Search Results: New Hollywood Cinema from Royal Books, Inc.

N.p.: N.p., 1977. Two vintage borderless reference photographs of Janet Rule and Shelley Duvall from the 1977 film. One photograph with a British stamp on the verso, and both photographs with manuscript annotations in pencil and ink on the versos. From the archive of film historian and author Joel Finler. Director Robert Altman's experimental, dreamlike masterwork about three ethereal, fractured women, originally overlooked but later celebrated. Featuring brilliant performances from Duvall as the self-deluded, socially maladroit Millie, Rule as the mysterious pregnant painter Willie, and Sissy Spacek as the young, timid, and fawning Pinky. Nominated for the Palme d'Or. Set in a small California desert town, and shot on location in Palm Springs, Thousand Palms, and Desert Hot Springs, California. 10 x 8 inches. Near Fine. Criterion Collection 230. Ebert III.

N.p.: Lions Gate Films, 1977. Collection of three vintage studio still photographs of actress Janice Rule from the 1977 film. Director Robert Altman's experimental, dreamlike masterwork about three ethereal, fractured women, originally overlooked but later celebrated. Featuring brilliant performances from Shelley Duvall as the self-deluded, socially maladroit Millie, Rule as the mysterious pregnant painter Willie, and Sissy Spacek as the young, timid, and fawning Pinky. Nominated for the Palme d'Or. Set in a small California desert town, and shot on location in Palm Springs, Thousand Palms, and Desert Hot Springs, California. 8 x 10 inches. Near Fine.

Beverly Hills, CA: Metro-Goldwyn-Mayer [MGM], 1970. Archive of five vintage, oversize, double weight photographs from the 1970 film, four of which are borderless. One photograph SIGNED and dated 1969 by photographer Alan Pappe on the verso, all photographs with his stamp. All five photographs feature legendary Italian director Federico Fellini in his cameo role as himself, with one showing the director on the set with a clapboard and crew members in front of him, while a second features a manuscript pencil annotation describing Fellini and actor Donald Sutherland discussing a scene with an out-of-frame director Paul Mazursky. Pappe worked as a film still and press photographer for 30 years, photographing a who's who of film and music stars, including iconic images of Sharon Tate, Jimi Hendrix, and Liza Minnelli, as well as album cover for the "Grease" soundtrack album, and the interior images of Jefferson Airplane's "After Bathing at Baxter's." His 1972 "Time" magazine cover photograph of… Read More

Beverly Hills, CA: United Artists, 1969. Collection of five vintage borderless reference photographs taken on the set of the 1969 film. Included are: (1) a shot of Arlo Guthrie on a motorcycle next to Michael McLanahan, (2) a shot of director Arthur Penn, producer Hillard Elkins and another crew member on motorcycles, (3) a shot of McLanahan, Penn, and actress Patricia Quinn working on a scene, (4) Guthrie with Quinn, and (5) Guthrie with a donkey and members of the cast. Based on Arlo Guthrie's 1967 folk protest song, a narrative loosely based on Guthrie's own experiences being jailed for littering and later using the record of his arrest to escape the Vietnam draft. Set and shot on location in New York and Massachusetts. 10 x 8 inches. Near Fine.

Los Angeles: Twentieth Century-Fox, 1979. Vintage borderless photograph from the set of the 1979 film. Featuring director Ridley Scott and Sigourney Weaver looking over the script. One of the greatest science fiction/horror films ever made, based on an original story by screenwriter Dan O'Bannon and Ronald Shusett, and the auspicious debut of Ridley Scott. Ridley's franchise is so rich in themes and expandability that it has generated five sequels of comparable (or nearly comparable) artistic merit. The infamous "chest bursting" scene paved the way for future horror films to feature gore in more imaginative ways (but also caused viewers to vomit in theaters upon its initial release). 8 x 10 inches. Fine condition.

Burbank, CA: Warner Brothers, 1974. Draft script for the 1976 film. Copy belonging to an unknown cast or crew member, with the name "Hirschberg" in manuscript ink on page 17, and three pages of manuscript notes about the script laid in. Based on the 1974 book by Bob Woodward and Carl Bernstein. An iconic New Hollywood film about the Watergate investigation, starring Robert Redford and Dustin Hoffman in very strong performances. Winner of four Academy Awards, including Best Screenplay, and nominated for four others, including Best Picture and Best Director. Yellow titled wrappers, noted as copy No. 30 in manuscript ink annotation, dated July 11, 1975. Title page integral with the first page of the text. 182 leaves, with last page of text numbered 161. Xerographic duplication, rectos only, with blue, pink, and yellow revision pages throughout, dated variously between 6/5/75 and 9/22/75. Pages Near Fine, wrapper Very Good plus, bound with two gold brads. National Film Registry. Spicer US Neo-Noir.

