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Writer: Cindy Wall

Genres=Documentary; ; year=2019; Tomatometers=8,3 of 10; audience score=32 votes. Can't tell if stepmom is in danger or is the danger. The booksellers watch full length magnified. I enjoyed this movie very much. Publishers' circular and booksellers' record: 1870 - Google Books. The booksellers watch full length album. Books are constantly being made into movies, but rarely is a movie actually about books—let alone the people who sell them. Last Friday, The Booksellers, a documentary on the antiquarian book trade and the buyers and sellers of rare books, hit theaters to overall acclaim, and while the film is very much about its characters, it's also about the trade as a whole, and how it's surviving in an era of dizzying technological advancement. PW spoke to the film's director, D. W. Young, about how the movie came about, what the future of the rare book world looks like to him, and more. How did this project come about? The very first idea for the project came from our producer Dan Wechsler, who is also a prominent rare book dealer. He has also done some film work, and he and Judith Mizrachy, our other producer and my partner and my wife, and we've worked together on lots of things over the years. She had worked with Dan on something, we'd all kind of worked together on some projects like eight or nine years ago and become friends. We were talking about future projects and he mentioned he'd always thought a documentary about the rare book world would be a great idea. It had never been done. And from his perspective from inside the book world, he had a lot of ideas. And Judith and I immediately agreed that it was a great idea. We each had some peripheral sense of the rare book world, we're both people who love books. So we enthusiastically agreed. But we were all tied up in other projects at the time and we didn't really get to it until about three years ago when we were actually working on something else which hit a standstill. So at that time I said, you know what, I think this would be a great moment to pursue the rare book idea. And so we did. How did the process of reporting it go? Dan provided some shortcuts. He got us to some people sooner and easier and kinda got the ball rolling faster than it might've. I think we would've gotten to the same place in a lot of respects left to our own devices. But it would have been more work and taken longer. And in a few cases he helped get some people on board who might've been reluctant or taken a lot more cajoling. But in terms of the reporting, I think with something like this, it's a kind of organic process where you have things in mind but you also need to be receptive to it being a learning experience and kind of discovering things as you go. I was doing research on my own and, and talking to people also, and that's kind of how I was acquainting myself with this world. So first, I think we wanted to talk to a certain base of people and from there, certain connections started being made about what was possible and a sense of how many aspects of the trade we could fit into a movie started to clarify. Then it gets a little more interesting when you start to try and fit people in a more specific way. That became about thinking of a further set of dealers—certain collectors who would be complimentary to what we already had, and a few external voice, Fran Liebowitz being one and Susan Orlean being another. It's a building process. What was one of the things that you learned along the way that surprised you or changed the way that you were looking at the rare book world, or even just how you would frame it in the film? One thing that I really was not so aware was how much the trade handles material that's not just books or paper, although that's still the dominant component of what people in the rare book trade transact with. But I didn't realize how much ephemera and other historically relevant material could fall under the umbrella of the rare book trade. We saw 19th century board games from France and enigma machines from World War II, certain photography, and other material. Did you find the breadth of the trade surprising? Absolutely. I was super enthusiastic when I realized that hip hop magazines and that kind of material was starting to become part of the rare book world. And I was very excited to bring it into the film, because hip hop is an enormously important cultural factor. But I think the very key point is that it's not albums themselves as musical collectibles, as music, that it's relevant to the rare book world. It's historical significance. The magazines that Syreeta Gates collects, many of them haven't even been digitized yet. You would think they would be, but even so, they haven't. The understanding of the historical context of say the eighties and the nineties is important. To further enhance the context of our historical understanding of that period, there's great value to collecting that stuff. I needed stuff like that for the film, the more recent stuff, the zines and stuff like that. It seems like it was just yesterday, but it's kind of in the rear view mirror already. And it weirdly falls into the rare book trade. The rare book business is heavily white and male, even today. But the types of books being collected are obviously not just about the history of white