Customer Reviews:
great for art/"Pocahontas" fans in general.......1998-08-24
I love flipping through this book once in a while just to be in awe of Disney animators all over again, but I agree w/ some of the other reviewers who say that there isn't enough about the actual people behind this artwork. I'd like to find out more about how the artists & voices influenced different aspects of the story, reacted to deadlines, etc. too--but the art almost makes up for it. The book also provides some more insight into the personalities of the characters in "Pocahontas," which I found enlightening. Overall, it's a beautiful accompaniment to the movie, and very inspiring as well--makes me want to learn how to draw a little better.
A book as beautiful as its main character.......1997-12-27
The art of Pocahontas is, to my mind, one of the most beautiful books about animation art. Its composition following the making of the film step by step helps the reader to understand how a huge production such as Pocahontas is made and all the production aeras are represented. The pictures taken from the film and the artist's sketches shown in it are so great they could make anyone that did not like the design of Pocahontas ( and god knows they are a lot in France ) loves it. The only thing that could be improved is about photos of the artists in their work environment, there should be more.
Weak parts, but worth taking a look at........1997-11-30
The only thing holding this book together is the easy way it flows. In the tradition of other Disney "Making of..." books, it follows the format of each animation process from concept to script to storyboard to animation. Its interesting, but at times bogs down some nice visuals. Not all the visuals are great, though. The pre-production art seems weak and cliche like the drawings of pilgrims and Indians you remember as a kid. Only in the animation chapters does it pick up, particularly the work of Glen Keane. As chief animator of the title character, his storyboards and animation seem the most inspired and studied. Other character designs seem less bold against Disney's first eco-feminist heroine who paved the way for post-feminist heroines like Esmeralda from Hunchback and Meg from Hercules. The book not unnique in its execution or format, but its worth taking a look at to compare with other films and books and to see the evolution of the thought process of great Disney animators like Keane and Ruben Aquino. And of course it has its share of Disney we-are-doing-this-and-no-one-else-can attitude.
Very beautiful!.......1997-11-26
First of all, I assume that these reviews are supposed to refer to the large hardcover edition, which was published in 1995, and not the smaller 1996 edition. The large one is gorgeous, allowing a look into the world of how the artists develop a film from start to finish. Some of the concept art is so beautiful that you wonder why it didn't make it into the film. My only gripe with this book is that, like Rebello's other books, it deals almost entirely with the visual aspect of the films and, although it talks about how songs developed the movie (the Colors of the Wind section is especially well done), what about the voices? In The Art of Animation: From Mickey Mouse to Beauty and the Beast, descriptions and photos are included of the actors who voiced the characters. While you might say that this sort of thing doesn't belong in an "Art of" book, I think it does, because the actor who voices a character often has a tremendous influence on the visual development of that character. For example, Belle in Beauty and the Beast would not have had the lock of hair that kept falling into her face - an endearing gesture that helped make her more real to the audience - if Paige O'Hara, her voice, had not had it first. The Art of Pocahontas would be perfect if it offered similar insights. But it's definitely worth reading or just looking at, to bask in the sheer beauty of the artwork.
Miniature Poachontas Book is Big on Color and Information.......1997-03-06
Don't let the small size of "The Art of Pocahontas"fool you; the authors have crammed the 5.5" by 4.5" book with loads of colorful artwork and interesting insights into the recent Disney masterpiece.
"The Art of Pocahontas" traces the creation of the film from conception to completion, including wonderful reproductions of concept sketches, background paintings, layout drawings and final animation art. The 189 pages of this small volume contain over 400 color and black-and-white illustrations.
The text was written by Stephen Rebello, an editor of "Movieline" and author of "Alfred Hitchcock and the Making of 'Psycho.'" He provides many insights into the collaborative and creative process behind the making of "Pocahontas."
