FIVE VINTAGE ISSUES of AMERICAN CINEMATOGRAPHER from 1976: lacking only the April and October issues.

Includes the hard-to-find LOGAN'S RUN - HOW IT WAS FILMED issue.

Ten magazines, side-stapled, 8.5x11.75 inches, around 100 pages per issue. Illustrated.

GOOD conditions, the covers have shelf rubs, light soiling, and a mailing label "Cine-Idea / Oakland, CA"; all issues show some signs of handling and use; otherwise they are complete, bright, clean, clear and unmarked.

INTERNATIONAL BUYERS PLEASE NOTE: This lot of issues will require substantial additional shipping charges. After placing your order you will be notified of the additional charges and be able to accept or reject them before your payment is processed. Or you can contact us ahead of time to find out the shipping charge to your country. Thanks.

TEN VINTAGE ISSUES of AMERICAN CINEMATOGRAPHER from 1975: lacking only the April and October issues.

Includes the rare 1975 JAWS issue, the one with the great cover of the shark jumping out of the water to eat you!.

Ten magazines, side-stapled, 8.5x11.75 inches, around 100 pages per issue. Illustrated.

GOOD conditions, the covers have shelf rubs, light soiling, and a mailing label "Cine-Idea / Oakland, CA"; all issues show some signs of handling and use; otherwise they are complete, bright, clean, clear and unmarked.

INTERNATIONAL BUYERS PLEASE NOTE: This lot of issues is

heavy and will require substantial additional shipping charges. After placing your order you will be notified of the additional charges and be able to accept or reject them before your payment is processed. Or you can contact us ahead of time to find out the shipping charge to your country. Thanks.

TEN VINTAGE ISSUES of AMERICAN CINEMATOGRAPHER from 1973: lacking only the January and December issues.

Ten magazines, side-stapled, 8.5x11.75 inches, around 100 pages per issue. Illustrated.

GOOD conditions, the covers have shelf rubs and light soiling, the cover of the February issue is sunned, there is a mailing label "Cine-Idea / Oakland, CA" on some of the covers; all issues show some signs of handling and use; otherwise they are complete, bright, clean, clear and unmarked.

Include the issues featuring WESTWORLD and VOYAGE TO OUTER PLANETS.

INTERNATIONAL BUYERS PLEASE NOTE: This lot of issues is

heavy and will require substantial additional shipping charges. After placing your order you will be notified of the additional charges and be able to accept or reject them before your payment is processed. Or you can contact us ahead of time to find out the shipping charge to your country. Thanks.

SEVEN VINTAGE ISSUES of AMERICAN CINEMATOGRAPHER from 1972: March, July, August, September, October, November, December.

Seven magazines, side-stapled, 8.5x11.75 inches, around 100 pages per issue. Illustrated.

GOOD conditions, the covers have shelf rubs and light soiling, some covers are starting to pull from the staples but holding, all issues show some signs of handling and use; overall the issues are complete, bright, clean, clear and unmarked.

The July 1972 issue featuring SILENT RUNNING is especially hard-to-find.

INTERNATIONAL BUYERS PLEASE NOTE: This lot of issues is

heavy and will require substantial additional shipping charges. After placing your order you will be notified of the additional charges and be able to accept or reject them before your payment is processed. Or you can contact us ahead of time to find out the shipping charge to your country. Thanks.

JOY ADAMSON. TYPED LETTER SIGNED. Written on a beautifully illustrated "air letter" sheet depicting giraffes, elephants, and a variety of other African wildlife. The lovely African wildlife illustrations appear to have been lithographed on the "air letter" for Joy Adamson's personal use.

Adamson's letter discusses the FILMING of BORN FREE on location in KENYA, the actors playing her and her husband, and the animals playing various parts. The letter also thanks the recipient for her donation.

Letter on thin "air letter" stationery, 7.5x9 inches, dated 10 February, 1965, stamped with a Republic of Kenya stamp.

GOOD condition, the paper is toned, has a corner scrape, and there are some small edge chips. The letter has a horizontal fold where it had been folded for mailing. Overall solid, bright and clear. The paper is thin, so handle with care. Would look great mounted and or framed.

The Shattering Screen : A Journal for Subversive Cinema. Issue No. 1

A scarce radical vintage film zine that presents a compelling exploration of Hollywood's powerful intentional politically reactionary messaging in the popular films of the time. Films include The Right Stuff, The Big Chill, Yentl, Chariots of Fire and many more. Also discusses the directors Stanley Kubrick and Rainer Werner Fassbinder. A revolutionary take on mainstream cinema.

