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.
Book Description
The profession of directing is barely a century old. On Directing considers the position of the director in theater and performance today. What is a director? How do they begin work on a play or performance? What methods are used in rehearsal? Is the director an enabler, a collaborator or dictator? As we enter the new millennium, is the very concept of directing under increasing threat from changes in thinking and practice? The full diversity of today's approaches to directing are explored through a series of interviews with leading contemporary practitioners. On Directing is a landmark book about the director's craft.
Customer Reviews:
A spotty yet suitable addition to a director's library.......2000-04-28
As a young director, I found this to be a fairly dissapointing book, but nonetheless worthwhile due to its inclusion of many powerful British directors. The interviews are spotty at best -- it is clear that a questionnaire was circulated and then followed up. There also is very little insight given to the working processes of each director interviewed. One to have if you must know about Phyllida Lloyd and Annie Castledine, but I would recommend Arthur Bartow's book "Director's Voice" any day over this one.
Insightful and an easy read........2000-04-05
There is probably no better way to learn how to be a good director than to study good directors. This book is filled with anecdotes and advice from several of the best directors of stage and screen working in the world today. Peter Brook is featured as an author. His previous books, including "The Open Door" and "The Empty Space" are treasures in theatrical theory, and his experience as a founding director of the Royal Shakespaere Company in England puts him as one of the most accomplished directors to learn from. I highly recommend this book to anyone wanting to pick the brain of great directors in theatre and film.
Book Description
THE ULTIMATE INSIDER’S LOOK AT THE FINE ART OF INTERVIEWING
“I had a fantasy the other night that this interview is so great that they no longer want me to act—just do interviews. I thought of us going all over the world doing interviews—we’ve signed for three interviews a day for six weeks.”
—Al Pacino, in an interview with Lawrence Grobel
Highly respected in journalist circles and hailed as “the Interviewer’s Interviewer,” Lawrence Grobel is the author of well-received biographies of Truman Capote, Marlon Brando, James Michener, and the Huston family, with bylines from Rolling Stone and Playboy to the New York Times. He has spent his thirty-year career getting tough subjects to truly open up and talk. Now, in The Art of the Interview, he offers step-by-step instruction on all aspects of nailing an effective interview and provides an inside look on how he elicted such colorful responses as:
“I don’t like Shakespeare. I’d rather be in Malibu.” —Anthony Hopkins
“Feminists don’t like me, and I don’t like them.”—Mel Gibson
“I hope to God my friends steal my body out of a morgue and throw a party when I’m dead.”—Drew Barrymore
“I want you out of here. And I want those goddamn tapes!”—Bob Knight
“I smoked pot with my father when I was eleven in 1973. . . . He thought he was giving me a mind-extending experience just like he used to give me Hemingway novels and Woody Allen films.”—Anthony Kiedis
In The Art of the Interview, Grobel reveals the most memorable stories from his career, along with examples of the most candid moments from his long list of famous interviewees, from Oscar-winning actors and Nobel laureates to Pulitzer Prizewinning writers and sports figures. Taking us step by step through the interview process, from research and question writing to final editing,
The Art of the Interview is a treat for journalists and culture vultures alike.
Customer Reviews:
Book purchase.......2007-01-11
Book arrived on time, in excellent condition and I even had a follow-up contact from the seller to be sure I got it. Good experience.
So Amazon, my first question for you is...........2006-03-11
As one aspiring to become an interviewer, Grobel's book acts as what I feel, a decent guide for even the most amateur interviewer. Sure, as many have pointed out, this book does seem to double as a memoir. Still, one can find pointers, or at least relevance.
Particularly what was fascinating about this book was just the way in which he talked about his interviews. I mean, it is always good to have a presence of sorts when interviewing, and this seems to come out in his book.
Now my greatest problem is that it is hard to equate interviews with Barrymore to interviews with the local police chief; however, Grobel does make it seem possible enough, and that is what matters.