Even though "The Art of Pocahontas" is an easy read--it takes less than an hour or two to read from cover to cover--the book provides plenty for fans of animation to contemplate. Much of the "behind the scene
Book Description
Between the classic films of Walt Disney in the 1940s and the televised cartoon revolution of the 1960s was a critical period in the history of animation. Amid Amidi, of the influential Animation Blast magazine and CartoonBrew blog, charts the evolution of the modern style in animation, which largely discarded the "lifelike" aesthetic for a more graphic and often abstract approach. Abundantly found in commercials, industrial and educational films, fair and expo infotainment, and more, this quickly popular cartoon modernism shared much with the painting and graphic design movements of the era. Showcasing hundreds of rare and forgotten sketches, model boards, cels, and film stills, Cartoon Modern is a thoroughly researched, eye-popping, and delightful account of a vital decade of animation design.
Customer Reviews:
Cool, Fun and Essential.......2007-07-17
This book covers a vital an oft-neglected period in animation history. When I first laid eyes upon it, in a bookstore, I think I audibly gasped. It is that beautiful. Do not hesitate to purchase this book, which incidentally, won the Theatre Library Association Award for outstanding book in the area of film or broadcasting. Hopefully, there'll be a sequel.
Superlative.......2007-06-08
If you're an animation buff, you won't want to miss Amid Amidi's "Cartoon Modern: Style and Design in 1950s Animation". Lushly paged, and densely packed with generous, colorful, brightly saturated illustrations, "Cartoon Modern" is the cel animation cartoon fan's dream come true - the kind of volume you'd find in a favorites bin in a dream and try to take out into the waking world with you! Amid Amidi is clearly another one of us toon fangeeks: he eagerly sifts through tons of studio, production and biographical information but doesn't skimp on small details only another fangeek would enjoy - intriguing factoids and behind-the-scenes animator gossip relevant to the period abound throughout this thick, heavy book. You will never tire of the clippings, sketches, layouts, articles and character designs. Far from limited to the gorgeous coffeetable book it resembles - don't be fooled by its size and stylish appearance! - "Cartoon Modern" is an authoritative tour of one of American animation's most important creative periods. I personally look forward to more animation books from Amidi, and I hope he will someday take a literary look at the animation of the classic, cartoon modern-influenced 1969-1976 period of PBS's "Sesame Street" and "The Electric Company". As a generous portion of "Cartoon Modern" concerns the works of animators John and Faith Hubley, and the Hubley Studios generated a good 40-50% of the animation for both shows, such a book may not be far from the realm of possibility. Superlative.
More than Disney...........2007-04-19
We had forgotten how much treasured animation was created during this very stylistic era in film history.
Most importantly, the book deserves a publishing prize simply for the design of the text. Absolutely beautiful... flawlessly designed... with quality binding and printing that should last for a century to come.
We were pleasantly surprised by the beauty and class within these covers, and we are pleased to highly recommend this text for the most discriminating animation libraries.
Cartoon Modern.......2007-03-19
Absolutly wonderful visuals, with OK text. Text suffers from almost no acknowlegement of foriegn animation that preceded and drove the U.S. animation design, but still very informationl and a good referenxce book.
Great Book.......2007-01-22
I think this book is a nice purchase. It has great visual reference for cartoon styles and is really easy to brouse through as each "animation studio" has its own chapter. Two other people from my work purchased the book as well, and seem to like it too!
Average customer rating:
- A must-have item!
- Animator's Ultimate Guide
- Disillusioned. Skip It.
- Wonderful
- this is a great book!
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The Illusion of Life: Disney Animation
Ollie Johnston , and
Frank Thomas
Manufacturer: Disney Editions
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ASIN: 0786860707 |
Customer Reviews:
A must-have item!.......2007-09-15
For those people who wants to work with graphics, It's very important to have contact with newest technologies and media. But to have real growth, the basis is here. Beautiful book! Compared to price, is the best benefit in whole amazon site!
Animator's Ultimate Guide.......2007-09-04
It's an amazing book! Everything you want to know about the business and the pure art and joy of being an animator from the masters.