culture, but about the history of everything. Knowing that, do you think there's a possibility for more diversification in this side of the business? I think so, and I think that's really the position of a number the younger dealers, who are very smart, and they really advocate that belief, and I think it is expressed in the film. From what I've seen, I think it seems to have a lot of merit. The rare book trade is not an institution. No one's in charge of it. It's comprised of just a bunch of individuals. Most of them have a shop that's just them or maybe one other person or a couple of helpers. So there's no clear path to adding diversity to the trade at the higher end. We focused on established dealers who were generally fairly established in the higher echelons of the market. Adding more diversity there, it's not like some of those dealers who are now older have not been at the forefront of providing access to a lot of interesting material that is diverse. They've helped bring new collectors and new institutional interest to all kinds of material. That said, I have to clarify that I feel like I'm still very much an outsider's perspective on this. But I think that's one of the things with Syreeta collecting hip hop magazines, or some of the stuff that Arthur Fournier collects in the film, that's clearly speaking to a different generation than your traditional model collector from the past. I think that there's good reason to believe that the more that material stretches out into encompassing more and more kinds of things that will hopefully lead to some more diversity in the trade. There's a potential I think for a broadening of the trade—who engages in it—that could go hand in hand with a broadening of what's collectible. What’s something you weren’t able to explore in the film that you wish you could have? One thing I never got a satisfactory answer to, and I don't think there is a right answer, but I kinda think is really interesting as far as institutions are concerned—and also collectors, but even more so institutions—is, to what degree do the dealers influence what's considered new and interesting and collectible, by being at the forefront, and what degree are they responding to the institutions and the collectors and their own groundbreaking interests. I think, ultimately, it's a two way street. Both things are happening simultaneously, and each instance is different of why and to what degree. The dealers of course probably feel a little more strongly about what they're bringing to the table, and I'm sure the librarians feel the opposite. But I think it's interesting that there's a kind of dialogue that's going on there. It's kind of too complicated a thing to get into a documentary, but in other kinds of discourse, it would be interesting to delve into further. In terms of a specific scene, one dealer who appeared in the film, Dave Bergman, showed me these amazing catalogs from the late 1800s, I'm guessing, of fittings—like, the brass and other fittings—for caskets and funeral materials. It's just an entire catalog of brass fittings and stuff. There's no comparison for today. That doesn't exist anymore, a lot of what's in this catalog. And no one 30 years ago likely thought that this was very interesting at all. But we've changed our appreciation for how that could speak to us historically, or be collectible. I looked at that and thought it was really interesting how something can go from being literally something someone would throw on the fire to having value. It's just a question of people seeing it differently. At the end of The Booksellers, the rare book sellers weigh in on how they see the future of the trade—some are hopeful, some are not. How do you feel about the future of rare bookselling? I feel like I'm somewhere in the middle. That said, I choose to feel positive, insofar as it is a matter of choice. I think at the end of the day, having to go one direction or another, I would choose to take the positive approach. If your experts are that down the middle, sometimes I think just the act of believing is what tips the scales. What's more interesting to me is how little anyone agree on this point in the book trade. You could get book dealers talking about this endlessly. The degree of uncertainty in the moment is kind of the most compelling factor in the end. We're really in this moment where everyone is so uncertain about this. It's reflective of the technological zeitgeist as well. Everything in our world is in flux at an increasingly rapid rate. The rare book trade is certainly not a mirror of society as a whole, but it's undergoing many similar changes to those that are happening elsewhere. It's interesting, I think, to compare that experience of this one very specific world to the larger world beyond. Where are they similar? Where do they diverge in their responses to some of these changes. Regarding diversity and the book trade, for instance, I think it's interesting to see how that relates to questions and issues of diversity in society at large, and the push for that. For the younger dealers, there is a great sense of passion and importance placed upon that. One of the functions of a documentary is to exist as a historical record of the time and place in which it's being made. Obviously that's something we hope the film does. This interview has been edited for length and clarity.

