties gangster's moll, the movie was a remake of 1932's Scarface--revamped for a new era of drugs, sex, and graphic violence. Attacked as both a celebration of cocaine-fueled excess and a condemnation of it, the film's reputation only grew as the years went by. But the real story of its success started nearly a century ago--when Hollywood first fell in love with the American gangster . . .

Hollywood's infatuation with money, power, and organized crime has captured the public's imagination and made Scarface one of its most enduring modern myths. From a 1912 gangster film by D.W. Griffith to the 1932 hit Scarface starring Paul Muni, to Brian DePalma's 1983 shocker, the antihero's rise and fall exposes the dark side of the American Dream--whether it's Prohibition Era bootleggers or modern-day drug dealers. When actor Al Pacino got the idea of doing a remake of Scarface after screening the original, a legend was (re)born--and the rest is history.

Filled with behind-the-scenes anecdotes, untold tales from Old and New Hollywood, and sixteen pages of eye-popping photos, Say Hello to My Little Friend is the ultimate guide to everything Scarface. With guns blazing and chainsaws whirring, movie biz writer Nat Segaloff tears into this pop culture phenomenon with fascinating insights, stunning revelations, and a true fan's glee. This is a must-have book for movie buffs, crime lovers, and culture vultures everywhere.

Brilliant. One of my favorite films. So many ways to look at it. So much I didn't know. Nat Segaloff is that rare film scholar: as entertaining as he's informative. --David Morrell, New York Times bestselling author of First Blood (Rambo) on Say Hello to My Little Friend

John comes on a bit strong at first; he plays the Hemingway bit. I think he's very clever. I think he's very talented and kind of refreshing.

- Sean Connery

Francis Coppola] couldn't tell a story like John. George Lucas] is a great storyteller; he couldn't tell a story like John. None of us.

- Steven Spielberg

I think he likes the grandiose. He liked something that. . . borders on the line and pushing people to the edge where you go from reality to ridiculous, and sometimes the ridiculous is more fun.

- Clint Eastwood

John is such an interesting person and such a great storyteller just in life. Everything memorable of Apocalypse Now was invented by John Milius.

- Francis Ford Coppola

For over half a century John Milius has either written, directed, or written and directed some of the movies' most memorable moments: I know what you're thinking from Dirty Harry; the Indianapolis speech from Jaws; I love the smell of napalm in the morning from Apocalypse Now; and more. His films as director include Big Wednesday, Conan the Barbarian, Red Dawn, The Wind and the Lion, Flight of the Intruder, and Rough Riders. Drawn from nearly fifty years of personal encounters and interviews, and exploring his life and craft in a riveting Q&A format, Big Bad John is the first full-length book about this iconoclastic, battle-scarred, remarkable filmmaker.

Nat Segaloff has written books and/or produced documentaries on William Friedkin, Stan Lee, Larry King, Arthur Penn, Paul Mazursky, John Belushi, Stirling Silliphant, Harlan Ellison, Shari Lewis & Lamb Chop, and other figures. He lives in Los Angeles waiting for his phone calls to be returned.

It wasn't the first or last of the disaster pictures, but it was the best of them all, yet its producer had no way of knowing that his career would never again reach those heights.

The Towering Inferno (1974) was the crowning achievement of über-producer Irwin Allen, the self-proclaimed Master of disaster. Crafted from two best-selling books and with a budget-busting cast headed by two mega-stars, it took two studios to bring it to the screen.

In celebration of the 50th anniversary of The Towering Inferno, biographer-historian Nat Segaloff (who was a member of the film's special publicity unit) writes about the production, its innovative marketing campaign, and the goings-on before, during, and after its box office success. He draws a compelling, compassionate portrait of Irwin Allen, the workaholic filmmaker who craved the spotlight yet studiously hid his personal life. Segaloff also charts the history of fire in movies, draws personal profiles of the cast and crew, and offers modern fire safety tips that can save your life.

More Fire! The Building of The Towering Inferno: A 50th Anniversary Explosion will bring back the excitement, the fear, and the heat of the greatest disaster movie ever made.

It wasn't the first or last of the disaster pictures, but it was the best of them all, yet its producer had no way of knowing that his career would never again reach those heights.

The Towering Inferno (1974) was the crowning achievement of über-producer Irwin Allen, the self-proclaimed Master of disaster. Crafted from two best-selling books and with a budget-busting cast headed by two mega-stars, it took two studios to bring it to the screen.

In celebration of the 50th anniversary of The Towering Inferno, biographer-historian Nat Segaloff (who was a member of the film's special publicity unit) writes about the production, its innovative marketing campaign, and the goings-on before, during, and after its box office success. He draws a compelling, compassionate portrait of Irwin Allen, the workaholic filmmaker who craved the spotlight yet studiously hid his personal life. Segaloff also charts the history of fire in movies, draws personal profiles of the cast and crew, and offers modern fire safety tips that can save your life.