Self produced by Shattering Screen, Chicago, Illinois, 1984. Edited by John Stevenson and Jeremy Turner. First and only edition. Softcover zine, tabloid on newsprint, 17.5" x 11.5", 12 pages, illustrated in b&w with dramatic collages and drawings throughout. VERY GOOD CONDITION: light horizontal fold, a touch of age toning, and a light dime size droplet shoreline on the rear cover. Scarce, only two copies located in OCLC collections worldwide.

KSFO Radio In Victory As Presented by The Universal Broadcasting Company's Key Station For Northern California

Post World War II KSFO Radio Station Promotional Booklet filled with photographs and text covering all aspects of KSFO radio station from it's studio facilities in the Mark Hopkins Hotel to the engineers and technical staff, the local programs, reporters, announcers, and executives. KSFO provided live coverage of major news events and regular news commentator reports, live and recorded music programming, and San Francisco focused human interest reporting such as Wally King's "Man on the Street" interviews and "Your Friendly Grocer".

Published by KSFO Radio / Universal Broadcasting Company, San Francisco, California, 1946. Edited by Ray V. Hamilton and Wesley I. Dumm. First edition. Illustrated softcover, paper wrappers, side staple bound, 11.75" x 8.75", 44 pages including wraps, illustrated throughout with historic b&w views of San Francisco and KSFO radio professionals from the on-air talent to the secretaries, also includes information for World War II veterans. VERY GOOD CONDITION: lightly foxed, a touch of light wear from age and use otherwise, tight, bright, clean and unmarked.

SIGNED by STAN BRAKHAGE + SIGNED by RICK SCHMIDT, Independent Filmmaker and noted author on filmmaking + SIGNED by CURTIS IMRIE, Independent Filmmaker + INSCRIBED by CURTIS IMRIE to RICK SCHMIDT. Too much good stuff!

A MOVING PICTURE GIVING AND TAKING BOOK, by STAN BRAKHAGE. Published by Frontier Press, Newbury, Massachusetts, 1971. First edition.

Flexible black leatherette covers, gilt titles to front cover and spine, small format 4.5x6 inches. Pagination: [4], 65, [2] pages.

SIGNED by STAN BRAKHAGE on the front free endpaper. Additionally SIGNED and with a PRESENTATION INSCRIPTION by filmmaker and radio personality CURTIS IMRIE to filmmaker and author RICK SCHMIDT. Imrie's signature is dated "San Francisco, 1/9/76". His inscription to Rick Schmidt is dated "9/1/94". ALSO SIGNED by RICK SCHMIDT (as the last owner of the book), and dated "P.T., WA, 2/12/05."

There are lots of underlining, circling of text, and margin marks noting various passages, likely made by Curtis Imrie or Rick Schmidt in preparation for one film project or another. A filmmaker's actual working copy of a Brakhage filmmaking book. Nice.

Stan Brakhage is considered to be one of the most important figures in 20th century experimental film. Rick Schmidt is a prolific independent filmmaker and the author of the highly regarded book: "Feature Filmmaking at Used Car Prices". Curtis Imrie was an independent filmmaker, radio personality, and champion burro racer.

The inscription reads: "Rick / One good support book deserves another. B-4 FX2 @ Used Car $ [before Feature Filmmaking At Used Car Prices] there was only one Bible for unrepentant actor filmmakers. This one. Appropriately leather bound [actually leatherette I think]. Either return it sometime or walk the talk writing with an audio visual diamond where we diagram the human heart. I'll be a major color on your palette anytime but hey...face up to your talent. Do it. / as ever, C [initialed]"

It appears likely that Rick Schmidt sent Curtis Imrie a copy of his book "Feature Filmmaking At Used Car Prices", and Imrie reciprocated by sending Schmidt a copy of Brakhage's book. It is unclear to me who had Brakhage sign the book. Rick Schmidt was more in Brakhage's circle, they both were prolific independent filmmakers and went to many of the same film conferences, independent film events, etc.; but Curtis Imrie and Stan Brakhage both spent a lot of time living in Colorado.

What a journey through the hands of independent filmmakers - Stan Brakhage - Curtis Imrie - Rick Schmidt.

CONDITION: A couple small indents to the covers, lots of underlining, circling, and margin marks noting important passages (as detailed above), a pea size stain to the front margin of one page of text; otherwise tight, bright and clean, with signatures and inscriptions that are bright, clear and bold.

About STAN BRAKHAGE (from Wikipedia):

******James Stanley Brakhage, b.1933 d.2003, was an American filmmaker. He is considered to be one of the most important figures in 20th century experimental film.****** (An artistic genius imho.)

