Search Results: Science Fiction from Royal Books, Inc.

N.p.: N.p., 1965. Four vintage borderless photographs from the 1965 film. Two studio still photographs of Ursula Andress on (production designer) Piero Poletto's striking minimalist set, and two compilation fashion photographs of Andress in costume, bookending (Costume Designer) Giulio Coltellacci's concept drawings. Two photographs with "La Decima Victima" stamp on verso. An international cult classic based on the 1953 short story "Seventh Victim" by Robert Sheckley. Sheckley wrote the novelization of the film in 1956, and two sequels "Victim Prime" and "Victim" in 1987 and 1988, respectively. The worldwide, officially sanctioned "Big Hunt" is the world's most popular television show, giving those inclined to violence, and those in search of celebrity, a chance to act as "hunter" and "victim." The games top two assassins, Caroline Meredith (Andress) and Macello Poletti (Marcello Mastrianni), who may be in love, are pitted against each another. A descendant of Richard Connell's "The Most Dangerous… Read More

Los Angeles: Luna Productions, 1959. Shooting Final script for the 1960 film. A low-budget space exploration film, about a spaceship carrying a multinational group of scientists, engineers, and researchers to the moon, where they discover an entire civilization of peace-loving extraterrestrials. Though working with a pitiable budget, the producers at Luna Productions managed to hire noted cameraman John Alton, then nearing the end of his career. Alton worked on every manner of film, but is best remembered for his work in film noir, salient examples being "Hollow Triumph" (1948), "The Amazing Mr. X" (1948), "The Big Combo" (1955), and a number of important noir entries by director Anthony Mann. Red titled wrappers, noted as SHOOTING FINAL on the front wrapper, dated March 31, 1959. Title page present, dated March 31, 1959, with credits for screenwriter Bodeen, story writer/producer F. O. Gebhardt, director Bradley, and associate producer Fox. 104 leaves, mimeograph duplication. Pages about Fine,… Read More

N.p.: N.p., 1984. Vintage borderless reference photograph from the 1984 film, showing actors John Hurt and Suzanna Hamilton. Based on George Orwell's classic 1949 novel, about a civil servant in war-torn, dystopian London. Richard Burton's final screen appearance. Set and shot on location in London. 10 x 8 inches. Near Fine.

Beverly Hills, CA: Metro-Goldwyn-Mayer [MGM], 1968. Vintage reference photograph from the 1968 film, showing actor Kier Dullea. Printed mimeo snipe affixed to the verso. From the archive of film historian and author Joel Finler. Stanley Kubrick's sprawling, science fiction epic traces the evolution of human intelligence under the influence of an unspecified alien force. The film's high scientific accuracy, coupled with bleeding-edge special effects and minimal use of dialogue, make "2001" universally recognized as one of the most influential films ever made. Winner of an Academy Award for Best Special Effects, and nominated for three others including Best Director. Set variously in the desert, in space, in deep space, and on the astral plane. Shot on location in Scotland, England, Arizona, and Utah. 10 x 8 inches, with wide horizontal margins. Very Good plus, lightly worn at the top right corner. National Film Registry.

Beverly Hills, CA: Metro-Goldwyn-Mayer [MGM], 1968. Vintage oversize borderless double weight black and white set design photograph from the 1968 film. Shown is a sample interior from the space station featured near the beginning of the film, the "Hilton" sign marking Kubrick's groundbreaking use of ordinary commerce in a futuristic context. The director's sprawling, science fiction epic traces the evolution of human intelligence under the influence of an unspecified alien force. The film's high scientific accuracy, coupled with bleeding-edge special effects and minimal use of dialogue, make "2001" universally recognized as one of the most influential films ever made. Winner of an Academy Award for Best Special Effects, and nominated for three others including Best Director. Set variously in the desert, in space, in deep space, and on the astral plane. Shot on location in Scotland, England, Arizona, and Utah. 11 x 14 inches. Near Fine. National Film Registry.

Beverly Hills, CA: Metro-Goldwyn-Mayer [MGM], 1968. Vintage pressbook for the 1968 film. The director's sprawling, science fiction epic traces the evolution of human intelligence under the influence of an unspecified alien force. The film's high scientific accuracy, coupled with bleeding-edge special effects and minimal use of dialogue, make "2001" universally recognized as one of the most influential films ever made. Winner of an Academy Award for Best Special Effects, and nominated for three others including Best Director. Set variously in the desert, in space, in deep space, and on the astral plane. Shot on location in Scotland, England, Arizona, and Utah. 8.75 x 11.75 inches. 20 pages, side stapled. Very Good, moderately rubbed, with faint soil and wear on the bottom right corner of the front wrapper. National Film Registry.