Disillusioned. Skip It........2007-08-27
This is a biased and officially licensed piece of pro-Walt Disney propaganda. The animation tips from Frank Thomas, one of the greatest animators who ever lived, are priceless. But he and his buddy Ollie Johnston (who was not nearly as talented as Thomas) are biased, and as a history, it is severely flawed.
Many vital artists to the Disney style of animation are given the shaft, which essentially anyone outside of the Nine Old Men. Fred Moore, Art Babbitt, and Bill Tytla are almost completely ignored. Director Jack Kinney and animator John Sibley, the team responsible for Disney's inarguably best short subject series, Goofy, are not even mentioned. They do a good job of erasing all of the 'bombs' such as Alice in Wonderland and Three Caballeros as well.
I also am repulsed at the lauding of such features as Robin Hood and The Rescuers, in favor of work by the studio many years earlier that was inarguably superior. And any tome this size that gives only four mentions to Dumbo is not worth owning.
Skip it.
Wonderful.......2007-08-05
Wonderful and very useful book, highly recommended for everyone who's interested in the world of animation and its history.
this is a great book!.......2007-03-13
great shipping and good condition!
i think this book is very important for student who is studying animaion.
Average customer rating:
- Long overdue, Well Deserved
- It's a Small World Legend
- Mary Blair rocked.
- Blah Blah Blair
- Beautiful!
|
Art And Flair Of Mary Blair, The
John Canemaker
Manufacturer: Disney Editions
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Cartoon Modern: Style and Design in 1950s Animation
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ASIN: 0786853913 |
Book Description
The story behind one of Walt Disney's favorite artists is celebrated in this delightful volume of whimsical art and insightful commentary. For more than a dozen years, Mary Blair, a quiet-spoken, unassuming woman, dominated design at The Walt Disney Studios with a joyful creativity and exuberant color palette that stamped the look of many classic Disney animated features, including Cinderella and Peter Pan. Favorite theme park attractions, most notably the 'It's A Small World' boat ride, originally created for the 1964 New York World's Fair, were also among her designs. In her prime, she was an amazingly prolific American artist who enlivened and influenced the not-so-small worlds of film, print, theme parks, architectural decor, and advertising. Emulated by many, she remains inimitable: a dazzling sorceress of design and color.
Customer Reviews:
Long overdue, Well Deserved.......2007-07-27
The work of Mary Blair is well-known to animation and Disney aficianados, but there is a dearth of material available about her. Her influence on animation and Disney design was enormous. John Canemaker, as one has come to expect of his work, has written a terrific book on Blair. Well-illustrated, carefully noted.
Although this book is very good, Mary Blair deserves a full-length biography.
It's a Small World Legend.......2007-07-21
When I visited Disneyland last year with my daughter I expected to fall in love all over again with various attractions at the park: Haunted Mansion, Pirates of the Caribbean, the Carousel. I honestly didn't expect to fall in love all over again with "It's a Small World" but I did.
I had already heard the name, Mary Blair, but I didn't know anything about her so I decided to research her online and I found this book.
What an incredible artist she was! John Cane tells her story and her contributions to everything Disney. She was an incredible artist! Her works now sell for many hundreds of dollars. It's too bad that she didn't live long enough to see herself become famous. Like most artists, she became famous after her death. At any rate, here is the story of the woman who created so much of the Disney magic. It's very well illistrated and an enjoyable read.
Mary Blair rocked........2007-05-25
Beautiful and unique look into the life and developed portfolio of a retro animator. This book is nostalgic, child-like awe packaged. Wonderfully whimsical images.
Blah Blah Blair.......2007-03-09
The world of animated films has largely become a slick faceless corporation. For those seeking some idea of where it started and how individual genius played such a huge part I suggest The Art and Flair of Mary Blair. A highly inspirational visual feast.
Beautiful!.......2007-01-31
Wow, what a great book, I recommend it for fans and colour designers in animation. It would of been great to see more images, but thats as always with art books!
