Carlo Prosperi Libros

In discussions that begin in 1971 and end in 2009, Allen talks about every facet of moviemaking through the prism of his own work as well as the larger world of film, and in so doing reveals an artist’s development over the course of his career. He speaks about his influences and about the genesis of his ideas; about writing, casting, acting, shooting, directing, editing, and scoring—and throughout shows himself to be thoughtful, honest, self-deprecating, always witty, and often hilarious.

THE EDGAR AWARD FINALIST FOR BEST FIRST NOVEL - NOW A MAJOR MOTION PICTURE! Victor Gischler's legendary first novel, originally published as GUN MONKEYS, tells the story of Charlie Swift, loyal Mob enforcer to a Central Florida crime boss, who goes ballistic when a rival gangster murders his crew, his boss goes missing, the FBI swarms the scene, and a cadre of killers come after him with everything they've got. No one's quicker on the trigger than Charlie Swift - but is Charlie fast enough to get himself out alive...? Now a major motion picture starring Pierce Brosnan, Morena Baccarin, and (in his final role) James Caan, FAST CHARLIE is a breathless, top-velocity tale of treachery, taxidermy, and family ties.

Londres 1883:un joven telegrafista del Ministerio del Interior, un relojero japones que conoce los secretos del tiempo y una joven estudiante dedicada a la física se ven envueltos en una insolita aventura.

It begins with a simple note: Roger Bascombe wishes to inform Celeste Temple that their engagement is forthwith terminated. But Celeste, for all her lack of worldly experience, is determined to find out why her fiance should have thrown her over so cruelly. Adopting a disguise, she follows her erstwhile lover to the forbidding Harschmort manor, where she discovers a world--by turns seductive and shocking--she could never have imagined, and a conspiracy so terrifying as to be almost beyond belief.--From publisher description.

The Wardrobe Mistress isn't just an entertaining ghost story, assembled by a master-manipulator to be full of narrative trapdoors, tantalising at one moment and agreeably grotesque the next: it's also an exploration of the deep mythology of theatre . . . McGrath himself seems ambivalent about the sentimentality he depicts. But there's no political ambivalence here: by the end of the novel, the icy postwar alleys, the shattered theatres and public houses are under the malign enchantment of a quietly resurgent politics. The plentiful mirrorings, the doppelgangers and dybbuks both real and false, make that plain, and make plain that fascism is also a kind of theatre - always already a re-enactment of itself. Guardian