Culver City, CA: Columbia Pictures, 1959. Vintage reference photograph from the 1959 film, showing actor Lou Costello giving a more than suggestive shower to Dorothy Provine, his new gargantuan girlfriend. A rare appearance of Lou Costello without Bud Abbott, wherein a junk collector and inventor accidentally turns his girlfriend into a giantess. Shot on location at Iverson Ranch in Los Angeles. 10 x 8 inches. Near Fine.

Hollywood: Fox Film Corporation, 1932. Final Shooting script for the 1932 film, here under the working title "Six Hours to Live." With manuscript pencil annotations on the front wrapper. By way of a scientific experiment, a murder victim is revived from death, but has only six hours to find his killer. An early directorial effort by the great William Dieterle, foreshadowing the dark elements that would eventually define his work in film noir. Green titled wrappers, noted as FINAL SHOOTING SCRIPT on the front wrapper, rubber-stamped production No. 607, dated 8/5/32, with credits for screenwriters Gordon Morris, Morton Barteaux, and Bradley King. Title page present, with credits for screenwriters Gordon Morris, Morton Barteaux, and Bradley King, director William Dieterle, and various crew members. 116 leaves, with last page of text numbered 109. Mimeograph duplication, rectos only, with carbon typescript revision pages on onionskin stock throughout, dated variously between 8-8-32 and 8/9/32. Pages… Read More

Paris: Bernard Grasset, 1926. First French Edition, preceding all others. Copy No. 1 of seven copies on Japon, numbered 1-5, and two hors commerce copies numbered HCI and HCII. Warmly inscribed by the author on the half-title page: "a Monsieur Brun / qui a si cordialement accueilli mon debut. / Avec la reconnaisance de René Clair," translating roughly to "To Mr. Brun / Who so cordially welcomed my debut. / With appreciation, René Clair." Published about a year after Clair's film debut, "The Phantom of Moulin-Rouge" ("Le fantome du Moulin-Rouge") and translated ten years later in English as "Star Turn" by Chatto and Windus, in a hardcover edition. The great French film director's first book, a novel about a film star who becomes lost in his own character, and devises a scheme to make a film with God as a means of escape. Clair's evocative, fantastical style echoed the work of his American counterpart, Frank Borzage, and was a monstrous influence on the French New Wave. Some very slight wear to… Read More

N.p.: N.p., 1979. Vintage borderless reference photograph of director Ridley Scott with a camera crew on the set of the 1979 film. One of the greatest science fiction/horror films ever made, a franchise so rich in themes and expandability that it has generated three sequels and two prequels of comparable (or nearly comparable) artistic merit. The infamous "chest bursting" scene paved the way for future horror films to feature gore in more imaginative ways (but also caused viewers to vomit in theaters upon its initial release). Returning home from a mission, the crew of the spacecraft Nostromo is awakened by the ship's computer to answer a distress signal from a nearby planet. The rescue team discovers a bizarre pod field with pods housing unseen terror. Winner of an Academy Award for Best Effects. 10 x 8 inches. About Fine. National Film Registry. Ebert II.

Los Angeles: Twentieth Century-Fox, 1979. Vintage borderless photograph from the set of the 1979 film. Featuring director Ridley Scott and Sigourney Weaver looking over the script. One of the greatest science fiction/horror films ever made, based on an original story by screenwriter Dan O'Bannon and Ronald Shusett, and the auspicious debut of Ridley Scott. Ridley's franchise is so rich in themes and expandability that it has generated five sequels of comparable (or nearly comparable) artistic merit. The infamous "chest bursting" scene paved the way for future horror films to feature gore in more imaginative ways (but also caused viewers to vomit in theaters upon its initial release). 8 x 10 inches. Fine condition.

N.p.: N.p., 1979. Vintage borderless reference photograph of director Ridley Scott with cinematographer Derek Vanlint on the set of the 1979 film, with artist H.R. Giger looking on in the background. One of the greatest science fiction/horror films ever made, a franchise so rich in themes and expandability that it has generated several sequels and prequels. Returning home from a mission, the crew of the spacecraft Nostromo is awakened by the ship's computer to answer a distress signal from a nearby planet. The rescue team discovers a bizarre pod field with pods housing unseen terror. Winner of an Academy Award for Best Effects. 10 x 8 inches. About Fine. National Film Registry. Ebert II.

Los Angeles: Twentieth Century-Fox, 1985. Final script for the 1986 film. A rare example of a sequel where in the sequel is not only as well received as the original film, but stands on its own as a separate work. A turning point in director James Cameron's career, his first big budget effort after the wildly successful "Terminator" in 1984. Nominated for seven Academy Awards, including Best Actress for Weaver. Set in space, shot on location in the United Kingdom. Green titled Twentieth Century-Fox wrappers, dated September 23, 1985. Title page present, dated September 23, 1985, noted as FINAL, with credits for director-screenwriter James Cameron. 106 leaves, with last page of text numbered 105. Xerographic duplication on eye-rest green stock, rectos only. Pages Fine, wrapper Near Fine, lightly creased on the front wrapper, bound with two gold brads.

