Tim Ferrante (15 results)

Paperback. Condition: Brand New. 152 pages. 8.00x5.25x0.38 inches. In Stock.

Condition: As New. Unread book in perfect condition.

Condition: New.

Paperback. Condition: New.

Condition: New. In.

Condition: New.

Condition: As New. Unread book in perfect condition.

Condition: New.

Paperback. Condition: New.

Taschenbuch. Condition: Neu. Neuware.

Nato come numero unico per mano del regista Tim Ferrante, ironicamente presentato quindi come oggetto da collezione (e numerato 2/87), non si sa se in effetti abbia tenuto fede alle premesse fatte nell'editoriale. Copia be conservata, una decina di pagine ciclostilate, copiai inviata a Giovanni Arduino.

PAP. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Stapled wraps. Condition: Very Good+. (various numbers). [all issues in at least VG+ or better condition, some completely unblemished, a few with random corner bends, dog-earing and light edgewear]. (facsimile ads, graphics) A collection of eleven issues of this rare photocopied fanzine (8-1/2" x 11" format, stapled) devoted to Italian "Spaghetti Westerns," containing articles (mostly original, but some reproduced from other sources, not always attributed), interviews, film and book reviews, correspondence from readers, ads, etc. The illustrations are primarily reproductions of black-and-white newspaper and pressbook ads; the occasional photograph is used, but the reproduction quality is pretty crappy, second- or third-generation photocopy. The issues in this group vary in length from 20 pages (including covers) to 44 pages, with the norm trending to the lower end, especially the earlier issues. The covers usually depict a major star of the genre, and are often keyed to related editorial content (such as an interview or filmography). The publisher and founding editor was Tim Ferrante (publishing in New Jersey), with Tom Betts listed from the earlier issues here as "West Coast Editor"; around late 1987 or early 1988 the publication offices relocated to Anaheim, California, with Betts taking over as publisher/editor and Ferrante thenceforth credited as "editor emeritus"; it also seems to have been around that time that the publication schedule shifted from bi-monthly to quarterly, after having been irregular in its early period. (The issue numbering is a bit irregular as well, although thankfully some of the confusion is cleared up by the 12th item in this lot, the Master Index/Directory, which lists the contents of all issues through #29. After the "Volume I" issues, they started the numbering over at the beginning of Volume II, but put only the *issue* number on the front cover, while sometimes specifying a "whole number" on the inside, e.g., "No. 14 (Whole #18").") Following are the individual issues in this group, with cover subjects noted; for the sake of simplicity and to save space, I have included only the *cover* numbers here. Vol. 1, No. 2 (1983); #4 (Nov./Dec. 1985; actually Vol. II, No. 4, but mis-numbered internally; Terence Hill on cover, Klaus Kinksi filmography); #8 (July/August 1986; Clint Eastwood); #11 (Jan./Feb. 187; Guy Madison); #12 (March/April 1987; Charles Bronson); #14 (July/August 1987; Gian Maria Volonte); #17 (Spring 1988); #19 (Fall 1988; Klaus Kinski); #25 (Spring 1990; Tomas Milian; special issue devoted to him, with an interview and filmography); #29 (Spring 1991: "Hall of Fame Winners" Sergio Leone, Lee Van Cleef, and Ennio Morricone); #32 (Winter 1991-1992; Clint Eastwood). I don't know how long the publication continued in this format beyond 1992 (at which time it was still touting itself as "the world's only fanzine devoted to the Italian Western"), but I note that both Tim Ferrante and Tom Betts are still around, and that both have a considerable internet presence.

Paperback. Condition: new. Paperback. In 1968 two ambitious young filmmakers, working on a shoestring, made a movie about a ruthless motorcycle gang. Titled Satan's Sadists, it became the initial release of their new company, Independent-International Pictures, and was wildly successful. Over the next two decades Sam Sherman and Al Adamson collaborated on a succession of low-budget films that attracted moviegoers to drive-ins and urban hardtop theaters alike. They exploited all the hot trends-horror, sci-fi, biker films, martial arts, sexploitation, blaxploitation-and marketed their product with dynamic, occasionally lurid campaigns. IIP used limited resources wisely and cast its films with a mix of talented young performers and former stars of Hollywood's Golden Age. Along the way Sam and Al encountered many of the industry's most colorful characters, both behind and in front of the camera. Today, many of IIP's films-including Satan's Sadists, Naughty Stewardesses, Cinderella 2000, Brain of Blood, Girls for Rent, Psycho a Go-Go, Horror of the Blood Monsters, and of course Dracula vs. Frankenstein-are cult classics that sell like hotcakes on DVD and Blu-ray.In this book Sam Sherman revisits those halcyon days and reveals the behind-the-scenes story of IIP's rise and fall. But When Dracula Met Frankenstein is more than the chronicle of one company: It paints a vivid picture of the entire drive-in era and the feisty independent producers and distributors who comprised the lower strata of the motion-picture industry. Accompanied by nearly 250 images-posters, scene stills, and candid on-set photos (many never before published)-Sam's memoir is a must-have for casual fans and film historians alike. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.