N.p.: N.p., 1976. Vintage reference photograph, with horizontal margins, of director Alan J. Pakula, Dustin Hoffman, and Robert Redford on the set of the 1976 film. Based on the 1974 book by Carl Bernstein and Bob Woodward. The iconic New Hollywood account of the Watergate investigation, starring Robert Redford and Dustin Hoffman in exceptionally strong performances, as Washington Post reporters Bob Woodward and Carl Bernstein, respectively, who uncover the details of the Watergate scandal that leads to President Richard Nixon's resignation. Winner of four Academy Awards, including Best Screenplay, and nominated for four others, including Best Picture and Best Director. 8 x 10 inches. Near Fine. National Film Registry. Spicer US Neo-Noir.

Burbank, CA: Warner Brothers, 1970. Revised Estimating script for the 1973 film. A key title in New Hollywood cinema. Searching for some direction in his life, Vic Bealer (Voight) fights his way to Olympic glory as an amateur boxer, void of emotion and feeling, using women, and taking advantage of everyone to get what he wants. Shot in six "sequences," with title cards to indicate the exact "round" of life Vic is in, affecting a silent-era homage. Tan titled wrappers, noted as REV. ESTIMATING SCRIPT on the front wrapper, rubber-stamped copy No. 114, dated March 18, 1970. Distribution page present, with receipt intact. Title page present, dated 3/18/70, with credits for screenwriter director Eastman. 137 leaves on yellow stock, mechanical duplication, with blue revision pages throughout, dated 3/25/70. Pages about Near Fine, wrapper Very Good plus bound internally with two gold brads.

Beverly Hills, CA: United Artists, 1979. Original pressbook for the 1979 film. Loosely based on the 1899 novella "Heart of Darkness" by Joseph Conrad. The ultimate reflection of the American experience in Vietnam, taking Joseph Conrad's dark vision of an expedition up the Congo and transplanting it to Vietnam-era Cambodia. Nominated for eight Academy Awards, winning two. Winner of the Palme d'Or. Shot on grueling location in the Philippines. Six pages, 7 x 11 inches. Near Fine, with light rubbing. National Film Registry. Rosenbaum 1000. Godard, Histoire(s) du Cinema. Ebert I.

Beverly Hills, CA: Metro-Goldwyn-Mayer [MGM], 1969. Collection of nine vintage reference photographs from the 1969 film. With a mimeo snipe to the verso, along with a stamp noting production No. 69-148. A man's suspicion that his wife is moonlighting as a high-priced escort leads to the destruction of their relationship. Set and shot on location in Italy. 10 x 8 inches. Near Fine.

Beverly Hills, CA: Metro-Goldwyn-Mayer [MGM], 1969. Vintage oversize borderless reference photograph of Sidney Lumet, Anouk Aimee, and Omar Sharif taking a walk in between takes on the set of the 1969 film, with art director Piero Gherardi looking on in the background. With a mimeo snipe to the verso, along with the stamp of photographer Pierluigi Praturlon and manuscript annotations regarding layout. A man's suspicion that his wife is moonlighting as a high-priced escort leads to the destruction of their relationship. Set and shot on location in Italy. 11.75 x 9.5 inches. Near Fine.

Beverly Hills, CA: Metro-Goldwyn-Mayer [MGM], 1969. Vintage reference photograph from the 1969 film. Anouk Aimee walks down a Rome street toward the camera, while director Sydney Lumet and crew look on. With a printed mimeo snipe on the verso. Lumet was nominated for a Palme d'Or at Cannes for the film, about a man who becomes suspicious that his new wife is really a high priced escort. Set and shot on location in Italy. 8 x 10 inches. Near Fine.

N.p.: N.p., 1979. Archive of over three dozen documents, including letters, telegrams, mailgrams, notes, forms, and other ephemera to and from director Sam Peckinpah, circa 1970-1979, the majority of which dates from 1978. Most documents regarding the director's then-current film projects, location research in Mexico and Columbia, and the dissolution of Peckinpah's production company Latigo Productions. Included in the archive are: five autograph or typescript letters signed from Peckinpah, eight autograph or typed letters signed to Peckinpah, two autograph notes by Peckinpah, three mailgrams, two telegrams, and numerous documents, memos, forms, and receipts. Detailed inventory available upon request. Among those with whom Peckinpah corresponds in the archive are his personal assistant Paul Peterson, Swedish author and composer Sture Dahlstom, author Jack Martin Smith, and comedian and actor Mort Sahl, as well as Peckinpah's legal counsel Kip Dellinger and Dellinger's wife Lori, Corporate… Read More

N.p.: N.p., 1980. Archive of material belonging to director George Roy Hill, including an AFI Award for "Butch Cassidy and the Sundance Kid," a brass plaque dated May 22, 1976 declaring Hill an Honorary Lugan of Johnstown, one alumni achievement award dated 1985 and presented to Hill from The Blake School, and an International Award from the Academie du Cinema given to Hill for "Butch Cassidy and the Sundance Kid." Also included in the archive are eleven oversize reference photographs taken on the set of "Butch Cassidy and the Sundance Kid," five oversize reference photographs and three reference photographs taken on the set of Hill's 1966 film "Hawaii," two borderless reference photographs of Hill on the set of his 1962 film "Period of Adjustment," one borderless reference photograph of Hill on the set of his 1975 film "The Great Waldo Pepper," two borderless reference photographs of Hill on the set of his 1988 film "Funny Farm," two reference photographs taken on the set of the television series… Read More