N.p.: Golden Hawk Entertainment, 1990. Revised Draft script for the 1991 film. Copy belonging to actor Joseph Bologna, with his manuscript pencil and ink annotations throughout, and various production materials, including cast and crew contact sheets, bound in before the script. A huge alligator begins to prey on the inhabitants of a small town with a vast, labyrinthine sewer and drainage system. Sequel to the 1980 film "Alligator," directed by Lewis Teague. Shot on location in Echo Park and Los Angeles. Green titled wrappers. Title page present, dated March 18, 1990, with credits for screenwriter Curt Allen and story credits to Brandon Chase. 123 leaves, with last page of text numbered 107. Xerographic duplication, rectos only, with rainbow revision pages throughout, dated variously between 3/18/90 and 4/23/90. Pages Near Fine, wrapper Near Fine, bound with two gold brads.

N.p.: N.p., 1979. Archive of material from the 1980 film belonging to boom operator Bill Yeager. Archive includes 240 vernacular color and black-and-white photographs taken on the set, a typescript letter from stuntman Tom Clardy to Yeager, two black-and-white reference photographs, and approximately 40 xerographically duplicated production documents. Among the production documents are maps of shooting locations and production memos, although call sheets comprise the balance. Of particular note are Yeager's humorous and descriptive diary entries executed in manuscript ink on the call sheet versos, documenting the film's production over 28 days. Archive also includes six typescript leaves transcribing the first three days of Yeager's manuscript diary entries. A baby alligator named Ramón is flushed down the toilet, growing to gargantuan proportions in the sewers after feasting for years on the corpses of hormone-riddled laboratory animals. Accidentally freed onto the streets of Chicago, Ramón… Read More

France: Athos Films / Chaumiane / Filmstudio, 1965. Vintage borderless reference photograph from the 1965 French film. With the stamp of still photographer Georges Pierre on the verso. Jean-Luc Godard's neo-noir foray into science fiction, following a secret agent in a dystopian future who is assigned to kill the machine intelligence that rules over a fascist state. Shot on location in Paris. 10 x 8 inches. Near Fine. Criterion Collection 25. Rosenbaum 1000. Grant US. Godard, Histoire(s) du cinema.

France: Athos Films / Chaumiane / Filmstudio, 1965. Collection of five vintage borderless reference photographs from the 1965 film. Four with manuscript pencil annotations on the verso crediting photographer Georges Pierre, one with the stamp of Cinemagence on the verso. Godard transplants fictional detective Lemmy Caution (played by Eddie Constantine, as he was in several French films based on the character created by pulp novelist Peter Cheyney) into a dystopian future, where he is on a mission to kill the machine intelligence that rules over a fascist state where emotion is outlawed. 7.25 x 5 inches. Near Fine. Criterion Collection 25. Godard, Histoire(s) du cinema. Grant US. Rosenbaum 1000.

N.p.: Andre Michelin Productions, 1965. Vintage borderless reference photograph of Eddie Constantine as Lemmy Caution, in bed, armed and reading a French translation of Raymond Chandler's "The Big Sleep," from the 1965 film. Printed snipe and provenance stamp of "G. Toussier" on verso. Jean-Luc Godard's neo-noir foray into science fiction, transplanting the fictional detective Lemmy Caution (Constantine) into a dystopian future, assigned to kill the machine intelligence that rules over a fascist state where emotion is outlawed. 9.5 x 7.25 inches. Very light edgewear to the corners, else Near Fine. Criterion Collection 25. Godard, Histoire(s) du Cinema. Grant France. Rosenbaum 1000.

Paris: Athos Films, 1965. Vintage French moyenne poster for the 1965 film. The influence of "Alphaville" as the first crime film to be set in a sci-fi context cannot be underestimated, and even the film's legitimate proteges, such as "Blade Runner," don't quite capture its strange sexuality. Shot on location in Paris. 23 x 30 inches, folded. Light manuscript pencil notation to the verso, else Near Fine. Criterion Collection 25. Godard, Histoire(s) du cinema. Grant US. Rosenbaum 1000.

N.p.: N.p., 1965. Vintage borderless reference photograph from the 1965 film, showing actor Eddie Constantine. Jean-Luc Godard's neo-noir foray into science fiction, following a secret agent in a dystopian future who is assigned to kill the machine intelligence that rules over a fascist state. Shot on location in Paris. 5 x 7.25 inches. Near Fine. Criterion Collection 25. Rosenbaum 1000. Grant US. Godard, Histoire(s) du cinema.