Book Description
After the 1973 success of American Graffiti, filmmaker George Lucas made the fateful decision to pursue a longtime dream project: a space fantasy movie unlike any ever produced. Lucas envisioned a swashbuckling SF saga inspired by the Flash Gordon serials classic American westerns, the epic cinema of Japanese auteur Akira Kurosawa, and mythological heroes. Its original title: The Star Wars. The rest is history, and how it was made is a story as entertaining and exciting as the movie that has enthralled millions for thirty years–a story that has never been told as it was meant to be. Until now.
Using his unprecedented access to the Lucasfilm Archives and its trove of never-before-published “lost” interviews, photos, production notes, factoids, and anecdotes, Star Wars scholar J. W. Rinzler hurtles readers back in time for a one-of-a-kind behind-the-scenes look at the nearly decade-long quest of George Lucas and his key collaborators to make the “little” movie that became a phenomenon. For the first time, it’s all here:
• the evolution of the now-classic story and characters–including “Annikin Starkiller” and “a huge green-skinned monster with no nose and large gills” named Han Solo
• excerpts from George Lucas’s numerous, ever-morphing script drafts
• the birth of Industrial Light & Magic, the special-effects company that revolutionized Hollywood filmmaking
• the studio-hopping and budget battles that nearly scuttled the entire project
• the director’s early casting saga, which might have led to a film spoken mostly in Japanese–including the intensive auditions that won the cast members their roles and made them legends
• the grueling, nearly catastrophic location shoot in Tunisia and the subsequent breakneck dash at Elstree Studios in London
• the who’s who of young film rebels who pitched in to help–including Francis Ford Coppola, Steven Spielberg, and Brian DePalma
But perhaps most exciting, and rarest of all, are the interviews conducted before and during production and immediately after the release of Star Wars–in which George Lucas, Mark Hamill, Harrison Ford, Carrie Fisher, Sir Alec Guinness, Anthony Daniels, composer John Williams, effects masters Dennis Muren, Richard Edlund, and John Dykstra, Phil Tippett, Rick Baker, legendary production designer John Barry, and a host of others share their fascinating tales from the trenches and candid opinions of the film that would ultimately change their lives.
No matter how you view the spectrum of this thirty-year phenomenon, The Making of Star Wars stands as a crucial document–rich in fascination and revelation–of a genuine cinematic and cultural touchstone.
Customer Reviews:
Wait, you mean there's stuff I didn't already know?!.......2007-09-30
The Making of Star Wars: The Definitive Story Behind the Original Film (Star Wars)
I was four years old when the original "Star Wars" was released, and like so many kids of that generation, that film and its two sequels defined an enormous part of my childhood. Even though I didn't know it at the time, it introduced me to the "best bits" of classical mythology, while being a visual catalyst for my imagination (and years of subsequent role-play, particularly in Upstate New York, where re-enacting ice planet Hoth after "Empire" came out was all too easy...).
As I grew older (I hesitate to use the phrase "grew up," as I'm not sure it's happened yet), I came to appreciate more than just the adventure and dynamic visuals that "Star Wars" represented; it was my "gateway drug" into wanting to learn more about how movies were made. I remember all of the TV specials of that era that pulled back the curtain on the filmmaking process, particularly with regard to the original "Star Wars" trilogy, and I couldn't get enough information. That hunger became the same kind of obsession that's typically associated with "Star Wars" fans, and I absorbed every scrap of detail I could find, from Ralph McQuarrie's concept art, to model photos, to script pages, and even before the Internet made it only a matter of a few clicks to access such information, there was a wealth of it, when it came to "Star Wars."
Fast forward to 2007; "Star Wars" is 30 years old, a whole separate trilogy has come and gone, and my own children are budding "Star Wars" fans for their own reasons. I figured I knew pretty much all there was to know about this film. I darn well should have, for as much time as I had spent (and continue to spend) over the years actively seeking out new details about it. Then came this book; I didn't know anything.