More Fire! The Building of The Towering Inferno: A 50th Anniversary Explosion will bring back the excitement, the fear, and the heat of the greatest disaster movie ever made.

They were enemies who fought on the same side.

Rance McWinston is a bestselling mystery writer who travels to war-torn Afghanistan to find a new subject to write about. Leonid Bychkov is an embittered former Russian Forces fighter who has a personal score to settle. When a horrific event takes place on the battlefield, the lines are drawn between these two determined men and the conflict continues in small-town America when they meet again and bring the war home. The Town That Said No is drawn from actual incidents and shows not only the tragedy of war but the emotional and political effects that combat has on the people sent to fight it. It is a story where nobody is who they seem to be, and everybody pays a price.

Nat Segaloff is a prolific biographer and motion picture historian who has published over two dozen books. This is his second novel.

He was the most observant, sympathetic, and successful filmmaker about the American middle class. He found the humor and drama in their struggle to cope with the massive social changes of the 60s, 70s, and 80s. In Bob & Carol & Ted & Alice, Blume in Love, Down & Out in Beverly Hills, Harry & Tonto, and An Unmarried Woman, among other now-classics, he poked fun at--while still loving--a generation in search of itself.

Yet Paul Mazursky's cinematic quest came at a cost. Although he was in sync with his audience, he was usually ahead of the studio brass upon whom he depended for financing. In The Mazursky Method: The Paul Mazursky Interviews, Nat Segaloff--who exhaustively researched and interviewed the mercurial Mazursky--charts this tenuous relationship and explores the highs and lows of being both a participant and a critic.

Nat Segaloff is no stranger to elusive subjects. As the biographer of William Friedkin (The French Connection, Sorcerer), Harlan Ellison (I have No Mouth, and I Must Scream), and John Milius (Red Dawn, Apocalypse Now) he is used to pinning down the ineffable. In The Mazursky Method: The Paul Mazursky Interviews he conducts an unguarded career interview with a man who was the muse of, and then outlived, his movie-going generation.

Nat Segaloff has been a film publicist, critic, teacher, and author (not all at the same time). He lives in Los Angeles waiting for his phone calls to be returned.

Critic-producer Nat Segaloff was granted access to private papers, production records, never-before-published interviews, and specialized archives in reconstructing the colorful, touching, and sometimes scandalous stories behind the making of the last films of some of Hollywood's top directors. Winningly readable and yet meticulously researched, its substantial entries range from Robert Aldrich and Robert Altman to Peter Yates and Fred Zinnemann, and John Ford and Howard Hawks to Otto Preminger and Richard Brooks. Certain to attract controversy because of whom it ignores as well as whom it includes, Final Cuts presents fifty widely varied chronicles of success and failure, inspiration and ennui, elation and heartache, and every other emotion enjoyed or endured by the greatest filmmakers that Hollywood ever knew. About the Author Nat Segaloff always wanted to write and produce, but it took him several careers before he learned how to get paid for it. He was a journalist for The Boston Herald covering the motion picture business, but has also variously been a studio publicist (Fox, UA, Columbia), college teacher (Boston University, Boston College), on-air TV talent (Group W), entertainment critic (CBS radio) and author (nine books including Hurricane Billy: The Stormy Life and Films of William Friedkin and, as co-author, Love Stories: Hollywood's Most Romantic Movies). He has contributed career monographs on screenwriters Stirling Silliphant, Walon Green, Paul Mazursky and John Milius to the University of California Press's acclaimed Backstory series, and his writing has appeared in such varied periodicals as Film Comment, Written By, International Documentary, Animation Magazine, The Christian Science Monitor, Time Out (US), MacWorld, and American Movie Classics Magazine. He was also senior reviewer for AudiobookCafe.com. His The Everything(R) Etiquette Book and The Everything Trivia Book and The Everything(R) Tall Tales, Legends and Outrageous Lies Book are in multiple printings for Adams Media Corp. As a TV writer-producer, Segaloff helped perfect the format and create episodes for A&E's flagship Biography series. His distinctive productions include John Belushi: Funny You Should Ask; Shari Lewis & Lamb Chop; Larry King: Talk of Fame; Darryl F. Zanuck: Twentieth Century-Filmmaker and Stan Lee: The ComiX-MAN He has written and co-produced the Rock 'n' Roll Moments music documentaries for The Learning Channel/Malcolm Leo Productions, and has written and/or produced programming for New World, Disney, Turner and USA Networks. He is co-creator/co-producer of Judgment Day with Grosso-Jacobson Communications Corp. for HBO. His extraterrestrial endeavors include the cheeky sequel to the Orson Welles Invasion From Mars radio hoax, When Welles Collide, which featured a Star Trek(R) cast. It was produced by L.A. Theatre Works and has become a Halloween tradition on National Public Radio. In 1996 he formed the multi-media production company Alien Voices(R) with actors Leonard Nimoy and actor John de Lancie and produced five best-selling, fully dramatized audio plays for Simon & Schuster: The Time Machine, Journey to the Center of the Earth, The Lost World, The Invisible Man and The First Men in the Moon, all of which feature Star Trek(R) casts. Additionally, his teleplay for The First Men in the Moon was the first-ever TV/Internet simulcast and was presented live by The Sci-Fi Channel. He has also written narrative concerts for the Los Angeles Philharmonic, celebrity events, is a script consultant, and was a contributing writer to Moving Pictures magazine.