About RICK SCHMIDT (from IMDB):

******Rick Schmidt, b.1944, has been making films since the seventies. His 26 films have been screened in film festivals around the world, including Sundance's Dramatic Competition (Grand Jury Prize nomination), Slamdance, Rotterdam, Berlin International, New Directors/New Films, the Museum of Modern Art (NY), and has received critical praise from top film critics. Schmidt is also author of "FEATURE FILMMAKING AT USED CAR PRICES" which is considered "The Bible" of fledgling filmmakers and has been credited with influencing filmmakers Kevin Smith, Vin Diesel, Tom DiCillo, and many others.******

About CURTIS IMRIE (from Wikipedia and IMDB)

******Walter Curtis Imrie Jr. (aka Curt Imrie), b.1946 d.2017, was an American filmmaker, actor, radio personality, sportsman, burro racer, and candidate for elected political office. After college, he

MANSON, is a 1973 Robert Hendrickson and Laurence Merrick documentary film about Charles Manson and his "Family" compiled from interviews with the cult members and featuring documentary footage of Charles Manson, Lynette 'Squeaky' Fromme, Leslie Van Houten, Tex Watson, Robert Beausoleil, and Bruce Davis. The film was nominated for an Academy Award for Best Documentary.

There were many people in the U.S., and particularly in California where the murders occurred, who did not want this movie released, and it had a very limited release in 1973.

In 1975, the movie was re-released to capitalize on the then notoriety of Lynette "Squeaky" Fromme, who had tried to assassinate President Gerald Ford, and she was prominently pictured on the re-release press with the tagline "The girl who pointed the gun at the President". The distributor also printed the words "BANNED IN CALIFORNIA" on the top of the press items, due to a U.S. District Court Order banning the film in order to "preserve Fromme's constitutional right to a fair and speedy trial."

This pressbook is quite unusual because all the press items say "ONE WEEK ONLY", and a few state "BANNED IN SACRAMENTO" instead of "BANNED IN CALIFORNIA". Why "One Week Only"? Perhaps after one week the ban was going to go into effect.

Paper pressbook, all with the same press ads, though a few state "Banned in Sacramento" as noted above; five 12x18 inch pages, each page with 3 identical ads for the film, stapled at the upper left corner. The film was rarely exhibited.

GOOD condition: A previous owner has written "ads all same" at the top of page 1, and "pre-opening" with hand drawn arrows pointing to ads on pages 3, 4 and 5; otherwise just lightly handled, still bright and clear with no cut-outs.

RARE, I have never seen another copy of this particular film pressbook / press sheets.

MACUNAIMA (1969). A Brazilian Cinema Novo masterpiece, considered one of the most important films in Brazilian history. Directed by Joaquim Pedro de Andrade, in Portuguese with English subtitles. A box office hit in Brazil, it was released in a dubbed version for American audiences in 1972 by New Line Cinema.

Illustrated by underground New York psychedelic comic artist Frank Mell. His incredible work is similar to legendary R. Crumb Comics, but much less known. His work is in the collection of the Oakland Museum, he illustrated psychedelic album covers, posters, and his work can be found in counter culture periodicals.

Original MOVIE POSTER, Offset lithograph on paper, 37" x 24.5". GOOD Condition: stored rolled for decades, so the colors remain very bright, the bottom margin has some waviness and shorelining/staining, the top edge has some light creasing, there are a few light smudges here and there and a few signs of wear, but overall the poster is solid, bright and clear.

An epic psychedelic adventure fantasy on Brazilian themes and myths, based on a Modernist novel written in 1928 by Mario de Andrade (no relation to the film's director), the metaphorical, savagely satirical film has drawn comparisons to the work of Fellini, John Waters and Lina Wertmuller. A revealing allegory of Brazil's complex racial and cultural history with subtle references to its repressive military rule. Like the musical style Tropicalia gave the world a uniquely Brazilian beat, Macunaima exhibits a strong Brazilian identity.

When the film was first released in the United States, its most sensational elements were played up. In a comprehensive 1976 essay about it in the media review journal Jump Cut, author J.R. Molotnik wrote that the movie had been dubbed "Jungle Freaks" for its U.S. release and was advertised in the Village Voice as "95 Minutes of Brazil Nuts." "New Line Cinema, the film's U.S. distributor, was clearly seeking to attract the Voice's avowedly offbeat readers with promises of an exotic spoof," Molotnik wrote. "The movie buff likely to attend such an 'underground' film was thus readied for a far-out lighthearted film, one bearing little resemblance to the 'heavy' classics of Latin American revolutionary cinema."

Will be shipped carefully rolled in a sturdy mailing tube.

