Sondra Locke tells the story of her childhood in Tennessee, her career as an actress and director, her relationship and breakup with actor Clint Eastwood, and her experience with breast cancer.

From its iconic imagery, stars, and score, MGM's The Good, The Bad, and The Ugly is a masterpiece of cinema! Now, the legend comes to life once again as the next western epic from Dynamite! Starring the ultimate anti-hero, Chuck Dixon and Esteve Polls bring us gritty western adventures in the tradition of Sergio Leone.

Master composer Ennio Morricone's scores go hand-in-hand with the idea of the Western film. Often considered the world's greatest living film composer, and most widely known for his innovative scores to The Good, the Bad, and the Ugly and the other Sergio Leone's movies, The Mission, Cinema Paradiso and more recently, The Hateful Eight, Morricone has spent the past 60 years reinventing the sound of cinema. In Ennio Morricone: In His Own Words, composers Ennio Morricone and Alessandro De Rosa present a years-long discussion of life, music, and the marvelous and unpredictable ways that the two come into contact with and influence each other. The result is what Morricone himself defines: "beyond a shadow of a doubt the best book ever written about me, the most authentic, the most detailed and well curated. The truest." Opening for the first time the door of his creative laboratory, Morricone offers an exhaustive and rich account of his life, from his early years of study to genre-defining collaborations with the most important Italian and international directors, including Leone, Bertolucci, Pasolini, Argento, Tornatore, Malick, Carpenter, Stone, Nichols, De Palma, Beatty, Levinson, Almodóvar, Polanski and Tarantino. In the process, Morricone unveils the curious relationship that links music and images in cinema, as well as the creative urgency at the foundation of his experimentations with "absolute music". Throughout these conversations with De Rosa, Morricone dispenses invaluable insights not only on composing but also on the broader process of adaptation and what it means to be human. As he reminds us, "Coming into contact with memories doesn't only entail the melancholy of something that slips away with time, but also looking forward, understanding who I am now. And who knows what else may still happen."

In this four-week Advent study, author Richard B. Wilke focuses on people in the story of Christ’s birth. There are those we associate with the joy and celebration of Christmas—the wise men, the shepherds, and Joseph. Yet the author reminds us not to forget that the evil King Herod is also part of the Christmas story, and how it is because there is evil in our world that we so desperately needed—and need—a Savior. Each lesson includes a key scripture, brief reflection, questions to discuss, a suggested Christmas carol, and a prayer. Table of Contents: First Week of Advent Let’s Keep Herod in Christmas (Matthew 2:1, 7-8, 16-18) Second Week of Advent Let’s Keep the Wise Men in Christmas (Matthew 2:1-12) Third Week of Advent Let’s Keep Joseph in Christmas (Matthew 1:18-25; 2:13-15, 19-23) Fourth Week of Advent Let’s Keep the Shepherds in Christmas (Luke 2:8-20)

Although five-time Academy-Award nominee Ennio Morricone has scored numerous films in various genres, his westerns will undoubtedly remain his most memorable cinematographic accomplishments. This guide demonstrates Morricone's unique and enduring contributions to the art of film music through a discussion of his compositional and orchestrational processes, many of which are evident in his music for The Good, the Bad and the Ugly in a way that can be easily understood by both musicians and nonmusicians. Leinberger begins his study with a brief discussion of Morricone's musical background through his experience in the Italian music business, his earliest Italian film scores, and his accomplishments in Hollywood. The second chapter is a discussion of the many compositional techniques that distinguish Morricone's music from that of other film composers. Subsequent chapters examine the historical and cultural context of the film and attempt to place the style of Morricone's score for The Good, the Bad and the Ugly in relation to his scores for other well-known Westerns. The book's final chapter is an analysis of compositional techniques presented in chronological order from the film's opening credits to its climactic ending. Although this guide focuses on Morricone and his music from a theoretical perspective, other non-musical issues that are relevant to the audience's ultimate experience of the film are also discussed.