Signed Script

lp Record Label Name: CSM Label's Catalog Number: CSM, S-3330

lp signed by artist

12" LP Miami Beach local label RARE

This semi-remake of Holiday Inn (the first movie in which Irving Berlin's perennial, Oscar-winning holiday anthem was featured) doesn't have much of a story, but what it does have is choice: Bing Crosby, Danny Kaye, Rosemary Clooney, an all-Irving Berlin song score, classy direction by Hollywood vet Michael Curtiz (Casablanca, The Adventures of Robin Hood), VistaVision (the very first feature ever shot in that widescreen format), and ultrafestive Technicolor! Crosby and Kaye are song-and-dance men who hook up, romantically and professionally, with a "sister" act (Clooney and Vera-Ellen) to put on a Big Show to benefit the struggling ski-resort lodge run by the beloved old retired general (Dean Jagger) of their WWII Army outfit. Crosby is cool, Clooney is warm, Kaye is goofy, and Vera-Ellen is leggy. Songs include: "Sisters" (Crosby and Kaye do their own drag version, too), "Snow," "We'll Follow the Old Man," "Mandy," "Count Your Blessings Instead of Sheep," and more. Christmas would be unthinkable without White Christmas. --Jim Emerson

VHS copy Copy of Rosemary Clooney's personal script Audio CD featuring music from Irving Berlin's classic White Christmas release Collector's brochure featuring a collage of behind-the-scenes photos of Rosemary Clooney A letter from Rosemary Clooney recounting her memories of filming The original theatrical trailer

Clever twists and a bona fide surprise ending make this an above-average courtroom thriller, tapping into the post-O.J. scrutiny of our legal system in the case of a hotshot Chicago defense attorney (Richard Gere) whose latest client is an altar boy (Edward Norton) accused of murdering a Catholic archbishop. The film uses its own manipulation to tell a story about manipulation, and when we finally discover who's been pulling the strings, the payoff is both convincing and pertinent to the ongoing debate over what constitutes truth in the American system of justice. Making an impressive screen debut that has since led to a stellar career, Norton gives a performance that rides on a razor's edge of schizophrenic pathology--his role is an actor's showcase, and without crossing over the line of credibility, Norton milks it for all it's worth. Gere is equally effective in a role that capitalizes on his shifty screen persona, and Laura Linney and Frances McDormand give memorable performances in their intelligently written supporting roles. --Jeff Shannon

DVD

The Internet sketch comedy troupe Derrick Comedy makes an impressive feature debut with this clever and frequently laugh-out-loud entertainment about a trio of former boy detectives who struggle to maintain their childhood fame while trying to solve a very grownup mystery. Three-fifths of the Derrick Comedy troupe--Donald Glover (Community), D. C. Pierson, and Dominic Dierkes, who together also wrote the film's script--play the Mystery Team, who once gained notoriety as preadolescent problem solvers (on the level of lost kittens and the like); now, as socially awkward teens, they stubbornly refuse to stop solving "mysteries," much to the chagrin of their parents and the community at large. But when a young girl hires them--at their standard rate of 10 cents--to discover her father's killer, the Mystery Team finds that real crime is a lot ickier than investigating the theft of a neighbor's pie. The freshness of the film's central concept, which spoofs kidhood sleuths like the Hardy Boys and Nancy Drew, is mined for all it's worth, and the clash between the deeply naive boys and the real world, with its gun-toting preteens and raunch, produces some genuinely hilarious moments. The premise doesn't hold up for the entire film's running time, and some of the gross-out gags seem unnecessary, but as a first film and introduction to Derrick Comedy for many viewers, Mystery Team feels assured and charmingly cracked. The DVD includes an amusing commentary track by all five Derrick Comedy members, who include director Dan Eckman and producer Meggie McFadden; fans of the group's Internet shorts will appreciate the details behind their leap to features, and newcomers will enjoy this extended opportunity to hear their creative collaboration at work. The deleted and extended scenes are actually as funny as what appears in the completed film (a rarity), as is the making-of featurette, which eschews the usual behind-the-scenes chitchat in favor of full-bore goofing around. Shot-on-video test footage of the opening scene and an interview with Glover in character round out the extras. --Paul Gaita Stills from Mystery Team (Click for larger image)

Even though they've reached 18 years of age, kid sleuths Jason (Donald Glover), Duncan (D.C. Pierson), and Charlie (Dominic Dierkes) still find themselves solving cases of a childlike variety. The boys are about to graduate to a whole new class of criminals, however, when they're asked to solve a murder. Politically incorrect comedy co-stars Aubrey Plaza, Matt Walsh. 94 min. Widescreen (Enhanced); Soundtrack: English Dolby Digital stereo; Subtitles: English, Spanish; audio commentary; featurettes; outtakes.