Great book!.......2005-09-01
A wonderful read...there's some really juicy information about some high profile people in here too. Very accessible and highly interesting.
More of a Memior.......2005-07-14
I didn't buy this book to pick up tips - I've been an interviewer / writer for most of my life and am comfortable with my style. I bought the book because Larry Grobel is a great journalist and wordsmith, and I was curious to know about how he does what he does. On that count, the book is a hit.
Where it misses is in trying to instruct. The midsection of the book covers several different types of interviews (for print, online, TV, etc.) but completely neglects covering what I consider to be some very important ground. Most celebrity interviewers, like myself, are not at the highest echelon - most of us will not get exclusive sit-down TV interviews for the Playboy Channel; will never spend weeks with Marlon Brando on his private island; or get five or six sessions with Barbra Striesand for a big magazine cover story. Grobel's been there, done that. (But it's nice to know that even Grobel has the same experience with brick-wall publicists; he doesn't necessarily have Oscar winners banging his door down all the time.)
I have interviewed quite a few of the same big stars Grobel has - Tom Cruise, Brad Pitt, Halle Berry, Meryl Streep - but my experience is quite different. I usually get about five minutes at a red carpet premiere, four minutes at a TV junket, or 20 minutes at an on-the-set press conference in which I must compete with other reporters for answers. It's rather appalling that Grobel does not even mention press junkets, red carpet premieres, or set visits in his book - let alone e-mail interviews which are becoming more and more commonplace as the world goes online.
Grobel has the time to make an "art" of the interview - given the limitations of the situations, what the vast majority of reporters do is a quick caricature or a sketch. Still, there is a certain excitement and spontaneity to the randomness of a red carpet premiere, or having a chat at a press junket with young up and comers who aren't so guarded around the press. As long as the interviewee can express themselves well in writing, even e-mail interviews can be cool. It's too bad that Grobel doesn't mention any of this.
Had I been looking for tips to break into the business of interviewing celebrities, I would have been pretty disappointed in The Art of the Interview. However, if you are looking for more of a memoir and are interested in the process of what an interviewer actually does, then The Art of the Interview is highly recommended. Grobel is an excellent writer, and he does a good job of seamlessly going from point A to point B.
A Memoir Miscast as a How-To.......2004-10-31
Interviewing has been part of my professional life for nearly 15 years, so I was looking forward to reading a book by someone who's been doing it twice as long, and with far more famous interview subjects than I tend to work with.
But it wasn't too far into the book before I realized the same points were being made over and over and over, using scenarios with different famous people as examples. The book seems to be part memoir, part how-to, and doesn't really satisfy as either one. It's too repetitive and not quite in-depth enough to be a good how-to, and it's not quite personal enough to be a memoir. By the time Grobel resorted to interviewing _himself_, I felt the book had wavered so much between memoir and how-to, that the self-interview seemed not only redundant (bringing up many of the same how-to points that had been reiterated throughout the rest of the book) but self-indulgent.
The book feels padded, especially by the interviews with prominent editors and interviewers -- I feel those could have been trimmed even more than they no doubt already were. I think the material in this book could have made a compelling magazine article. As it stands, however, it's a rather lightweight book.
The parts I most enjoyed were the parts that approached memoir. I loved hearing about Grobel's personal reactions to, and opinions of, big-name celebrities. I loved hearing stories about battling recalcitrant publicists. I appreciated the bits of personal information, such as Grobel's initial desire to be a novelist. Maybe there _is_ a memoir inside Grobel. If he ever writes it, I'll read it, because the scraps of information he throws in "The Art of the Interview" are fascinating.
Book Description
Karen Kondazian has compiled inside information from talking to the premier casting directors in film, television, and commercials from New York to Los Angeles.
