Search Results: Directors from Royal Books, Inc.

Los Angeles: Twentieth Century-Fox, 1951. Original pressbook for the 1951 film noir. Based on the French novel, "Le Corbeau" ("The Raven") by Louis Chavance. The sixth of director Otto Preminger's seven classic "chamber noirs," a remake of the French noir masterpiece, "Le Corbeau" (1943, Henri Georges Clouzot). A testament to Production Code-era antagonism, Preminger pushed the limits of alllowed sexual content. A mile marker for films that would lead to the Code's end in the late 1950s. 16 pages, 11 x 15 inches. Original sewn signatures have been neatly removed, but binding glue intact, with no leaves missing or loose, overall Very Good plus or better. Faint horizontal fold crease at the center of the wrapper and pages, and brief wear at a couple of corners. Still bright and appealing. Selby US. Silver Classic Noir. Spicer US.

London: Faber and Faber, 1938. First Edition. First Edition. ASSOCIATION COPY, inscribed by the author: "For Roy Plomley / who knows all about desert islands / Michael Powell / 1942." The book was inscribed on the occasion of Powell's appearance on the BBC radio program Desert Island Discs, where he was interviewed by Plomley, the show's founder. Michael Powell began making public appearances again in the 1980s and 1990s, and inscribed books from that period turn up with some regularity. We have, however, only seen one other example of a contemporary inscription on this title, Powell's first book. A diary-like account of the making of Powell's classic 1937 film, "The Edge of the World," the director's first film to be shot on his beloved Scottish Isles. The story was inspired by the evacuation of St. Kilda, and won the director an introduction to the great British producer Alexander Korda, followed, of course, by a decades-long teaming with Emeric Pressburger. Photo illustrated throughout. Near… Read More

Beverly Hills, CA: Metro-Goldwyn-Mayer [MGM], 1968. Vintage oversize borderless double weight black and white set design photograph from the 1968 film. Shown is a sample interior from the space station featured near the beginning of the film, the "Hilton" sign marking Kubrick's groundbreaking use of ordinary commerce in a futuristic context. The director's sprawling, science fiction epic traces the evolution of human intelligence under the influence of an unspecified alien force. The film's high scientific accuracy, coupled with bleeding-edge special effects and minimal use of dialogue, make "2001" universally recognized as one of the most influential films ever made. Winner of an Academy Award for Best Special Effects, and nominated for three others including Best Director. Set variously in the desert, in space, in deep space, and on the astral plane. Shot on location in Scotland, England, Arizona, and Utah. 11 x 14 inches. Near Fine. National Film Registry.

Beverly Hills, CA: Metro-Goldwyn-Mayer [MGM], 1968. Vintage pressbook for the 1968 film. The director's sprawling, science fiction epic traces the evolution of human intelligence under the influence of an unspecified alien force. The film's high scientific accuracy, coupled with bleeding-edge special effects and minimal use of dialogue, make "2001" universally recognized as one of the most influential films ever made. Winner of an Academy Award for Best Special Effects, and nominated for three others including Best Director. Set variously in the desert, in space, in deep space, and on the astral plane. Shot on location in Scotland, England, Arizona, and Utah. 8.75 x 11.75 inches. 20 pages, side stapled. Very Good, moderately rubbed, with faint soil and wear on the bottom right corner of the front wrapper. National Film Registry.

Beverly Hills, CA: Metro-Goldwyn-Mayer [MGM], 1968. Vintage reference photograph from the 1968 film, showing actor Kier Dullea. Printed mimeo snipe affixed to the verso. From the archive of film historian and author Joel Finler. Stanley Kubrick's sprawling, science fiction epic traces the evolution of human intelligence under the influence of an unspecified alien force. The film's high scientific accuracy, coupled with bleeding-edge special effects and minimal use of dialogue, make "2001" universally recognized as one of the most influential films ever made. Winner of an Academy Award for Best Special Effects, and nominated for three others including Best Director. Set variously in the desert, in space, in deep space, and on the astral plane. Shot on location in Scotland, England, Arizona, and Utah. 10 x 8 inches, with wide horizontal margins. Very Good plus, lightly worn at the top right corner. National Film Registry.