Has any comic been as acclaimed as Alan Moore and Dave Gibbons' Watchmen? Possibly only Frank Miller's The Dark Knight Returns, but Watchmen remains the critics' favorite. Why? Because Moore is a better writer, and Watchmen a more complex and dark and literate creation than Miller's fantastic, subversive take on the Batman myth. Moore, renowned for many other of the genre's finest creations (Saga of the Swamp Thing, V for Vendetta, and From Hell, with Eddie Campbell) first put out Watchmen in 12 issues for DC in 1986-87. It won a comic award at the time (the 1987 Jack Kirby Comics Industry Awards for Best Writer/Artist combination) and has continued to gather praise since. The story concerns a group called the Crimebusters and a plot to kill and discredit them. Moore's characterization is as sophisticated as any novel's. Importantly the costumes do not get in the way of the storytelling; rather they allow Moore to investigate issues of power and control--indeed it was Watchmen, and to a lesser extent Dark Knight, that propelled the comic genre forward, making "adult" comics a reality. The artwork of Gibbons (best known for 2000AD's Rogue Trooper and DC's Green Lantern) is very fine too, echoing Moore's paranoid mood perfectly throughout. Packed with symbolism, some of the overlying themes (arms control, nuclear threat, vigilantes) have dated but the intelligent social and political commentary, the structure of the story itself, its intertextuality (chapters appended with excerpts from other "works" and "studies" on Moore's characters, or with excerpts from another comic book being read by a child within the story), the finepace of the writing and its humanity mean that Watchmen more than stands up--it keeps its crown as the best the genre has yet produced. --Mark Thwaite A Q&A with Dave Gibbons on the Making of Watchmen Question: You were tasked with drawing new illustrations of key shots from the new Watchmen film. Was it a difficult challenge to re-imagine your work in this movie format? Dave Gibbons: I don’t think that I actually did many key shots from the film. I had to actually imagine them rather than exactly recreate what was going to be in the movie. But as far as the drawings I did for the licensing purposes, accuracy was the real key so that they looked exactly like the movie. Whereas doing the graphic novel was creating stuff afresh and being very creative, this was more the case of interpreting something that already existed. So it was rather more a commercial art job than a creative thing. Q: How many scenes from the original graphic novel did you redraw in the new "movie" format? DG: I kind of did them piecemeal, these licensing drawings. I did do a section of storyboarding for Zack Snyder. There is a part of the movie that isn’t in the graphic novel and he wanted to see how I would have drawn it, if it had been in the graphic novel. So I redid the storyboards as three pages of comic on the nine-panel grid, also getting it coloured by John Higgins so it looked authentic. But I think there were probably only 3 or 4 scenes that I drew, which were from the movie. Q: What was your working method for producing these new illustrations from the film? And how has it changed from when you originally illustrated Watchmen? DG: When you’re producing things from existing material, you have to look at and assemble the references... you know, keep looking backwards and forwards to make sure what you’re drawing is accurate to what’s in the photos. I did have lots of photos from the movie and in some cases I had more or less the illustration I was going to do in photo form, which made it a lot easier. On others I had to construct it from various references: really just the usual illustrator’s job of drawing something to reference. And on the original illustrations of Watchmen, I was free to come up with exactly the angles and exactly the costumes and everything that I wanted to. When you’ve designed a costume and drawn it a few times, you actually internalize it and you find you can draw it without having to refer to reference at all. So in some ways it’s more creative and in some ways it’s easier! Q: In Watchmen: The Art of the Film, there are concept designs by other artists of their visions of your iconic characters. What do you think of their versions and did you offer any guidance while they were working on these? DG: It’s always really interesting to see versions of your characters drawn by other artists. You tend to see things in them that you hadn’t noticed before. So I really enjoyed looking at those. I certainly didn’t offer them any guidance. The purpose of getting those kinds of drawings done is to get a fresh perspective on what exists. I noticed actually that they really stuck more closely to my original designs than those, but I really enjoyed seeing them. Q: Watchmen: Portraits is Clay Enos’s stunning black and white collection of photos of each character from the Watchmen movie. What was it like looking through this book at all the characters you had conceived years ago now being brought to life by actors? DG: It’s rather interesting; you know if you look at the Watching the Watchmen book you can see these characters as fairly sketchy rough conceptual versions. Then when you look at Clay’s book you can actually see them right down to counting the number of pores on the skin on the end of their noses! It’s incredible high focus! It’s like zooming in through space and time to look at the surface of some moon of Saturn or something. I thoroughly enjoyed his book... it had a real artistic quality to it that was really so good. And of course to see these actors who so much are the embodiment of what I drew, that it’s a tremendous thrill to see them made flesh! Q: Watchmen: The Film Companion features some stills from the animated version of The Black Freighter. What do you think of the look and design of this animated feature? DG: It looks really interesting! Although I drew my version in the comic book in a kind of horror-comic style, these are very much in a savage manga style. I think they work really well... they’ve got the kind of manic intensity, which I think that work should have and I really can’t wait to see the whole feature. I’ve seen the trailer for it and that looks great and again they’ve used a lot of the compositions that I came up with but just translated them to this kind of very modern drawn animation. Q: How much time did you spend on the set of Watchmen? Was it a surreal experience to see your work recreated like this? DG: I was on the set of Watchmen for a couple of days and it really was surreal to walk through a door and then suddenly be in the presence of all these people in living breathing flesh! I was there for what you would call the Crimebusters meeting where they were all there in costume in the same room, which was incredible. They had obviously planned that so I would get to see everyone. It was surreal though quite a wonderful experience to see it come to life.