Customer Reviews:
interesting but not ground breaking.......2002-12-22
Had some useful information
but nothing that was ground breaking good but not amazing if you havr extra money ,not a bad investment
Good reading.......2002-11-26
I enjoy reading this book. It is useful for when you are submitting or auditioning for these casting directors since after reading the book, you know what they want. Or do you? I find people changing their minds very frequently and we as human beings are always changing. What is printed on the book, may no longer be true after a few years. However, it is interesting to read just what each person thinks an actor is or should do during auditions. I think as a whole, the book is useful because it provides some universal principles that we can all treasure and use in every aspect of our lives.
Hear it directly from the casting directors themselves.......2001-10-22
The role of a casting director is often misunderstood and actors are too often unaware of the pitfalls of auditions. This book is a must-have to help you find your way through. With direct interveiws with over 100 casting directors (mainly LA-based film/TV CDs, but some NY ones also) it gives you direct feedback on what casting directors like to see and don't.
One of the best advantages of this book is that you can see what preferences vary among casting directors...and what preferences are universal in the industry. This is an extremely valuable took and one I think should be in everyone's library!
good concepts, but not enough depth or variety.......2001-09-12
This is a well intentioned book, and has 100 interviews with real life Casting Directors. But after repeating the basics over and over with 100 interviews, there is not alot of depth or additional details. The basic teachings, such as being early to the audition, being prepared, being polite, being a professional, being an enthusiastic auditioner.....well, this is repeated for the 100 interviews. It could have been a much better book, with more details, so 3 stars.
A must read!.......2001-08-25
This is a fantastic up-to-date reference for all actors who are serious about the business! And if you don't want to follow the casting directors' advice, then get out of the business now!I have recommended this book to all the actors at my agency. I just wish it was bigger to include even more LA casting directors.
Book Description
Top-Notch Writing Advice from Today's Premiere Writers
*From Glimmer Train--one of today's most well known literary journals
*Features advice from some of the most accomplished and respected fiction writers today
*Features an illustrated, gifty package that will appeal to any writer
In this exquisite new series from the nation's leading short fiction literary journal, accomplished authors offer advice and instruction on fiction writing and the fiction writing life that speaks to writers of all experience levels. Compiled from the best of Glimmer Train's "Writers Ask" quarterly newsletter, this volume contains useful techniques, informed perspectives, and inspired nudges from a wealth of accomplished writers including Margaret Atwood, Ernest Gaines, Julia Alvarez, Jamaica Kincaid, Stephen Dixon, Mary McGarry Morris, and more.
Customer Reviews:
Don't look any further, this book has it all!.......2007-10-01
What an AMAZING reference. I bought this and the second book within days of each other because I could not get over the amount of GEMS the first one contained, and knew I was in for more literary treasure!
I don't think there is ANY book out there like these, the very best info, insight and wisdom from the very best authors, compiled together in over 400 pages? I love how their opinions often vary but you turn each page completely enthralled with it all.
I can't stop raving about this series and even asked one of the editors about the third book because I am already fiending for it!
Help to make your way.......2007-08-14
I have read many books on writing fiction, mostly because I am inspired by reading about the creative process. The reason I love this book is that its breadth and variety provide a hundred little windows into the craft of story-telling. Somehow, it's refreshing to see that the experience of writing fiction is wildly different for different people; there's simply not a right or wrong way to approach the work.
As other reviews have said, this would be a terrific book both for students of fiction and for practicing writers who need occasional fresh perspectives. I've shared my copy with my daughter, a teenage writer who is absorbing all she can about the nuts and bolts of writing stories; we both enjoy reading it in bits.
These contemporary writers offer their personal insights into writing techniques.......2007-07-27
THE GLIMMER TRAIN: GUIDE TO WRITING FICTION BUILDING BLOCKS is a writing reference like no other: most competitors offer inspiration but here a hundred writers' experiences are presented using interview excerpts conducted over a sixteen-year period by the editors of the literary quarterly Glimmer Train Stories. These contemporary writers offer their personal insights into writing techniques, challenges, and frustrations alike, making for a detailed collection of insights perfect for aspiring writers who would learn from the pros, and for any library catering to them.