This is dense, dense reading, covering every minute detail about every aspect of production of the original "Star Wars," from drafting the script, to getting it taken seriously by Hollywood, to assembling the team that would revolutionize filmmaking as we came to know it. This is a wonderful thing. I find myself poring over every word, every image, every caption and footnote, just as I did as a child who was learning about film for the first time. It is an amazing tribute, an insanely detailed reference volume, and most incredible of all, a unique representation of a film that has been covered in so many ways by so many authors, that finding anything new to talk about seemed impossible.
The aspect of this book I personally find most exciting is that all of the interviews that comprise it are taken from the period immediately surrounding the production and release of the original film. There is none of the revisionist hindsight pertaining to the film that has come about as a result of the films that came after; every word spoken by the people involved is "of the moment," and as such, is refreshingly candid about what was going on while the film was in the throes of its conception and execution.
The hardcover volume is worth the extra cost, because of its additional supplemental material, not found in the softcover edition. There are 45 pages of storyboard reproductions, as well as Lucas' first-ever references to the larger world beyond what was shown in the original film, in the form of interview excerpts taken in 1977, which involve Lucas describing character and environmental background information. As author J.W. Rinzler explains in the opening to the section, "Many of these ideas...[have since been] modified to a greater or lesser degree. They are presented here...[as] an idea of how he first began [the process of expanding the "Star Wars" universe]." Given the amount of tweaking that the backstory has undergone in the decades following "Star Wars," the inclusion of Lucas' first impressions of it in this volume are incredibly valuable to anyone who, like me, has wondered if the second trilogy of films was truly borne from his original ideas, or was more a product of his later experiences.
This book is exactly what its title promises: the definitive history behind the original film. And for someone who has spent most of his life feeling like there was nothing new under the suns (not a typo) when it came to the story of how "Star Wars" was made, that's saying something.
Wonderful.......2007-09-22
I think I've been waiting 30 years for this book. It is excellent and packed with really cool behind the scene photos and notes. It is exactly as it should be given the lack of "marketing" tools of movies back in the late 70's. It has a lot of information and will add nicely to any Star Wars collection for years to come.
A wonderful piece to celebrate this film's 30th anniversary!!.......2007-08-24
Before this book came out, the greatest making of book in star wars lore was Once Upon A Galaxy. Now it has a partner!!! This book is amazing; truly a magnificent look at what it took to get this film on the screen. Not only do you get hundreds of never before seen and priceless photos, the sheer amount of text is incredibly impressive. This was very hard work to put together. There isnt much more I can add about this book. So.......go buy it; and Happy 30th Star Wars!!!
Exhaustively complete, excellently thorough.......2007-08-23
This book goes into more detail than anyone but a die-hard fan would want to know, in all honesty; but as it's one of the greatest movies ever filmed, Star Wars has more than its fair share of die-hards. The book is thoroughly researched and excellently presented and covers every aspect of the film's genesis from the very first words scribbled on George Lucas' yellow legal pads to the opening day. This book is, as the title states, the definitive story behind the making of Star Wars. Again, fascinating for the die-hard, but may be a bit detailed for the casual fan.
The Making of Star Wars: The Definitive Story Behind the Original Film .......2007-08-13
For all those you loved the first Star Wars experience this book is a must have. The hard copy has many extra pages and it worth the additional price. The pictures and details included makes this a fun, informative and exciting book to read and re-read.
Book Description
In this book are the essential beliefs and theories of a great teacher and American artist, Robert Henri. While it embodies the entire system of his teaching, with much technical advice and critical comment for the student, it also contains inspiration for those to whom the happiness to be found through all the arts is important.
Customer Reviews:
Every painter should own this book........2007-03-10
George Bellows, Edward Hopper, Patrick Henry Bruce, Stuart Davis, Rockwell Kent, Guy DuBois, Alfred Maurer, Carl Sprinchorn and countless others studied with Henri and went on to do great work. There are too many for this to be simply coincidence. The "Art Spirit" is the closest thing we can get to the Kool-Aid that flowed in Henri's classroom. One can glean quite a bit from the pages of this book. It is both practical and inspirational. I have to say that it can be a bit frustrating not being able to see anything or ask a question, but its much better than nothing (thank you Ms. Ryerson!). Buy a copy and read it.