Book Description
For over 30 years, the amazing Stan Winston and his team of artists and technicians have been creating characters, creatures and monsters for the silver screen, from The Terminator and the extraterrestrial monstrosities of Aliens and Predator to the terrifying dinosaurs of Jurassic Park and the fanciful character of Edward Scissorhands.
Now, at last, he's opening up the Stan Winston Studios to collaborate on the first-ever book to reveal all the behind-the-scenes secrets of his groundbreaking and hugely influential artistry and effects work. Featuring an extensive array of sketches, production art, and exclusive photographs straight from the studio archives, this is a landmark book in cinema history!
Customer Reviews:
The real Effect.......2007-07-21
This book had a real effect over me, I have a few buddies that work and run Stan Winston Studios, I think that the publication was well done and hope to see a part two in the future.
Great book, awful shipped condition........2007-06-15
I give this 5 stars because the book itself is great! However Amazon shipped me a copy with almost every single page severely dog eared and crimped.
Hopefully yours comes in good condition, mine did not.
The ultimate inspiration.......2007-04-15
The book is amazing and inspiring. And to answer NickNack: I happen to be a CG artist and I can assure you that it DOES take a REAL artist to create awesome detailed CG characters, and it's way harder than sculpting by hand, but much more efficient from production's point of view. Computers do NOT create and animate characters by themselves, but they are a great tool for REAL artists.
A CG artist such as myself, beginner or professional, can find this book to be a great source of inspiration and reference for work.
Spectacular! Wonderful! And Awe Inspiring!.......2007-04-10
Of all the books I own this one satisfies my passion for monster movies as well as my passion for art. Filled with gorgeous high quality photos and in depth insight into each creature and character this book is better than watching it in a movie! The hard work and creative inspiration that goes into each creature of Stan Winston's is truly awe inspiring. It makes me want to work in his studio!
Simply Fantastic!.......2007-02-22
If you are a serious movie buff and you really enjoy "digging-in" to movies beyond just watching them, then you must get this book. It is rather large and heavy but contains great articles and loads of pictures on special effects and yes it covers movie favs like the Terminator and Alien series. This book comes highly recommended to movie fans by a movie fan.
Customer Reviews:
As a fan of cinema history I found this book enlightening!.......1998-11-13
I found this book filled in many gaps I had of my early cinema knowledge. Often making references to many little known events, it set the stage for what was to become mainstream animation.
Better with some revisions........1998-05-12
As a brazilian animator I tried to start to read this book by the Latin american section, and comprehensively, by the one that shows the status of animation in my country, Brazil, a reality that I know very well.I don't know where Mr. Bendazzi got his informations for this part of the book.What I know is that it's full of strange or, at least unknown names of people for most of the brazilian animators, illustrators figuring as animators, besides the absence of five or six of the really most important animators in my country.Because of all that,I'm affraid the rest of the book, at least in those sections telling about the animation in Latin America still needs to be revised.
Book Description
The Best of Draw! Volume One complies material from the first two sold-out issues of Draw!, the "How-To" magazine on comics and cartooning! Presented here are a wealth of tutorials by, and interviews with, the top professionals in the industry! Featured are demonstrations by: Dave Gibbons (layout and drawing on the computer), Bret Blevins (drawing lovely women, painting from life, and creating figures that "feel"), Jerry Ordway (detailing his working methods), Klaus Janson and Ricardo Villagran (inking techniques), Genndy Tartakovsky (on animation and Samurai Jack), Steve Conley (creating web comics and cartoons), Phil Hester and Ande Parks (penciling and inking), and more! Each artist presents their work step-by-step, so you can see it progress to finished form, learning valuable tips and tricks along the way.
Customer Reviews:
Mike Manley--the secret master.......2005-12-12
Manley is the best kept secret in the comics world. He is capable of drawing anything--in any style--beautifully. But he is dependent on routine comics work to make a living and it is always rush job stuff. Never anything where one can put time and love into it.
SO he has has own magazine. Here you can see the secret master at work--uh, behind the scenes, as editor. Once again, we don't get to see Manley unleashed. A few glimpses, yes.