Diane C. Donovan
California Bookwatch
Scraps and other Tidbits.......2007-07-05
Writers across the world owe a debt of gratitude to the Glimmertrain sisters for their publication. Glimmertrain is a great-paying market and it's also a devil to get work in.
All that said, this book is a collection of scraps and tidbits and it didn't really get anywhere. There are scraps that are good but, as is always the case with the anthologies, the quality varies wildly and the selections are so short they really don't add up to anything. I would not recommend buying this book unless you really want everything Glimmertrain.
A perfect resource for aspiring and established writers!.......2007-04-11
I put this book to use the very same week I bought it. One of my creative writing students at the local university where I teach was having problems writing dialogue. When I met with him, I brought along my "Building Blocks" book. In addition to what I had to say, it was great to offer him the advice of some of my favorite writers, including Charles Baxter, Amy Bloom and Dick Bausch. I felt as though I was leading him down the corridors of the ultimate English department, and every door was open.
The excerpts are golden nuggets of writing wisdom: short, conversational and enlightening. I'll definitely consider using this book as a required course text in the future. It covers everything I need to address in my writing class: point of view, voice, place and setting, character, description, use of language, dialogue, etc. - without sounding repetitive or pedantic. The variety of voices, perspectives, interviews and excerpts keep the topics interesting and fresh.
As a writer myself, I've found that the book offers more than just "building blocks." I turn to the book when I'm feeling stuck, and when I need to get a fresh perspective on the craft. It's often helpful to remind myself that even the best writers experience roadblocks and frustrations. Unlike a lot of books on writing, this one tells it like it is, while at the same time offering helpful strategies and techniques -- from writing a novel for the first time to paragraph breaks and punctuation.
Book Description
Over the course of his career, acclaimed author, teacher, and critic Ben Yagoda has uncovered one certain truth about writing: "Style matters." Indeed, it is frequently the case that our favorite writers entertain, move, and inspire us less by what they say than by how they say it.
Most books, including Strunk and White's classic THE ELEMENT OF STYLE, take a narrow view of style, suggesting that the only proper one is of plainness, simplicity, and transparency. But tell that to David Foster Wallace, Dave Eggers, Don DeLillo, and other stylistic risk takers!
While not a "how-to" manual, THE SOUND ON THE PAGE offers practical and incisive help for writers on identifying and developing a distinctive style and voice. Drawing on interviews with more than forty authors -- Tobias Wolff, Elmore Leonard, Michael Chabon, Cristina Garcia, Dave Barry, Camille Paglia, Junot Diaz, Margaret Drabble, and Bill Bryson among them -- Yagoda discusses:
*Conscious and unconscious ways writers approach style, from Bebe Moore Campbell on her pointed use of Black English to Christopher Hitchens's penchant for adverbs
*The influence of writers on writers, including Susan Orlean on Ian Frazier, James Wolcott on Manny Farber, and Frank Kermode on William Empson
*The impact of tools on style, featuring Cynthia Ozick and Harold Bloom grumbling in harmony about the word processor and its discontents
Filled with insights from outstanding writers and close readings of their works, THE SOUND ON THE PAGE is an essential book for all aspiring and experienced writers, as well as for readers who are interested in learning how their favorite writers approach the craft.
Customer Reviews:
Willfully wrong-headed.......2007-08-31
The introduction ruined this for me. The author is so willfully wrong-headed, so determined to misunderstand Strunk & White's Elements of Style, and so arrogantly dismissive, that I dismissed him in my turn. Yagoda's own style is characterized by frequent italicization for emphasis, leading to a sing-song effect reminiscent of Valley-Girl speak--a bad habit affected by many contemporary writers trying to sound like "folks just talking," but really demonstrating a deep distrust of the written word. A good writer doesn't need italics to show where the emphasis should fall.
