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With authors Gareth Owen and Robert Sellers, dive into the glitz, glamour and regal encounters of each Royal Film Performance, the memorable moments and the fascinating stories. From Marilyn Monroe’s nervous encounter with Queen Elizabeth II to the cheeky remarks of Jayne Mansfield, witness the intersection of cinema’s luminaries and royalty.

As the curtain rises on this cinematic celebration, The Royal Film Performance: A Celebration pays homage to the stars, the royals and the unsung heroes of the industry, sure to delight fans of the royal family and cinema aficionados alike.

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How the Beatles were really signed by Capitol Records in late 1963, after 12 months of derision and rejection from the label, has remained the subject of much speculation over the years. Once the band had hit the big time in the US in February 1964, the truth was quickly papered over by their manager, Brian Epstein, and Capitol executives.

Now, for the first time, corporate and personal archives reveal the true story, and explain why Capitol believed that the British approach to the record industry was just as antiquated and flawed as its approach to other declining industries in the 1960s. The book explores why, as a consequence, Capitol decided they would need to re-mix many of the UK master tapes, create new US albums that were distinctly different in content, sleeve design and name to the UK versions.

Departmental memos show how Brian Epstein quickly found himself between a rock and a hard place, struggling to keep the peace between Capitol, who he knew were providing the lion’s share of the Beatles’ wealth, and were usually right on commercial and creative decisions, and the Beatles themselves.

This no holds barred account also explores how Capitol’s PR department struggled against the odds to extricate the Beatles from stories that threatened to damage their carefully cultivated image and harm record sales.

It also probes corporate accounts to discover the extent to which Capitol made the Beatles rich, and how a number of decisions made by the band and their manager ultimately drove them to the brink of bankruptcy in 1969.

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The remarkable artistic flowering that came from the ‘New Hollywood’ of the ’70s was just beginning, while the old guard was fading away and the new guard was taking over. With a decline in box office attendances by the end of the ’60s, along with a genuine inability to come up with a reliable barometer of box office success, studio heads gave unprecedented freedom to young filmmakers to lead the way.

Featuring interviews with cast and crew members, bestselling author Robert Sellers explores this landmark year in Hollywood and in Britain, when this new age was at its freshest, and where the transfer of power was felt most exhilaratingly.

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Written in collaboration with Britain’s foremost comedy historian, Robert Ross, producer and presenter of the hugely successful touring show Jeffrey Holland: Comedy Friends and Heroes, this unique memoir reveals the hilarious tales from Holland’s long and illustrious career, through the comedy greats that have inspired him, to the comedy colleagues with whom he has worked.

There will be heart-warming stories from his twenty-year association with Paul Shane and Su Pollard: BBC’s comedy ‘A’ Team of sitcom. There will be poignant and deep reflection on his all-time favourite comedian, Stan Laurel, and revealing stories of working with the great and good of variety theatre – from understudying Frankie Howerd in pantomime, to unforgettable encounters with Ben Warriss, the no-nonsense straight man of Jewel and Warriss fame, via many happy years as part of Russ Abbot’s Madhouse.

Not to mention blissful thoughts on the joy of The Goon Show, and the thrill of stepping into the huge shoes of Peter Sellers, when the crazy characters were resurrected for Goon Again!

Filled with the enthusiasm and affection, The First Rule of Comedy..! is a life told through the eyes of one of the true greats of the genre.

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Out of print for over forty years, The 007 Diaries introduces Roger Moore’s James Bond Diary to a new generation of fans. To tie in with the release of his first James Bond film, Live and Let Die, Roger Moore agreed to keep a day-by-day diary throughout the film’s production, which would be published just ahead of the premiere in July 1973. From his unveiling as the new 007 in 1972 through to his first scenes on location in New Orleans and his final shot in New York, Moore describes his whirlwind journey as cinema’s most famous secret agent.

Taking in the sights of Jamaica before returning to Pinewood Studios, Moore’s razor wit and unique brand of humour is ever present. With tales from every location, including his encounters with his co-stars and key crew members, Moore offers the reader an unusually candid, amusing and hugely insightful behind-the-scenes look into the world’s most successful film franchise.

• Text is set in ‘Monotype’ Baskerville with Caslon display

• Printed on 120gsm Heritage Bookwhite mould-made paper

• Bound in Colorado Jordan cloth with two-colour foiling and slipcase

• Bound by the craft bindery of Blissetts of London

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Alas, child actors do eventually grow up, and keen to add a second string to his employment chances, Keith developed his interest in photography, which resulted in him becoming a society photographer at the heart of Swinging London, and in particular working for Baron Studios in the 1960s.

When In Search of the Castaways unit photographer Johnny Jay began working on a new film directed by Stanley Kubrick in the mid-1960s, he realised he had a mammoth assignment ahead and needed a reliable assistant. Recalling Keith’s fascination with photography and his growing popularity, he asked his young friend if he would be interested in helping out on 2001: A Space Odyssey. Keith did not need to think about his answer.

Following his stellar work on 2001, Keith went on to become an established stills photographer, and was in great demand on such titles as Battle of Britain, Barry Lyndon, Young Winston and Rosebud, before embarking on the first of eight James Bond assignments, The Spy Who Loved Me.

Along with his Bond films – three with Roger Moore, both of Timothy Dalton’s and all four of Pierce Brosnan’s adventures – Keith was also asked to work on other legendary franchises: with Steven Spielberg on Indiana Jones and the Temple of Doom; George Lucas on the three Stars Wars prequels, among many others.

Keith has helped create some of the most iconic images from some of the biggest movies ever made, and in Life Through an Aperture, he shares his fascinating tales of rubbing shoulders with the biggest names in Hollywood, alongside with his incredible images.

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For the very first time, The Search for Bond tells the often-extraordinary story of how cinema’s most famous secret agent was cast, featuring exclusive interviews with many of the actors who were at one time either considered to play Bond, interviewed for the role, or went as far as to be screen tested. Their memories and stories are fascinating and give an ‘insiders’ glimpse into the process of how the Bond producers, Broccoli and Saltzman, came up with the right man to play their famous spy.

With Daniel Craig having vacated the role, the circus surrounding the announcement of his successor has created a tabloid frenzy, and the release of The Search for Bond ought to generate plenty of interest in the media.

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