OSTS & BUDGET BREAKDOWN for the filming of THE SCALPHUNTERS in MEXICO. Includes all costs for an expected 66 day shoot in Mexico. The date of the budget breakdown is 1/25/67, with photography started on 2/23/67. The film was released by United Artists on 4/2/68, more than a year after this working budget.

The film was produced by Norlan Productions / Bristol Pictures. It was directed by Sydney Pollack, and starred Burt Lancaster.

Approximately 70 photocopied 8.5x14 inch pages, printed on one side only, 2-hole punched at the top, bound with a metal bracket, held in a manila folder. (Photocopying was, and often still is, how original copies of working budgets, with changes, were quickly produced and distributed to studios, producers, agents, directors, and others involved in a motion picture production.)

Every page has detailed information regarding the film's budget, including costs of extras, gaffers, stars, makeup and hairdressing, set designs, equipment, etc. etc. etc. This was truly a working budget, with white-out changes here and there throughout as cost estimates changed.

The budget pages are in VERY GOOD condition, lightly age toned, some signs of handling, and some white-out changes here and there (as noted above), otherwise the pages are bright, clean, clear and unmarked. The manila folder holding the budget breakdown has creases, wear, and some small stains.

A wonderful and intimate look at the breakdown of every cost involved in the production of a major motion picture in 1968.

About THE SCALPHUNTERS (from Wikipedia):

******The Scalphunters is a 1968 American Western film starring Burt Lancaster, Ossie Davis and Telly Savalas. The film was directed by Sydney Pollack, with the score written by Elmer Bernstein. Davis was nominated for a Golden Globe for Best Supporting Actor for his performance in the film. Filming took place in Sierra de Organos National Park in the town of Sombrerete, Mexico.******

ORIGINAL DRAFT FILM SCREENPLAY of THICK AS THIEVES, a 1998 film starring ALEC BALDWIN, Andre Braugher, Rebecca De Mornay, Julia Sweeney, and Janeane Garofalo.

Award Winning MAKE-UP ARTIST ALLAN APONE'S PERSONAL WORKING COPY, with his name at the top of the title page. Allan Apone was the HEAD OF THE MAKEUP DEPARTMENT for the film.

What makes Allan Apone's copy especially rare and wonderful is that it is filled with 105 unique color photographs of the stars, including many of a 1998 Alec Baldwin. The photos are tipped-on to the blank backsides of many pages of the script, facing pages in which the stars have a scene requiring special makeup. The photographs show the stars in various poses, mostly without make-up (a few with some trial blood and wounds), mostly in what appear to be their home or yard settings, in poses and with facial expressions probably called for by Apone in order to help him decide how to make them up for various scenes (what scar goes where, what blood should cover that nice shirt, how should that face look when struck by a bullet, how old should I make that face look, etc.) The photographs are mostly 3x5 inch, all in color, all unique.

A true working copy. There is green highlighting throughout, and blue lines highlighting scenes requiring makeup: "Blood is on his right hand and the right sleeve of his jacket. He takes off the jacket, turns it inside out, uses it to wipe his hand clean." There are also a couple notes written in the margin regarding makeup: "Muscle bleeds from right side corner of mouth down chin".,

The script is a revised draft dated March 25, 1998, with multi-colored revision pages (blue, pink, and yellow) dated to April 13, 1998. There are 113 8.5x11 inch pages, various colors, .photocopied on one side only, 3-hole punched in the left margin, bound with 2 brass brads. The script was written by Scott Sanders & Arthur Krystal, based on the novel by Patrick Quinn. It was directed by Scott Sanders.

GOOD Condition: The script shows general signs of handling and use (it's a working copy after all) with some creases and a bit of soiling here and there; the title page has torn from the brass brads and is laid on loosely, it has tearing and creases around its upper and lower holes, and some edge wear and corner creases; otherwise a complete, bright, clean and clear copy. The photographs are all very bright and sharp, a couple are creased where the script folded on them incorrectly.

A unique insider look into the world of film makeup. With the 105 photographs of the stars, most as blank slates ready to be changed by the makeup artist, this script is truly a wonder.

And there is Alec Baldwin to boot!

About ALLAN A. APONE (from IMDB):

******A multi-award nominated makeup artist. Apone has served as a makeup artist on over 170 films and 150 television episodes. He has been the personal makeup artist Samuel L. Jackson, Dustin Hoffman, Chris Evans, Gerard Butler, Tom Berringer, Sir Ben Kingsley to name a few.