He is so breezily shallow that I thought, "Why should I listen to this man on this subject?" Not to mention the egregious proofreading errors. (For example, on page xx, the following: "One measure of this doctrine's weirdness is that its absolute inapplicability to E.B. White's own prose style, which, although outwardly plain, simple, orderly, and sincere, is also idiosyncratic, opinionated, and unmistakable." "That" should have been deleted. This was obviously written and edited on a computer and was left uncorrected after the sentence was recast from an earlier draft.)
Mr. Yagoda, please re-read The Elements of Style (or read it through for the first time, since I can't believe you've read it through attentively). Try to understand the last section. It is not advocating the erasure of personality from writing; it is only advocating the erasure of bad writing habits so that one's personality may appear more clearly. Then look at your own work again, examine your own writing habits (frequent italics, perhaps?), and let us know if you change your thesis. You can still explore authors' styles without denigrating a classic.
And another tip: citing Harold Bloom's violent prejudices as a justification for your own will not profit you with a large number of people.
A Disappointment.......2007-05-22
Yagoda was a big disappointment for me. I found the writing turgid and I never quite got the organization of the book. He was handicapped by directly quoting so many different authors, whose individual styles (or writing and talking) presented a cacophony of different, clashing sounds. This is the first book I've read on writing that left me with little enlightenment.
Best book I have read about writing !.......2007-05-15
As a writer and teacher of writing for over thirty years, I have read hundreds (thousands?) of books, articles, and conference presentations on style and how to teach it. This small book, with its own engaging style, combines advice, experiences, and examples from writers we all recognize. Excellent ! It could easily replace all the stuffy anthologies usually required in college classes.
One of the Best.......2007-04-09
This is a tremendous book, a must-read for anyone who wants to improve their writing skills. I've read many writing instruction books, from Zinsser's "On Writing Well" to Stein on Writing to Strunk and White, and this volume stands with the best of them.
The book demystifies (partially, at least) the various tics, choices, and talents that underlie many writers' styles. It's in-depth and intelligent. Extra bonus: it's highly readable. Yagoda's own style is engaging and keeps the educational material far above the standard-issue text. I found it encouraging.
In Defense of Style.......2006-05-15
Yagoda's thesis of this highly intelligent, generous book is that the dogma, championed by Strunk and White's Elements of Style, which shames us for having our own writing style, contradicts the joys and pleasures of writing, namely, that writers have their own individual finger-print style or voice. A writer's voice, his or her style, is the sensibility or personality giving life to the page. Yogada interviews several writers, including humorist David Barry, for the subject. Yagoda's own voice is smart and lively but never adademic. I should emphasize that the lack of academic-speak is one of the book's greatest virtues and triumphs. Here Yagoda has taken a book about the style of writing, a topic that could have easily been hijacked by some stuffy pretentious academic, but keeps the passion and accessibility on the level of a delicious pop book. Anyone interested in writing and style and literature in general should love this book.
Book Description
"Don't risk attending an interview without first reading this helpful guide." -Business Executive
Book Description
Some of the most influential filmmakers of modern times-D. A. Pennebaker, Albert Maysles, Susan Froemke, Liz Garbus, Nick Broomfield, and many more-share their experiences in Documentary Filmmakers Speak, a fascinating behind-the-lens look at the contemporary documentary. Film professionals, film students, and fans of pop culture will enjoy learning more about the ins and outs of documentary filmmaking from people who have made some of the best-known documentaries of recent years. You'll discover intriguing, one-on-one interviews on topics such as storytelling techniques, funding, ethical boundaries, and what separates their genre from fictional films, as well as remarkable insights into what makes the documentary one of cinema's most exciting and rapidly growing forms.
Customer Reviews:
caveat lector.......2006-10-16
Stubbs' book of interviews with contemporary American documentary filmmakers may be useful (even inspirational) for those new to the field, but the author doesn't know her turf. The volume is filled with minor factual errors: film titles are misspelled, interviewees' self-serving statements go unchallenged, and proofreading errors abound. Clearly, Stubbs was learning as she went along, and editorial oversight was minimal.