An Art Spirit for Everyone.......2007-01-08
The Art Spirit. Now there's a bold title. The implication is not only that there is such a specifically identifiable thing as an "art spirit", but also that the author, painter, and teacher, Robert Henri knows these specifics; a bold implication indeed. The difficulty (wherein lies the boldness) whenever one attaches the word spirit -or spiritual- to anything, there are, of course, as many understandings or perceptions of that word as there are hearers and readers of that word. This may exist to no greater degree and appear no more obvious than in the world of visual arts. Henri himself acknowledges this, writing in the forward, "...the opinions are presented more as paintings are hung on a wall, to be looked at at will and to be taken for what they are worth. If they have a suggestive value and stimulate to independent thought, they will attain the object of their presentation..." And later, "There is no idea that anyone should agree with any of the comments or that anyone should follow the advice given. If they irritate to activity in quite a different direction, it will be just as well." Although he embraces this free thinking, to-each-his-own, take what you will from it approach, it is merely one of the specific personality characteristics evidenced in the Art Spirit. Henri intends to show there is an "art spirit", and it is the province of every human being.
This is the crux of the issue for Henri, his point of departure from other artist/writers, and the chief value of this book: The Art Spirit is attainable by anyone, can be exhibited by everyone.
Other works on the subject tend to be either the less specific, more nebulous notions where we are expected to buy the fancy explanations and just accept that there is something spiritual, or of the spirit, going on here, or the very specific, artist-only oriented varieties. For example, consider Mandarin's grid "composition" series and his writing about them. While his theosophically induced explanations may help some to a degree of understanding, we are essentially left to take his word for what we are supposed to be seeing in the canvas. In his "Concerning the Spiritual in Art", although Kandinsky presages Henri -discussing psycho-emotional, expressive, and contemplative states of artists out in the real world and before the canvas- he ultimately leaves it with the artist, not really taking it out of the studio and into the factory, construction site, or office cubicle as Henri does. Whereas Kandinsky seems to digress at times into a sort of "how -to" instruction guide for defining and placing spiritual elements into a picture, Henri takes it further, defining his Art Spirit, then setting about showing us how to tell when it's present. This every-man definition is offered at the very beginning of his book:
"Art when really understood is the province of every human being.
It is simply a question of doing things, anything, well. It is not an outside, extra thing.
When the artist is alive in any person, whatever his kind of work may be, he becomes an inventive, searching, daring, self-expressing creature. He becomes interesting to other people. He disturbs, upsets, enlightens, and he opens ways for a better understanding. Where those who are not artists are trying to close the book, he opens it, shows there are still more pages possible.
The world would stagnate without him, and the world would be beautiful with him; for he is interesting to himself and he is interesting to others. He does not have to be a painter or sculptor to be an artist. He can work in any medium. He simply has to find the gain in the work itself, not outside it."
Henri then spends two hundred and forty five more pages illuminating and reiterating how one is -or can be- an inventive, searching, daring, self-expressing creature; how to live life to the fullest. The Art Spirit manifests itself in the appreciation of the non-material things in life; in the "true student" who self-educates and explores feelings, meanings, who contemplates, who really sees, who learns to express "who is you"; in what comes from the external world and inside you; in the full enjoyment in the living of life; in doing a thing well ... anything.
Henri accomplishes a difficult task here; a book with specific and important information for the artist, yet within that structure filled with insight and compelling ideas for the non-artist. One is urged to make a full reading, since quite often both are mingled in the same sentence or statement. For example, a non-painter might be tempted to skip the ten-page section on brush strokes (pg. 62-72), seeing no need for it. The unfortunate reader would then miss out on many little gems of insight and information. What is a brushstroke but a purposeful committed action by an artist? So then, consider the message in these statements when you substitute the word "stroke" with "action" or even "attitude" (parenthetical insertions are mine ):
"Strokes carry a message whether you will it or not. The stroke is just like the artist (person) at the time he makes it. All the certainties, all the uncertainties, all the bigness of his spirit and all the littleness are in it."