This Hugo Award-winning graphic novel chronicles the fall from grace of a group of super-heroes plagued by all-too-human failings. Along the way, the concept of the super-hero is dissected as the heroes are stalked by an unknown assassin. One of the most influential graphic novels of all time and a perennial bestseller, WATCHMEN has been studied on college campuses across the nation and is considered a gateway title, leading readers to other graphic novels such as V FOR VENDETTA, BATMAN: THE DARK KNIGHT RETURNS and THE SANDMAN series.

Illustrated in black-and-white. We're celebrating the thirty-fifth anniversary (1996) of this modern kids' classic with a special hardcover edition! This ingenious fantasy centeres around Milo, a bored ten-year-old who comes home to find a large toy tollbooth sitting in his room. Joining forces with a watchdog named Tock, Milo drives through the tollbooth's gates and begins a memorable journey. He meets such characters as the foolish, yet lovable Humbug, the Mathemagician, and the not-so-wicked "Which," Faintly Macabre, who gives Milo the "impossible" mission of returning two princesses to the Kingdom of Wisdom...  

"It seems to me that almost everything is a waste of time," Milo laments. "[T]here's nothing for me to do, nowhere I'd care to go, and hardly anything worth seeing." This bored, bored young protagonist who can't see the point to anything is knocked out of his glum humdrum by the sudden and curious appearance of a tollbooth in his bedroom. Since Milo has absolutely nothing better to do, he dusts off his toy car, pays the toll, and drives through. What ensues is a journey of mythic proportions, during which Milo encounters countless odd characters who are anything but dull. Norton Juster received (and continues to receive) enormous praise for this original, witty, and oftentimes hilarious novel, first published in 1961. In an introductory "Appreciation" written by Maurice Sendak for the 35th anniversary edition, he states, "The Phantom Tollbooth leaps, soars, and abounds in right notes all over the place, as any proper masterpiece must." Indeed. As Milo heads toward Dictionopolis he meets with the Whether Man ("for after all it's more important to know whether there will be weather than what the weather will be"), passes through The Doldrums (populated by Lethargarians), and picks up a watchdog named Tock (who has a giant alarm clock for a body). The brilliant satire and double entendre intensifies in the Word Market, where after a brief scuffle with Officer Short Shrift, Milo and Tock set off toward the Mountains of Ignorance to rescue the twin Princesses, Rhyme and Reason. Anyone with an appreciation for language, irony, or Alice in Wonderland-style adventure will adore this book for years on end. (Ages 8 and up)

Wicked is not just a musical, it is a phenomenon. Every week 15,000 people pack New York+s Gershwin Theatre to see the show. The most successful musical on Broadway in 2004, Wicked is based on the bestselling novel of the same name by Gregory Maguire. It tells the story of Elphaba, the headstrong Wicked Witch of the West, and Glinda, the good witch, growing up in the Land of Oz. The show has cast a spell on fans, many of whom return for second and third viewings. In 2005, the show begins an extensive tour across the United States and Canada, hitting major cities such as Toronto, Chicago, Los Angeles, San Francisco, Washington, D.C., and many more.This beautifully packaged, whimsical keepsake is designed to resemble the Grimmerie, an ancient book of spells that Elphaba uses in the show. Wicked: The Grimmerie offers fans a behind-the-curtains peek at the musical, profiles of the cast and creative team, and inside stories, with full-color photographs throughout. Some of the irresistible special features include an -Ozian+ glossary, spells, an illustrated family tree, and a step-by-step look at how Elphaba gets green before each show-everything fans need to relive the Broadway experience day after day.

It all started when Steve Hawk handed his little brother a blue fiberglass banana board. Tony Hawk, then nine, took to skateboarding instantaneously, not realizing at the time his life would soon change. By 14, Hawk turned pro and just two years later he emerged as the best skateboarder on the planet, winning contest after contest year after year. Hawk later launched a skateboard company, a clothing line and helped develop a best-selling video game series. In 2002, a few years after he stopped skating competitively, Hawk inaugurated the Boom Boom HuckJam, a touring showcase for skateboarders and both Motocross and BMX riders. The show, like Hawk, continues to soar to this day. These authentic skateboard decks have been hand signed by Tony Hawk. A Steiner Sports Certificate of Authenticity is included. Each Skateboard is different and may have some paint chipping or nicks.

Signed items come fully authenticated and will include a certificate of authenticity.

Signed Script Copy Of Bewitched: Red Light, Green Light comes with powers collectibles coa and matching holograms