He was the most observant, sympathetic, and successful filmmaker about the American middle class. He found the humor and drama in their struggle to cope with the massive social changes of the 60s, 70s, and 80s. In Bob & Carol & Ted & Alice, Blume in Love, Down & Out in Beverly Hills, Harry & Tonto, and An Unmarried Woman, among other now-classics, he poked fun at--while still loving--a generation in search of itself.

Yet Paul Mazursky's cinematic quest came at a cost. Although he was in sync with his audience, he was usually ahead of the studio brass upon whom he depended for financing. In The Mazursky Method: The Paul Mazursky Interviews, Nat Segaloff--who exhaustively researched and interviewed the mercurial Mazursky--charts this tenuous relationship and explores the highs and lows of being both a participant and a critic.

Nat Segaloff is no stranger to elusive subjects. As the biographer of William Friedkin (The French Connection, Sorcerer), Harlan Ellison (I have No Mouth, and I Must Scream), and John Milius (Red Dawn, Apocalypse Now) he is used to pinning down the ineffable. In The Mazursky Method: The Paul Mazursky Interviews he conducts an unguarded career interview with a man who was the muse of, and then outlived, his movie-going generation.

Nat Segaloff has been a film publicist, critic, teacher, and author (not all at the same time). He lives in Los Angeles waiting for his phone calls to be returned.

Breaking the Code reveals the efforts of director-producer Otto Preminger to bring his aesthetic vision to the screen even if it meant challenging the Production Code, a system of self-censorship that shaped the movies during the four decades it was in force. Along the way, Preminger sent shock waves through Hollywood and a network of exhibitors, publishers, and religious leaders who had personal, and even financial, stakes in the repression of artistic freedom.

The process of telling this story began in 2003 when Arnie Reisman and Nat Segaloff thought it might be interesting to write a play about Preminger's efforts to get a Code seal for his 1954 romantic comedy The Moon is Blue, based on F. Hugh Herbert's 1951 play. In those days, no film could be shown that did not receive authorization from the Production Code Administration, and his film was deemed too adult for even adults to see. Preminger was met with opposition from administrator, Joseph Breen, who was prepared to go to war to save the rest of the country from its sensibilities.

Along with their play Code Blue, which dramatizes the clash between these two evenly matched but wildly disparate titans, Breaking the Code chronicles the battle between Otto Preminger and the Code. Between 1953 and 1962, he fought the censorship of The Moon Is Blue, The Man with the Golden Arm, Anatomy of a Murder, and Advise and Consent. The details of each skirmish vary, but they cover the same issues: art versus commerce, freedom of speech versus censorship, and money versus principle.

Times may have changed, but these battles continue. Breaking the Code is an attempt to go back and see how the walls can be made to crumble.

Arthur Penn: American Director is the comprehensive biography of one of the twentieth century's most influential filmmakers. Thematic chapters lucidly convey the story of Penn's life and career, as well as pertinent events in the history of American film, theater, and television. In the process of tracing the full spectrum of his career, Arthur Penn reveals the enormous scope of Penn's talent and his profound impact on the entertainment industry in an accessible, engaging account of the well-kno

