Bücher von Dan Callahan

This book tells the story of all the children who have been left behind and, through the compassion of others, were given a second chance at life and a loving family. There are some things money can't buy. Love and that special bond of family should be cherished above all else. This book is a tribute to those individuals who go above and beyond and how the children are able to grow and live loving and productive lives.

Bobby Quinn has been haunted by two enigmatic people for most of his adult life: Ben Morrissey, a sexy Don Juan who becomes a famous photographer in late 1990s Manhattan, and Monika Lilac, a beautiful cinephile femme fatale who is consumed by her love for silent-era films. This is a story about romantic obsession and cinematic obsessiveness, and a portrait of young people falling in love and trying to make their mark before the party is over."That Was Something-a profound, delicate, emotionally involving novel-gripped my attention by accurately evoking certain lost moments in queer urban life. I admire the book's taut structure and tenderly direct diction: The Great Gatsby on poppers. In high-contrast, horny chiaroscuro, without clutter, Callahan documents the chemical reaction that occurs when gayness and bi-curiosity greet each other in the dark room." -Wayne Koestenbaum, author of The Queen's Throat and Jackie Under My Skin"Known for his superb books about the art of acting, Dan Callahan brings all his piercing insight to the tale of Robert, who yearns for photographer Ben Morrissey, who in turn has a yen for Monika Lilac-sometime blogger, silent-film devotee, and mistress of self-dramatization. That Was Something itself takes on the wild comedy and vivid emotions of a silent movie, as the characters swirl through the bars and parties and screening rooms of Manhattan 20 years ago, a world of artists and others obsessed with 'the important things: Love, Death, Love again.'" -Farran Smith Nehme, author of Missing ReelsDan Callahan is the author of three books. This is his first novel.

Explores in detail the work of such method actors as Al Pacino, Ellen Burstyn, Jack Nicholson and Jane Fonda, and charts the shift away from the more internally focused Strasberg-based acting of the 1970s, and towards the more "external" way of working, exemplified by the career of Meryl Streep in the 1980s.

Celebrates and analyses many of the so-called ""pre-Brando"" actors of the classic Hollywood period and makes a case for their more heightened but just as valid style. Often dismissed as old-fashioned, these players deserve this new look and new reckoning that places them as icons of creativity and pleasure before more naturalistic Method actors of the 1950s like Brando and James Dean took over.

Barbara Stanwyck (1907-1990) rose from the ranks of chorus girl to become one of Hollywood's most talented leading women-and America's highest-paid woman in the mid-1940s. Shuttled among foster homes as a child, she took a number of low-wage jobs while she determinedly made the connections that landed her in successful Broadway productions. Stanwyck then acted in a stream of high-quality films from the 1930s through the 1950s. Directors such as Cecil B. DeMille, Fritz Lang, and Frank Capra treasured her particular magic. A four-time Academy Award nominee, winner of three Emmys and a Golden Globe, she was honored with a Lifetime Achievement Award by the Academy. Dan Callahan considers both Stanwyck's life and her art, exploring her seminal collaborations with Capra in such great films as Ladies of Leisure, The Miracle Woman, and The Bitter Tea of General Yen; her Pre-Code movies Night Nurse and Baby Face; and her classic roles in Stella Dallas, Remember the Night, The Lady Eve, and Double Indemnity. After making more than eighty films in Hollywood, she revived her career by turning to television, where her role in the 1960s series The Big Valley renewed her immense popularity. Callahan examines Stanwyck's career in relation to the directors she worked with and the genres she worked in, leading up to her late-career triumphs in two films directed by Douglas Sirk, All I Desire and There's Always Tomorrow, and two outrageous westerns, The Furies and Forty Guns. The book positions Stanwyck where she belongs-at the very top of her profession-and offers a close, sympathetic reading of her performances in all their range and complexity.