"There are more strokes which laugh, and there are more strokes which bind laughter, which freeze the face into a set immoveable grimace."
"(There are) bad strokes which are bad because a brush (a method) or a condition of paint (situation) were chosen which could not render them."
While Henri plays to both artist and non-artist audiences, it is at these times when he addresses the artist more directly he more closely aligns himself with Kandinsky. Both men bring their great passion for the subject into their text in their strong, clear, and pleasing voice. Kandinsky, sounding alternately-yet only slightly more- poetic here, technical there; Henri with a bit more enthusiasm. They share the same territory on many issues, such as the shape, direction, and function of line, intention of every stroke, careful planning followed by exuberant expression and more. Yet, while they may travel the same road, they do not share the same vehicle. There is an important distinction in each man's approach to spirituality, or the art spirit. For Kandinsky, there is a spirit world out there, and a spiritually inspired painter can -and should- find ways to represent both that indwelling spirit and that exterior spirit world to which we are all connected. Henri says (when) we search the external world with appreciation and wonder, and we search within ourselves, and when we become more self-expressing creatures, we have the art spirit...we are the art spirit. Kandinsky believes only non-objective images can reveal the spiritual, Henri says it matters not what you paint but how you paint it-compelled by the spirit. So while Kandinsky can use the "psychic effect" (pg. 24) of color to manipulate the viewer's emotional state toward a comprehension of the spiritual, Henri says the artist's mark itself can manifest the Art Spirit. While, in both cases it takes a more or less purposeful opening up to the notion of the spirit, for Henri it is not trying to grasp the spirit and record it, it is about internalizing and building the spirit inside ourselves, and our resulting expressions will, by definition, represent the Spirit. And it is possible for all of us.
The long quote above (from pg. 5) is written exactly as printed in the fifth edition printing not only as expository text, but as a means of illustrating Henri's bright, clear and energetic voice that runs throughout this book. The subtitle for The Art Spirit reads, "notes, articles, fragments of letters and talks to students, bearing on the concept and technique of picture making, the study of art in general, and on appreciation," and that is exactly how it reads. Much of this is due to Henri's considerable gift of communication, and the balance is credited to the physical layout of the book. There are no chapters, even very few headings to sections, lending itself very well to opening to any page and beginning to read. At times, a lecture, or perhaps advice to a single student goes on for five, six, seven pages. Other times, pages are divided into two or three sections, or set up in individual sentences which concern the same subject, yet stand on their own. The resulting effect is the feeling of being in the very classroom of Professor Henri. There are also considerable instances of repetition here, albeit in subtle variations. The index, however, is usefully repetitious as well, helping to differentiate between those subtleties when one may be in need of a specific quote or reference.
The last thirty pages are exact notes taken by Margery Ryerson, a Henri student who eventually compiled the notes, fragments, etc.(in the revised edition, she is credited as Editor). This is an excellent addition to the book. Reading Henri's comments and insights in her necessarily abbreviated, note-taking style provides fresh psychological weight to the reality of Henri's classroom.
One area of disappointment concerns the photograph illustrations of Henri and his work. In the fifth edition, the plates are in black and white. Although understandable at the time of inclusion (1930), they do not allow for close comparison with Henri's ideas and techniques about painting elaborated in the text. The real disappointment is to find that the current edition available from booksellers has not updated to colorplates, but jettisoned the pictures entirely, save for the full color cover.
I recommend The Art Spirit to anyone involved in the creative process. It is a must have, particularly for those times when one may be experiencing a creative burnout, or to shake off the cobwebs. I am recommending The Art Spirit to non-artists as well -anyone who is looking for a little spark, a little positive push toward self-actualization.
For the artist, I am not recommending The Art Spirit over the Kandinsky classic; I see Henri's work as more of a continuation, or a rounding out of what Kandinsky started years before. Artists and aspiring art appreciators must read both if there is to be any hope of understanding
Excellent.......2006-10-20
If you are an artist, have an interest in art or even just like to read thought provoking quotes then you could do a lot worse than have this on your shelf. The book is collection of conversations, thoughts, writings. There isn't much of a structure to it - more a random collection although the index helps somewhat. It lends itself to just opening the book at a random page and reading whats there. It contains one salient point after the other on the how's, whys and wherefores of painting, drawing and sculpture. This book should be on every artists shelf.