GET this zine collection just to see Manley's work! That's my advice!
Customer Reviews:
Very inspiring, if not completely detailed.......2007-09-05
I loved this book because it has so many pictures. It is most interesting to see aspects of the rides that you might not get to view by visiting the park. The enthusiasm of this book is inspiring for anyone who is interested in theme park design. It does not get into anthing too technical, or show you what an Imagineer does from day to day on a regular basis. I would reccomend this book if you are interested in seeing Disneyland from another angle or if you want to be a theme park designer. It is a very good book if you aren't looking for technical advice, just to have fun and get excited!
Spectacular Book!!.......2007-07-11
Fabulous book!! Framable quality pages and chock FULL of amazing images. Details the making of films and has frame by frame development by the Imagineers. If the book seems a little spendy, it is. And it is worth it. Not just a coffee table book. You will page through it over and over again and find new things each time!
I admit it..........2007-04-02
...I didn't realize that Imagineering was going to be exclusively based on the Disney theme parks. I was... well, more than a little disappointed when I opened it up and looked for the many illustrations and stuff about the making of the movies, that I confess I thought would be there. The book in itself was nicely put together, and DOES look attractive, in terms of what was in there. I can clearly see why anyone would greatly enjoy it. Nevertheless, in my case it sits collecting dust on my shelf.
I blame myself: I should have looked just a little deeper in what the book was going to be about, before purchasing it. A technical explanation of the process of the theme parks' creation was... uh, boring. *laugh*
great book for the Disney fan.......2006-11-10
This is a beautiful informative book. My kids just enjoy looking at the pictures from their favorite movies and the theme parks. The accompanying stories are interesting and full of fun facts. So much is written about the imagineers it's nice to find one book that is first hand accounts and backgroundn info. If you've ever visited WDW or Disneyland this book gives you a whole new insight into what went into creating these magical places.
Any Imagineering Enthusiast Needs this Book.......2005-12-01
Anyone who has ever dreamed of being an imagineer needs this book. It has interesting construction photographs and artist renderings, however it doesn't have as much in depth and truly new information as I hoped it would. Overall, worth the money.
Book Description
As cartoons and animated features became an increasingly important part of the entertainment business, the production of cartoons industrialized to meet growing demands for the new global media. Artists adopted traditional union models to protect their jobs and working conditions, and a unique set of unions was born.
Drawing the Line is the first labor history of an industry whose principle figures--Walt Disney, Chuck Jones, and Max Fleischer--helped define American entertainment. Author Tom Sito, Disney animator and former president of the Hollywood Animation Guild, draws on oral histories, archival information, and firsthand knowledge of the animation process to create an insider's history of a colorful set of labor unions.
Sito describes the history and the fiery personalities behind the formation of the Screen Cartoonists Union, the strikes and walk-outs, the effects of Hollywood blacklisting, and the battles at the bargaining tables. He closes with a look at the changing nature of animation and the way in which current giants Disney and Dreamworks are again reshaping the relationship between studios and animators. Well illustrated with never-before-seen images from the backstage of classic Hollywood, Drawing the Line will change basic assumptions about animation history and its place in the story of American labor.
Customer Reviews:
Great specialized info.......2007-07-28
I originally read about this book in a review from animation world network (www.awn.com) It is everything the review said. Great information about the start of the industry fighting for its rights. A great read if you are into animation history. All of the animation old masters are involved, and speaks of even though they were in competition, they all had the same goal.
Fills a Historic Gap.......2007-03-13
As a Disney enthusiast, I have found one of the most delicate and hard-to-research periods in Disney history was the 1941 studio strike. Tom Sito fills this gap by providing a comprehensive narration. But more important to others, he provides a complete history of labor developments in the animation profession. I had no idea there had been so much turmoil! His account is very up-to-date, too, covering the most recent developments, like computer animation. This is a key reference tool for anyone seriously interested in the business of animation.