He is president and CEO of Makeup & Effects Laboratories (MEL), a special effects makeup facility, he opened in 1979. MEL has grown from 500 square feet to over 20,000 square feet, and has provided special effects for over 145 films and 25 television shows. Recent film projects include Westworld, Divergent, Django Unchained, The Last Thing He Wanted, Den of Thieves, Captain America; Civil War, Avengers: Age of Ultron, Killing Reagan, 22 Jump Street, and Suicide Squad.

Allan Aone was nominated for Emmy Awards for makeup in 1993, 1994 and 1997. In 2018 Apone won a Prime-Time Emmy for Outstanding Makeup for Westworld.******

THE SAILORS OF KRONSTADT.

A SHOT by SHOT, SCENE by SCENE, FILM BOOK of the 1936 RUSSIAN FILM released with the English title: The Sailors of Kronstadt. Directed by Efim Dzigan it is considered one of the masterpieces of Soviet cinema.

Published in Moscow, 1968. TEXT IN RUSSIAN.

Fully illustrated with hundreds of shots from the film, in the order of which they appear on the screen.

GOOD condition: the covers are worn along their edges, worn through at the corners, bent at the corner tips, but remain solid and the image on the front cover is clear and bright; internally, the pages are just lightly used and still tight, bright, clean and unmarked. A solid, presentable copy, with covers showing some wear.

About the Russian Film WE ARE FROM KRONSTADT (excerpt from Wikipedia and IMDb):

******In 1919, during the post revolution Russian Civil War, a naval detachment (made up of communist Reds) defends the strategic city of Petrograd from the White Russian counterrevolutionary forces. Director Yefim Dzigan had himself fought for the Bolsheviks in the fleet, so the Red sailors are the heroes of the film. The young Soviet State was besieged by enemies on all sides, and the Revolution was fighting for its life. While clearly propagandistic, the film is often quite poetic visually, not naturalistic as was prescribed by authorities at the time. The film was honored at the 1937 Paris World's Fair.

Writing for The Spectator in 1937, Graham Greene gave the film a good review, characterizing it as being "in the tradition of boys' stories, full of last charges and fights to the death, heroic sacrifices and narrow escapes, all superbly directed", and summarizing it as an "unusual mixture of poetry and heroics". Identifying moments of humour and pathos, Greene claimed that a Fordian poetic sense (i.e. not melodic arrangement, but moral composition) had thoroughly impregnated the film from the first shot to the last, and that the writing resonated with Chekhov's definition of the novelist's purpose, "life as it is: life as it ought to be".******

THE MAGNIFICENT SEVEN Original 1960 DIALOGUE CONTINUITY SCREENPLAY Script

Directed by JOHN STURGES. The Mirisch Company/United Artists. Dated October 1, 1960, this is the original, pre-release printing of the dialogue continuity taken from the 1st Composition Print by Laura Rosse's Film Continuity Service, the film was released two weeks later, on October 12, 1960. Though uncredited, the screenplay was written by William Roberts, Walter Bernstein, and Walter Newman, and based on Akira Kurosawa's 1954 Japanese language film "The Seven Samurai" written by Kurosawa, Shinobu Hashimoto and Hideo Oguni. The Magnificent Seven starred Yul Brynner, Eli Wallach, Steve McQueen, Charles Bronson, Robert Vaughn, Brad Dexter, James Coburn, Horst Buchholz and is considered one of the most iconic Hollywood Westerns.

Original vintage photocopied dialogue continuity screenplay, white paper covers, 45 numbered pages, 8.5" x 14", printed on one side only, bound with one staple at the top left corner. The Dialogue Continuity is a shot-by-shot / reel-by-reel breakdown of the script. VERY GOOD Condition: age toning and light wear, 3 pages pulled from the staple but all pages are present, bottom edgewear to one pulled page, in some areas of the page bottoms the photocopying has made the printing difficult to read, but it is still mostly legible, overall tight, bright, clean and unmarked. Scarce, this is the only copy of the Dialogue Continuity Screenplay of The Magnificent Seven I have seen, there are none in the OCLC.

Continuity Scripts were an important part of the film industry in its early days. They were typically created after a film was "in the can", but before it was released, in order to create a written "copy" of the film. A good "Continuity" provided a transcription of every shot and scene in detail as it occurred in the finished film, something that could obviously not be known until a film was completed. Continuities were created both for copyright protection and for a "record" of a film. A true continuity script was therefore often the only archived, scene-by-scene, record of many early films.

The Magnificent Seven, the iconic western by John Sturges, is a celebrated adaptation of the legendary Akira Kurosawa film The Seven Samurai, transferred to the Wild West, and shot on location in Mexico. The Magnificent Seven has only William Roberts credited as the screenwriter, but both Walter Bernstein and Walter Newman contributed significantly to the creation of one of the greatest westerns ever filmed.