During the 1950s and 1960s it seemed that every TV show was written by Stirling Silliphant. His scripts for Alfred Hitchcock Presents, Tightrope, Alcoa-Goodyear Theatre, Perry Mason, and, of course, Naked City and Route 66, made him Hollywood's most produced writer. Later he dominated the disaster film cycle with The Poseidon Adventure and The Towering Inferno, brought martial arts phenomenon Bruce Lee to screen prominence with Marlowe and Longstreet, won an Oscar(R) for In the Heat of the Night, and helped create the TV mini-series. He lived the life of a movie star, not a movie writer, attending A-list parties, sailing his yacht around the world, driving posh cars, and turning out one hit after another. But it came at a price: Four marriages, estranged children, a son's death, and, ultimately, expatriation. Stirling Silliphant: The Fingers of God intimately explores the life and creative process of the man behind Charly, Pearl, The Grass Harp, Village of the Damned, and other big and small screen events. Drawn from exhaustive interviews conducted by author Nat Segaloff in the years before Silliphant's 1996 death and augmented by material from his private files, what emerges is a complex portrait of a larger-than-life figure who rose to the top of a larger-than-life industry. About the Author Nat Segaloff has written biographies of Arthur Penn and William Friedkin, in-depth profiles of Paul Mazursky, John Milius, and Walon Green; and TV biographies of Stan Lee, Larry King, John Belushi, Darryl F. Zanuck, and Shari Lewis & Lamb Chop. He is a playwright, college instructor, journalist, and producer who loves writing books. Stirling Silliphant was a legendary, larger-than-life screenwriter whose brilliant, innovative scripts changed the face of television and film. Nat Segaloff's compelling biography itself feels like the plot for a movie as it chronicles Silliphant's fascinating personality, epical life, and dramatic career. - David Morrell, New York Times bestselling author of First Blood and The Brotherhood of the Rose Seeing as how The Poseidon Adventure and The Towering Inferno were the two films that first made the 10-year-old me want to pursue a career in the movies, I devoured Mr. Segaloff's wonderful book about one of our finest screenwriters; a man who brought us from the sublime (In the Heat of the Night) to the ridiculous (The Swarm), with equal parts artistry and verve. - Scott Rosenberg, screenwriter, Con Air and High Fidelity Highly-respected film/TV writer Stirling Silliphant gets A+ treatment in this flavorful account of the prolific craftsman. Silliphant's prodigious talents and unique viewpoints shine through this fast-flowing narrative by Nat Segaloff, whose interactions with the Oscar-winning scenarist over many years, gives this detailed study an added dimension. This book is a winner and a choice read - James Robert Parish, author of It's Good to be the King: The Seriously Funny Life of Mel Brooks

This is the Hardback version. Bogie always said that, if there's an impossible location, you can be sure John will find it. John's authentic. He was about something. - Lauren Bacall He was a landmark in film history, a great friend, and I'll miss him very much. - Michael Caine There is nothing more fascinating-and more fun-than making movies. Besides, I think I'm finally getting the hang of it. - John Huston IN THE SUMMER OF 1987, a group of the screen's most notable stars gathered in glamorous Newport, Rhode Island to make Mr. North, a charming but unpretentious film about a magical man who turns the town upside-down. They included Anthony Edwards, Anjelica Huston, Lauren Bacall, Harry Dean Stanton, Virginia Madsen, Tammy Grimes, and a host of other talents, including legendary director John Huston (The Maltese Falcon, The African Queen). The filmmaker was Danny Huston, John's son. But just as the cameras turned, John fell ill and was replaced by Robert Mitchum. There were daily reports on Huston's failing health, and the world wondered whether the lion of Hollywood, after surviving so many close calls with death over the years, would finally succumb. Nat Segaloff was the only journalist-in fact, the only outsider-allowed onto the set and behind the scenes of Mr. North, and he reported on it for The Boston Herald. But only some of it. Now, after more than a quarter century, the full story can be told of the daily interactions of these famous egos struggling to finish their movie while being overshadowed by the one person who wasn't even in it.

How do the most glamorous people in Hollywood behave when they're not in Hollywood? They run the gamut, and Nat Segaloff followed them for twenty-five years. He started in the staid and stuffy (but also politically tinged and rapidly evolving) city of Boston, Massachusetts, then picked up the trail in Los Angeles. In Screen Saver: Private Stories of Public Hollywood, he writes about the celebrities he worked with when they thought they were out of the public eye. Read about: Why Film Critic is one of the most dangerous jobs in journalism How Deep Throat almost got un-banned in Boston Pointers on how to lie, cheat, and steal in Hollywood What really happens on those glitzy Hollywood press junkets Personal stories about Hollywood in transition during the last great age of American cinema. Read the scoop about the Bad, the Beautiful, the Boring, and the Blessed as seen by the publicist who kept it out of the papers and then became a reporter who put it back in. About the author: Nat Segaloff is a movie publicist who crossed the professional street to become a film critic and journalist-a move that gave him insight into the ways of Hollywood but made him an infidel to the studios he used to work for. His previous BearManor titles are Final Cuts: The Last Films of 50 Great Directors, Stirling Silliphant: The Fingers of God, and Mr. Huston/Mr. North: Life, Death, and Making John Huston's Last Film. His next project is the biography of Harlan Ellison.