Essential Cornerstone of Animation History.......2007-03-04
This text is a pure labor of love.
The fight for fair employment practices within animation history is a story that needed to be told. For far too long, the sacrifices of artists and animation production personnel was overshadowed by the personal stories of studio founders who resisted outside influences within their beloved cartoon factories.
Tom Sito should be commended for faithfully reconstructing the backstory behind the most famous animation studios in the world: Disney's, Fleischer, MGM, Terrytoons, UPA, et al.
Not only does the author's passion shine through for preserving this neglected corner of animation history, he remains focused on the future of the medium; regardless of the technological advances to come.
Remarkably, the author does not succumb to slamming labor vs. management (or vice versa). Somehow the emotion-filled histories are presented in a manner that respects both perspectives that were responsible for bringing animation to a world-wide audience over the past century.
Unfortunately, the sacrifices of depression-era / WWII animators are slipping from memory; leaving today's pragmatic artists unprepared to fight the overpowering influences of the entertainment giants that control the industry today.
Future animation historians will be grateful for this essential work: the first of its kind. A "must-have" for any Walt Disney library or animation archive.
-"IT'S OFF TO WORK WE GO"... illustrating not such a rosey picture of Toon Town!.......2007-01-02
Mickey Mouse, Popeye, Bugs Bunny, Tom & Jerry, Mr. Magoo, Fred Flintstone, the Pink Panther and Bart Simpson, are the biggest stars in the business. But they couldn't make the slightest move or even open their mouths, without the help of the animation worker. Meaning no disrespect, I say worker and not artist, because that's what Tom Sito's book "Drawing The Line" is all about. The eternal labor struggle of men and women in the animation industry and their right to be recognized and treated as artists. Of course Hollywood is not the kind of town where that is ever likely to happen any time soon. And for all those that scoff and think that anyone who gets paid to simply draw for a living, let alone getting to work in Hollywood at all should be forever grateful. Well -you're about to have your eyes opened as you turn the pages of this well written and lovingly researched history, that dares to speak the truth and document it in precise detail. Through first-hand accounts of the animators that struck the studios, were fired and blacklisted, Sito has chronicled their plight and shown the effect it has had on working conditions today.
As an animator himself and a former declared labor cynic. Sito learned from personal experience why their really was a need to be unionized. So much so that he later went on to become an active president of the screen cartoonists local in Hollywood. Yes, animation was and still is a labor intensive assembly-line that even in this digital computer age, still relies on the artistic and professional skill's of it's of workers. It's a "must read" not just for anyone with the least interest in animation, Hollywood or social and labor studies, but for anyone who's keen to know just how their favorite cartoon characters came into being in the first place. Believe me, you'll never see them as just simple drawings ever again!
Many important insights on how the business evolved and how it affects today's working animators........2006-12-14
DRAWING THE LINE: THE UNTOLD STORY OF THE ANIMATION UNIONS FROM BOSKO TO BART SIMPSON provides the first comprehensive history of animators' unions in modern times, from silent cartoons through today's big movie hits. Any involved in cartooning will find the business and industry insights essential to a thorough knowledge of their career choice: history and cultural observations blend with a survey of the entertainment industry as a whole, making for many important insights on how the business evolved and how it affects today's working animators.
Diane C. Donovan
California Bookwatch
Book Description
Spanning a century of screen wizardry-from the early innovations of the pioneering French fantasist Georges Méliès to the first synthetic TRON images to the cutting-edge technology used in the most recent Star Wars and The Matrix-this fabulous volume pays homage to dazzling visual pyrotechnics and the artists of illusion who created them. This detailed look at the history of these great illusions is presented through interviews with 37 international masters of the art and science of special effects and more than 1,000 spectacular illustrations, nearly all in color.