N.p.: N.p., 1973. An archive of vintage New York City Police and production memorabilia belonging to director and producer Philip D'Antoni, relating to the filming of "The French Connection" (1971) and "The Seven-Ups" (1973). The archive comprises both imagined and real ephemera relating to 1970s NYC crime work, including police badges, laminated police cards and certificates, full-size police department signage on metal and board, and business cards. The detail for the above material includes: Two NYC police badges, a "Detective" badge with badge number 351, a "City of New York Police Detective DEA [Detectives Endowment Association]" badge in a leather case, three laminated Police cards, a 1973 PBA (Patrolmen's Benevolent Association of the City of New York, Inc.) "Police Conference of New York, Inc." card issued to D'Antoni on the verso, a 1972 Detectives Endowment Association Inc. card, and an "Honorary Member" card from the "Dectectives Endowment Association of the Police Department City of… Read More

N.p.: N.p., 1972. Draft script for the 1973 film. Copy belonging to sound technician Les Lazarowitz, with his name in manuscript ink on the title page, as well as an annotation noting copy No. 89. Included with the script is a baseball signed by many of the actors in the film, including Robert De Niro, Phil Foster, Tom Signorelli, Andy Jarrell, Tony Major, Donny Burks, and Vincent Gardenia, with a manuscript letter of provenance signed by Lazarowitz. Based on the 1956 novel by screenwriter Mark Harris, about a developmentally disabled baseball catcher with a terminal illness, and his friendship with the team's star pitcher. Shot on location in New York, Washington DC, and Florida. Light blue titled wrappers, with credit for novelist and screenwriter Mark Harris. Title page present, copyrighted 1972, with credit for novelist and screenwriter Mark Harris. 126 leaves, with last page of text numbered 125. Xerographic duplication, rectos only. Pages Near Fine, wrapper Very Good plus, bound with two… Read More

Los Angeles: Lorimar, 1980. Two borderless photographs from the 1980 film. Though most often remembered as Peter Sellers' final role, it also was the last success for the great Hal Ashby, as well as Jack Warden's first shot at portraying the President of the United States. Photographs 8 x 10 inches. Brief emulsion defect to one of the photographs, else Fine.

Universal City: Universal Studios, 1977. Final Shooting Draft for the 1978 film. A New Hollywood neo-noir, based on Simon's 1973 novel. Moses Wine (Dreyfuss) is a 1960s radical-turned-private eye who is hired by Lila (Anspach) to investigate a smear campaign against a popular political candidate. The investigation soon becomes a murder case involving a hippie leader whose values, like Wine's, have been compromised over the years. Set in California, shot on location in southern California. Red titled wrappers, rubber-stamped copy No. 02111, dated October 19, 1977. Title page present, noted as Final Shooting Draft, with credits for screenwriter Roger L. Simon. 121 leaves, with last page of text numbered 120. Mimeograph duplication, rectos only. Pages Near Fine, wrapper Near Fine, bound with three gold brads. Grant US. Spicer US.

Burbank, CA: Warner Brothers, 1973. Archive of 12 vintage oversize, borderless, double weight photographs from the 1973 film. Eight photographs with the stamp of photographer Alan Pappe on the verso, one photograph additionally SIGNED by the photographer. Five with manuscript annotations on the verso identifying either the film, the subjects, or location of the photograph, one bearing the annotated date "1972." Pappe worked as a film still and press photographer for 30 years, photographing a who's who of film and music stars, including iconic images of Sharon Tate, Jimi Hendrix, and Liza Minnelli, as well as album cover for the "Grease" soundtrack album, and the interior images of Jefferson Airplane's "After Bathing at Baxter's." His 1972 "Time" magazine cover photograph of Minnelli in "Cabaret" is part of the permanent collection of the Smithsonian's National Portrait Gallery. A high-powered divorce attorney struggles with the end of his own marriage after he is caught having an affair, only to… Read More

Burbank, CA: Warner Brothers, 1972. Final Draft script for the 1973 film, here under the working title "Love in Blume." Single numeric annotation in manuscript marker on front wrapper. Paul Mazursky followed his acclaimed film "Bob & Carol & Ted & Alice" (1969) with this sharp romantic comedy about Stephen Blume (George Segal) who, after cheating on his wife Nina (Susan Anspach), realizes he cannot live without her. Nina, naturally, has already dumped him and what follows is a poignant and comedic film about the complexity of modern marriage. Shot on location in Venice, Italy and California. Yellow titled wrappers, noted as FINAL on the front wrapper, dated July 11, 1972. Distribution page present, with receipt intact. Title page present, dated 7/11/72, with credits for screenwriter Paul Mazursky. 135 leaves, with last page of text numbered 133. Mimeograph duplication, rectos only. Pages Near Fine, wrapper Very Good plus, wavy with creasing and light edgewear, bound with two gold brads.