For better or worse, the book reveals the enthusiasms of a novice. The interviews are superficial, and somewhat adulatory: the writer seldom takes a critical or analytical view of the filmmakers' assumptions and methodologies.
The book may appeal to beginner film students looking for easy-to-read interviews with Ross McElwee and Berlinger & Sinofsky; there are much more informative interviews with Al Maysles, D.A. Pennebaker, Barbara Kopple, and Ken Burns elsewhere. Caveat lector.
Inspirational.......2005-02-20
I just finished reading this book and I really loved it. I'm an aspiring documentary filmmaker and this book gave me such a clear idea of what is really involved in the making of documentaries that matter, and the many approaches one can take to get there. It can be daunting to hear one artist declare that there is only one way to make a documentary, and think, "but I don't know that I can or want to work that way - perhaps I'm not cut out for this". But this book offers such a wide variety of voices that if one approach doesn't resonate, then another surely will. The only hard and true constant that every filmmaker shares is the absolute necessity for passion, empathy and stamina. The level of joy and passion that informs every voice in this book is truly inspirational. Now that I've finished reading my library copy, I'll be buying my own copy, as well as a copy for my documentary partner. It's my new bible.
Liz Stubbs Documantry Filmmakers Speak.......2002-11-10
Liz Stubbs Documentary Filmmakers Speak, is a fascinating account of the manner in which some of the greatest filmmakers of our country go about the process of creating masterpieces. Because Liz Stubbs is a truly brillant interviewer she has been successful in drawing out the humanity and the passion of these thirteen extraordinary filmmakers. It is a must read for anyone who has watched a Ken Burns, Bruce Sinofsky or a D.A. Pennebaker/Chris Hegedus production. It was a can't put down for me and a muxt for my Holiday giving list.
Book Description
Rarely has the private world of the director in the rehearsal room been so frankly and entertainingly opened. In addition to the art and craft of directing, they discuss: multiculturalism; the 'classical' repertoire; theatre companies and institutions; working in a foreign language; opera; Shakespeare; new technologies; the art of acting; design; international festivals; politics and aesthetics; the audience; theatre and society.
Book Description
This book is designed every college students prepare for the job search process. The first section covers how students can take full advantage of their college experience in order to prepare them for life after college. The second section teaches them about the types of interviews they are likely to face, how to conduct a job search (including finding out about available jobs), writing resumes and cover letters, researching companies and positions, questions to answer (behavioral and traditional) and ask, and appropriate interview attire. Section three covers taking part in the face to face interview, including how to make a good first impression, the keys to answering questions, important nonverbal behaviors, and how to finish strong. The final section of the book covers the follow-up process: writing thank you letters, weighing various job offers, accepting, declining and negotiating job offers.
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- Spectrum 10: The Best in Contemporary Fantastic Art (Spectrum (Underwood Books))
- Stop the Anger Now: A Workbook for the Prevention, Containment, and Resolution of Anger
- The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern
- The Art of Innovation: Lessons in Creativity from IDEO, America's Leading Design Firm
- The Art of Portrait Drawing
- The Bedside Book of Birds: An Avian Miscellany
- The Best American Essays
- The Big Book of Painting Nature in Watercolor (Practical Art Books)
- The Book of Kells: An Illustrated Introduction to the Manuscript in Trinity College Dublin
- The Complete Calvin and Hobbes (Calvin & Hobbes)
Books Index
Books Home
Recommended Books
- NIV Harmony of the Gospels
- History: Fiction or Science
- Atlas of Human Anatomy for the Artist
- CCEL Classics CD: works by Saint Augustine, John Calvin, John Donne, Julian of Norwich, Brother Lawr
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The Winston Effect: The Art & History of Stan Winston Studio
Special Effects: The History and Technique
Designing Movie Creatures and Characters: Behind the scenes with the movie masters
CGI: The Art of the 3d Computer-Generated Image
Industrial Light & Magic: Into the Digital Realm