The monster spewing flames in Godzilla, the flying bicycle in E.T. , the rampaging dinosaurs in Jurassic Park-these are just a few of the cinematic magic moments that have held audiences spellbound over the years. The inventors of such screen legerdemain reveal the huge variety of techniques they employ, from animation, animatronics, makeup, and model-making to the most astounding computer trickery possible today. The book encompasses not only film and television but also theme parks and attractions. As a bonus, the author includes his selection of DVDs with not-to-be-missed special effects. AUTHOR BIO: Pascal Pinteau is a journalist, screenwriter, and special effects designer who has created special effects for commercials, TV shows, and theme parks. Since 1985, he has visited with special effects masters throughout the United States, the United Kingdom, Japan, and Australia.
Customer Reviews:
Game of telephone anyone?.......2006-02-20
Most of the book is pretty good, I have a number of specialeffects books in my collection and have subscribed to CINEFEX magazine for many years. However there seem to be facts that are not checked and therefore some inaccuracies. The best example I can think of is the description of how Robby the Robot was constructed. The books describes fairly precisely the prosses know as Vacu-Form though never labels it. Which is odd because from all other accounts Robby was Fiberglass and there was only one made. If he was Vacu-Formed, a simple prosses once set up and molds made the studio doubless would have made at least three, if for no other reason that he would have be fragile. I may be nit picking. An I could be wrong
Mind Bending Eye Candy.......2005-09-23
As a charter subscriber to Cinefex magazine, the 25-year industry bible for visual effects, I'm no stranger to this topic. But flipping through Pinteau's book yielded some exciting revelations and mostly, It did not disappoint. The book promises interviews with masters "spanning 100 years" although it skews pretty heavily to the past decade (not a surprise). But I bought it for the pictures and they made it worth the time and money. The pics are well-chosen and even familiar old films are illustrated with scenes seen less often. I also like the durable hard/soft cover---because I'll be picking this one up frequently.
A great book about SFX for everyone.......2005-05-18
If you like special effects, you'll have a blast reading this book which was obviously written to please movie fans of all ages. A previous review onAmazon said "good, but not the best" and went on praising another book,which is in fact a very technical reference book for special effects pros or film students. I think it is a bit unfair to criticize a book because it is different from what you expected. "Special effects: an oral history" is not a dictionary. It is entertaining and fun to read precisely because it is not a boring catalog of techniques, props and apparatus. It manages to tell the history of special effects as a human adventure, involving many wonderful artists and also explain clearly how they've created miracles in movies, animated feature films or in TV series and theme parks rides (special chapters devoted to animation, makeup, television and theme parks effects, are each over 100 pages long, which is great, since all other FX books I've read so far are devoted to movies only) . Famous special effects geniuses like Ray Harryhausen, Stan Winston, John Dykstra, John Lasseter (and many others) tell great anecdotes about their work and about their creativity. You can buy this book, you won't be disappointed and your kids will love it from the first page to the end! And the 1500 photos and illustrations are simply stunning!
Good, but not the best.......2005-02-09
I liked this book a lot. The best thing about it is the pictures, they are well researched and some are quite rare. Unfortunately the text does not live up to the quality of the images and the book's sumptuous feel. The author attempts to explain how techniques work, often relying on interviews with experts who often say WHAT they did but not really HOW. Unfortunately this often leads to slightly baffling and incomplete explanations. I dont think it helps that it has been translated from French. If you want to read about how effects are achieved with REALLY CLEAR EXPLANATIONS and helpful diagrams you still can't beat Richard Rickitt's book 'Special Effects: The History and Technique' which is a real class act- I recommend it to all my FX students. But this book comes a close second (though I did find one or two factual errors). It has some unusual examples and it's interesting to see some of the stuff about TV and theme park effects.
Wonderful work..........2004-12-11
Anyone even slighty interested in this subject will like this book - end of story. From Stan Winstons 'Terminator' to Nimba Creations full size animatronic Tyrannosaurus Rex, this is a cracking book filled with great photos that is the best of it's type.
It covers everything from the beginning of filmmaking right up to present day and leaves nothing out, hence the vast 600 page count; this thing is thicker than a phone book!!
No complaints, it's a wonderful piece of work.
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