Technical and prescriptive, this will appeal primarily to hard-core aficionados.


The award-winning film director makes the case for a new kind of cinema.

Despite all of Coppola’s (The Godfather Notebook, 2016) accomplishments and awards, one thing has eluded him: “I never got to try my hand at Live Cinema.” After he finished Apocalypse Now (1979), “probably the most daunting and terrifying experience, both artistically and financially, I have ever had. It was clear that I had flown, like Icarus, too close to the sun,” he decided to quickly do another film, a comedy set in Las Vegas, One from the Heart (1982), which would “fulfill my life’s dream to do Live Cinema.” However, it failed critically and financially while Apocalypse Now began to make money. So what is Live Cinema? It meant doing the piece live and then beaming it out to theaters while making it available for home viewing as well. It demands “far more precision than movies, theater, or television.” For Coppola, it was “exhilarating and exciting to work in this new form.” In 1987, he worked with Shelley Duvall’s Faire Tale Theatre, and each show was shot with continuous continuity but not broadcast live. Coppola’s “Rip Van Winkle” was his “lone commercial foray into something close to the live television medium.” Most of the book deals with technique. Coppola calls it a “manual,” a guide to how LC might be done, focusing on the actors, rehearsing, and the use of sophisticated technology. One-third of the book includes the author’s journal notes for a LC experimental workshop conducted in Oklahoma City in 2015. Fans hoping for a personal book about Coppola and his work will be disappointed, but there are a few nuggets scattered about they will enjoy: his admiration for John Frankenheimer’s live TV work (a forerunner of LC); The Thief of Bagdad is his favorite film; and he’s always been a fan of Jerry Lewis’ movies, which were “eccentric and did unexpected things.”

Technical and prescriptive, this will appeal primarily to hard-core aficionados.

Pub Date: Sept. 26, 2017

ISBN: 978-1-63149-366-9

Page Count: 224

Publisher: Liveright/Norton

Review Posted Online: June 12, 2017

Kirkus Reviews Issue: July 1, 2017

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A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.



Photographer and author Stanton returns with a companion volume to Humans of New York (2013), this one with similarly affecting photographs of New Yorkers but also with some tales from his subjects’ mouths.

Readers of the first volume—and followers of the related site on Facebook and elsewhere—will feel immediately at home. The author has continued to photograph the human zoo: folks out in the streets and in the parks, in moods ranging from parade-happy to deep despair. He includes one running feature—“Today in Microfashion,” which shows images of little children dressed up in various arresting ways. He also provides some juxtapositions, images and/or stories that are related somehow. These range from surprising to forced to barely tolerable. One shows a man with a cat on his head and a woman with a large flowered headpiece, another a construction worker proud of his body and, on the facing page, a man in a wheelchair. The emotions course along the entire continuum of human passion: love, broken love, elation, depression, playfulness, argumentativeness, madness, arrogance, humility, pride, frustration, and confusion. We see varieties of the human costume, as well, from formalwear to homeless-wear. A few celebrities appear, President Barack Obama among them. The “stories” range from single-sentence comments and quips and complaints to more lengthy tales (none longer than a couple of pages). People talk about abusive parents, exes, struggles to succeed, addiction and recovery, dramatic failures, and lifelong happiness. Some deliver minirants (a neuroscientist is especially curmudgeonly), and the children often provide the most (often unintended) humor. One little boy with a fishing pole talks about a monster fish. Toward the end, the images seem to lead us toward hope. But then…a final photograph turns the light out once again.

A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.

Pub Date: Oct. 13, 2015

ISBN: 978-1-250-05890-4

Page Count: 432

Publisher: St. Martin's

Review Posted Online: July 28, 2015

Kirkus Reviews Issue: Aug. 15, 2015

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A fascinating, major work that will spark endless debates.


An epic cradle-to-grave biography of the king of pop art from Gopnik (co-author: Warhol Women, 2019), who served as chief art critic for the Washington Post and the art and design critic for Newsweek.

With a hoarder’s zeal, Andy Warhol (1928-1987) collected objects he liked until shopping bags filled entire rooms of his New York town house. Rising to equal that, Gopnik’s dictionary-sized biography has more than 7,000 endnotes in its e-book edition and drew on some 100,000 documents, including datebooks, tax returns, and letters to lovers and dealers. With the cooperation of the Andy Warhol Museum in Pittsburgh, the author serves up fresh details about almost every aspect of Warhol’s life in an immensely enjoyable book that blends snappy writing with careful exegeses of the artist’s influences and techniques. Warhol exploded into view in his mid-40s with his pop art paintings of Campbell’s Soup cans and silkscreens of Elvis and Marilyn. However, fame didn’t banish lifelong anxieties heightened by an assassination attempt that left him so fearful he bought bulletproof eyeglasses. After the pop successes, Gopnik writes, Warhol’s life was shaped by a consuming desire “to climb back onto that cutting edge,” which led him to make experimental films, launch Interview magazine, and promote the Velvet Underground. At the same time, Warhol yearned “for fine, old-fashioned love and coupledom,” a desire thwarted by his shyness and his awkward stance toward his sexuality—“almost but never quite out,” as Gopnik puts it. Although insightful in its interpretations of Warhol’s art, this biography is sure to make waves with its easily challenged claims that Warhol revealed himself early on “as a true rival of all the greats who had come before” and that he and Picasso may now occupy “the top peak of Parnassus, beside Michelangelo and Rembrandt and their fellow geniuses.” Any controversy will certainly befit a lodestar of 20th-century art who believed that “you weren’t doing much of anything as an artist if you weren’t questioning the most fundamental tenets of what art is and what artists can do.”

A fascinating, major work that will spark endless debates.

Pub Date: April 21, 2020

ISBN: 978-0-06-229839-3

Page Count: 976

Publisher: Ecco/HarperCollins

Review Posted Online: Dec. 2, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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