The Booksellers Watch full length.

 

The booksellers watch full length video. Oh my god! Adelaide? That's the place where I live. I was searching for the bookshop story and found this one.) It is a really good documentary. should go to this bookshop.

The booksellers watch full length 2.

The irony of Annie Sawyer saying You look haunted

The booksellers watch full length film. Can I volunteer to be licked by Rose Byrne.

30% of the comments are people talking about the thumbnail and 70% is just people complaining about past horror movies. The booksellers watch full length 2017. The booksellers watch full length full. Finally, a new video! Thanks, germ! <3. I want to go to this book shop now, but it's literally across the world 😞 maybe one day, I'll put it in my list. The booksellers watch full length 2016. The weirdest thing that happened when I was a bookseller was one time an older gentleman came in looking for books for his 8 year old granddaughter and decided Dostoyevsky's Crime and Punishment was perfect for her.

The Booksellers offers a behind-the-scenes look at the New York rare-book world. Courtesy of GAT The Booksellers Directed by D. W. Young Classification PG; 99 minutes For the past few days, I’ve struggled to come up with a way to make a documentary about antiquarian booksellers sound exciting. Charming, yes. Quirky and fascinating? Check and check. But if, say, the Marvel Cinematic Universe represents one end of the current film landscape, then D. Young’s new documentary, The Booksellers, rests at the far, lonely, opposite pole. Bookended by visits to the New York International Antiquarian Book Fair, a sprawling affair held annually at Manhattan’s Park Avenue Armory, the film features an eccentric cast of characters who have dedicated their lives to what Nicholas Basbanes, the great scholar of bibliophile history, calls “a gentle madness. ” What is it about books that has led to such obsession, both from dealers – who stay in the field despite increasing financial risk (and, considering many spend their lives surrounded by precariously stacked towers of books, physical risk as well) – and from collectors, who hand over sometimes-obscene sums of money to feed their addiction? Addiction isn’t a stretch; the booksellers themselves are, in some ways, pushers. In the words of billionaire Jay Walker, owner of the Library of the History of Human Imagination, possibly the most beautiful private library in the world and one of the field’s most famous collectors, “what rare book dealers really do is inculcate neophytes into the wonder of the object of the book. ” The author and humorist Fran Lebowitz tells a story about begging a dealer not to show her a book, and the dealer continuing to insist – just one little taste. Heather O'Donnell and Rebecca Romney work in a book world that has historically been male-dominated. Courtesy of GAT There’s probably an eagerness to sell because, as one of the film’s many talking heads puts it, “the last 10 years has seen the beginning of the end of the book as a central object in our culture. ” You can trace the decline further back than that, sadly. The documentary, which mostly focuses on the New York trade, chronicles the history of bookselling in the city, which revolved around “Book Row” – shop after shop, run by “little dusty Jewish men” in the words of Lebowitz – crammed into a few city blocks like volumes of poetry on an overstuffed shelf. In the 1950s, there were 368 bookstores in New York; today, the number has fallen to about 80. The villains are what you’d expect: chain bookstores, ebooks, rising rents (Argosy, New York’s oldest independent, is still around because they own the building), a lack of interest in books (Lebowitz, again: “People used to pretend to read more”), and, of course, AbeBooks, the online used-book giant, which is (of course) owned by Amazon. “It’s become ruined by the internet, ” huffs one dealer. Partly, it’s envy – in the past, book dealers were also treasure hunters, tracking down valuable first editions at estate and garage sales. Now, you can go online and find 30 copies of a book that was once considered rare. Prices have adjusted accordingly. Still, it’s not all bad news. There are hints of a bookselling resurgence, and, as the world has continued to digitize, a renewed interest in the analog. It’s an appreciation of the physical – the film is filled with scenes in which people cradle leather-clad editions as if they were holding a newborn – but an acknowledgement of the practical, too. You might not be able to open a file you created seven years ago, someone points out, but you can easily open a book that was produced 70 or even 700 years ago. The movie feels like a short-story collection rather than a novel; there is no central bookseller or collector who serves as the film’s spine. Everyone gets a minute or three, and then we turn the page. I got the sense they didn’t want to leave any of their friends out. (Dan Wechsler, one of the film’s producers, is a rare books dealer himself. ) Young is willing to criticize the trade – there’s a fairly robust discussion about the sexism of the books world, which has historically been dominated by men – but he also does a good job of featuring a diversity of voices. Some dusty, some Jewish, some men, but not all. I am, admittedly, its ideal viewer – I own enough books to last me several lifetimes – but that doesn’t change the fact that The Booksellers is a lovely documentary – contemplative and captivating. I finished the film and felt compelled to turn off the screen and pick up a book. The Booksellers opens March 13 in Toronto, March 27 in Edmonton, and April 3 in Calgary Plan your screen time with the weekly What to Watch newsletter, with film, TV and streaming reviews and more. Sign up today.

First thought - another fat american girl, who is depressed, because everybody tells her that she's fat. Second thought - perhaps after this movie someone will start to run. 4th view. Hugh Laurie - i love this man so much. The Booksellers Watch Full length. I'm from 3001. I liked this video very much 💛. Waiting the entire trailer for his wife to get abducted. The booksellers watch full length. The American Bookseller: A Semi-monthly Journal Devoted to the Interests of... - Google Books. The booksellers watch full length hd. Freestyle replayyyy.