Beverly Hills, CA: Imagine Entertainment, 1999. Final Draft script for the 2000 television pilot, which originally aired on NBC on February 14. Copy belonging to costume designer Molly Maginnis, warmly INSCRIBED on the title page by members of the cast and crew, including screenwriter Noah Baumbach and actors Joanna Going, Sabrina Grdevich, Carlos Jacott, Heidi Schanz, and Eric Stoltz. From the collection of costume designer Molly Maginnis. An early, darkly comic screenwriting effort from Academy Award-nominated filmmaker Noah Baumbach, best known for "Kicking and Screaming" (1995), "The Squid and the Whale" (2005), and "Marriage Story" (2019), following a group of friends struggling to adapt to life as adults. Set and shot on location in Los Angeles. Title page integral with front wrapper, noted as FINAL DRAFT, dated 4/29/99, with credits for screenwriter Noah Baumbach and director Thomas Schlamme. 61 leaves, with last page of text numbered 55. Xerographic duplication on yellow stock, rectos… Read More

Glendale, CA: Allied Artists, 1963. Vintage black-and-white keybook photograph of director Nicholas Ray on the set of his 1963 film, "55 Days at Peking." Shot by still photographer Dennis Stock, and with a mimeograph snipe on the verso crediting Ray, screenwriter Philip Yordan, and actors Charlton Heston, Ava Gardner, and David Niven, and with a stamp crediting producer Samuel Bronston along with the above noted parties. Ray's last stand, an iconic image. The filming of the epic historical drama took place in and around Madrid, and Ray collapsed during shooting. It was completed by director Guy Green and the film's second unit director Andrew Marton, though Ray was given sole credit on the finished film. It would be the director's last major film. 8 x 10 inches (20.5 x 25.5 inches). With a 3-hole punch on an affixed tab at the left margin as called for. Near Fine.

Various cities: Lynx / Roma Press Photo, 1963. Four vintage oversize borderless reference photographs from the 1963 Italian film, showing Federico Fellini directing actors Marcello Mastroianni and Sandra Milo on the set. Mimeo snipes on the versos, along with Lynx and Roma Press Photo stamps and the stamp of photographer Tazio Secchiarolli. Fellini's avant-garde, autobiographical masterpiece, about an aging Italian director who begins to retreat into his memories and fantasies while attempting to make his latest film. Winner of the Academy Award for Best Foreign Language Film, and nominated for three other awards, including Best Original Screenplay and Best Director. Set and shot on location in Rome. 10.75 x 8.25 inches. Near Fine, with a hint of edgewear. Criterion Collection 140. Ebert I. Godard, Histoire(s) du cinema. Rosenbaum 1000. Schrader 15. Scorsese, My Voyage to Italy.

N.p.: N.p., 1980. Vintage color borderless reference photograph from the 1980 Italian film. Provenance stamp and manuscript label crediting photographer Gianfranco Salis. A low-budget film actor suffers a nervous breakdown and runs away with an actress who believes herself to be Shakespeare's Ophelia. 9.5 x 7 inches. Near Fine.

N.p.: N.p., 1963. Vintage borderless reference photograph of Kon Ichikawa directing actor Kazuo Hasegawa on the set of the 1963 Japanese film. Stamp in Japanese and annotations in manuscript ink on the verso, along with a printed mimeo snipe in English. A renowned kabuki actor seeks revenge on the three men who caused the double suicide of his parents. Meanwhile, he himself is being targeted by a swordsman. 6.5 x 4.75 inches. Very Good plus, lightly edgeworn. BFI 1291. Criterion Collection 912. Rosenbaum 1000.

Paris: Bernard Grasset, 1926. First French Edition, preceding all others. Copy No. 1 of seven copies on Japon, numbered 1-5, and two hors commerce copies numbered HCI and HCII. Warmly inscribed by the author on the half-title page: "a Monsieur Brun / qui a si cordialement accueilli mon debut. / Avec la reconnaisance de René Clair," translating roughly to "To Mr. Brun / Who so cordially welcomed my debut. / With appreciation, René Clair." Published about a year after Clair's film debut, "The Phantom of Moulin-Rouge" ("Le fantome du Moulin-Rouge") and translated ten years later in English as "Star Turn" by Chatto and Windus, in a hardcover edition. The great French film director's first book, a novel about a film star who becomes lost in his own character, and devises a scheme to make a film with God as a means of escape. Clair's evocative, fantastical style echoed the work of his American counterpart, Frank Borzage, and was a monstrous influence on the French New Wave. Some very slight wear to… Read More

N.p.: N.p., 1959. Vintage borderless reference photograph of director Robert Siodmak and Curd Jurgens on the set of the 1959 French film. Based on the 1939 historical novel "Princess Mathe Bibesco," by Bibesco under the pseudonym Lucille Decaux. A remake of the 1938 French film "Katia," directed by Maurice Tourneur starring Danielle Darrieux and John Loder. Set in St. Petersburg, Russia and shot on location in Paris, France and Vienna, Austria. 5 x 7.25 inches. Near Fine.

Beverly Hills, CA: United Artists, 1965. Early Draft script for the 1970 film. Based on Arthur Conan Doyle's 1895 short story collection "The Brigadier General." During the Napoleonic Wars, a pompous French soldier believes himself to be the greatest fighter and lover in all of France. Set in Europe, shot on location in Rome. Red blank wrappers with die cut title window in the British style. Title page present, dated October 1965, with credits for screenwriters H.A.L. Craig, Henry E. Lester, and Gene Gutowski, and author Arthur Conan Doyle. 141 leaves, with last page of text numbered 135. Mimeograph duplication, rectos only. Pages Near Fine, wrapper Near Fine, bound internally with two silver brads.

Tokyo: Wakamatsu Production, 1966. Vintage borderless reference photograph from the 1966 pink film, showing director Kôji Wakamatsu helping arrange a half-nude actress' towel. Studio stamp specific to the film's German release on the verso. One of the first pink films to be shown outside Japan, about a voyeuristic, disaffected young student who observes his neighbors through a telescope. 5 x 7 inches. Near Fine.

Sweden: Cinematograph AB, 1973. Two vintage press photographs from the set of the 1984 film, made for Swedish television. Shown in the first photograph are actress Lina Olin, director Ingmar Bergman, and actor Erland Josephson. In the second photograph, cinematographer Sven Nykvist, Olin, Josephson, and Bergman. With contemporary annotations on the verso confirming details noted above. Both photographs 5 x 7 inches, both Near Fine.

N.p.: N.p., 1965. Vintage borderless photograph of director Franco Zeffirelli on the set of the 1965 Italian production of Arthur Miller's 1964 play. With two printed mimeo snipes affixed to the verso, along with an agency stamp. From the archive of the PIX Agency, a photo house that acted as an intermediary between emigre photographers (as well as those still living in Europe) and the American magazine and newspaper market between 1935-1969. Miller's play premiered on Broadway at the ANTA Washington Square Theatre on January 23, 1964 and ran for a successful 208 performances, although not without facing a fair amount of criticism for its thinly veiled, cynical portrayal of Marilyn Monroe, from whom Miller had recently been divorced. The play toured Europe in 1965, and was staged at the Teatro Eliseo in Rome in December 1965, under Zeffirelli's direction. Set in WHERE, shot on location in WHERE. 8 x 10 inches. CONDITION.

N.p.: N.p., 1993. Vintage reference photograph from the set of the 1993 film, showing Martin Scorsese directing actor Daniel Day-Lewis between takes. Annotations in manuscript ink on the verso, identifying subjects in the photograph. Based on the 1920 novel by Edith Wharton, about a wealthy lawyer who begins to fall in love with his fiancée's cousin, a scandalously divorced countess. Nominated for four Academy Awards, winning one. Set in New York, and shot on location in Troy, New York.

Los Angeles: Twentieth Century-Fox, 1965. Collection of five vintage color British front-of-house cards from the 1965 UK film. The film follows the quarrels between Michelangelo and Pope Julius II over the painting of the Sistine Chapel. It was nominated for five Academy Awards, including Best Cinematography and Best Art Direction. Shot on location in Italy. 8 x 10 inches. Fine.

Garden City, NY: Doubleday, 1968. First Edition. First Edition. Copy belonging to director Joseph Losey, with his name and home address written in manuscript ink on the first leaf: "Joseph Losey / Hanover, NH / '70." Additional underlining and bracketing throughout, in the same fountain pen ink as the inscription, mostly to the opening chapters of the text. The McCarthy / HUAC witch hunt saw Losey hounded out of the United States in the 1950s and, to his great regret, he never made another film in his home country. Professionally, though, it was the making of him as a director: in collaboration with Harold Pinter, Losey made a trilogy of legendary British films of the 1960s: "The Servant," "Accident," and "The Go-Between." Pinter and Losey also worked closely together on an adaptation of Proust's "In Search of Lost Time," but although the script was later published the film remained unmade. Losey shared both a political philosophy and a cinema aesthetic with Alain Resnais, and Losey's 1978 film… Read More

N.p.: N.p., 1969. Vintage oversize double weight candid photograph of Alan Arkin, Art Garfunkel, and Martin Sheen on the set of Mike Nichols' "Catch-22" in 1969. Shot and struck by the film's still photographer, Bob Willoughby. The photographer has written at the top of the verso, in manuscript pencil: "Candid during rehearsal / The boys break up in briefing room scene / Art Garfunkel, Alan Arkin, Martin Sheen." Also with Willoughby's ASMP rubber stamp for both his New York and Ireland addresses. Full provenance available. After studying with Saul Bass at the Kann Institute of Art in Los Angeles, photographer Robert Willoughby began working for magazines such as "Life," "Look," and "Harper's Bazaar" in the late 1940s. He spent the next 20-plus years as a set photographer for every major studio and magazine, with his images seen in print literally every week of his career. Willoughby's photographs are in the permanent collections of ten museums, including The National Portrait Galleries in… Read More