"Art," before commercialism took over........2006-09-13
Finally a review of art, for the sake of art, without becoming cluttered by commercial concerns. Paint color, composition, line...The book is written as a painting with no particular beginning, middle, or end. It needs to be absorbed as a whole to fully appreciate its contents. The pedantic English can tire but it does not subtract from the freshness of the message and the pleasure it provides to every student of art.
an eternal favorite.......2006-02-04
"There are moments in our lives, there are moments in a day, when we seem to see beyond the usual. Such are the moments of our greatest happiness. Such are the moments of our greatest wisdom. If one could but recall his vision by some sort of sign. It was in this hope that the arts were invented. Sign-posts on the way to what may be. Sign-posts toward greater knowledge." Robert Henri
Twenty two years ago when I discovered this book I could not have imagined the impact it would continue to have on my life. Robert Henri speaks of both the technical side of art and the art experience. I have re-read this book, a little bit at a time, many times over the years and have found something new to appreciate each time.
While I find less and less time in my life for my artwork, I am able to enjoy beauty and clarity in all of it's everyday forms. The trick is to remember to capture it in your mind. When I feel I have lost the ability to appreciate everyday beauty, I pick up this book. It never fails to rejuvinate my mind and inspire me.
Customer Reviews:
Do you really want to write screenplays?.......2007-10-02
If so, you will love this book. As someone who reads all the books I can on screenwriting over and over as I write, I find this book invaluable. What separates it from the others? The chapters on subplots and scenes really help. I also have found Rob Tobin's book, John Truby's course, Kate Wright's book, Blake Snyder's book, Michael Hauge and Chris Vogler's DVD/books instruction to be helpful. These books don't just tell you to reveal character and move the story forward; they show you how.
Kind of boring, but good information.......2007-06-27
Linda Seger teaches or taught script writing at some school somewhere. She loves to tell you this in her book. I don't think she actually ever wrote any movies in her life that I can tell. According to the Internet Movie Database she was listed under Miscellaneous Crew in the "Never Ending Story II: The Next Chapter". Not exactly a block buster. So I think she should work a little harder on her craft. My guess is that she has made more money teaching and writing about movies than actually writing a movie. She is listed as script consultant in some random movies I've never heard of. Probably worth the $3 I paid used but not much more. Here's a tip for the author. Go write a movie we've heard of and then write a book.
Polish Your Hollywood Star.......2006-09-22
Reading a screenwriting book by Dr. Linda Seger is like taking a hundred meetings with Hollywood's best writers and directors, and listening in as Seger helps them mold their stories and scripts into a hit. Seger's experiences are vast, and she's generous with her advice, which is smart, visual, commercial, and practical. If you do what she says, your chances at selling and getting your screenplay made are tremendously magnified. Making a Good Script Great, for instance, is one of those books that every screenwriter should read (again-and-again) before starting the next project. A good screenplay is complex and sophisticated, but must read simply, easily, and enjoyably. The task is a multifaceted, intense, and long-suffering. Seger, however, provides the chisels and rouges to take your diamond in the rough, sharpen its edges, and polish its faces, until your script gleams and sparkles like a Hollywood star.
Linda's writing was helpful in the writing of my own book on screenwriting published by Michael Wiese Productions -- THE MORAL PREMISE: Harnessing Virtue and Vice for Box Office Success.
Helpful.......2006-02-21
This book offers some good insight. This 'is' about "Making a Good Script Great" as the title says, so it's not for someone looking for a starting guide. For those people, I would reccomend "Lew Hunters Screenwriting 101."
I must warn, that the book references 'Witness' allot. So if you haven't seen it, see it. And see Ghostbusters too!
Overall though, this guide is one of the few that actually delivers, and is a quick and easy read.
-Matt
the publisher doesn't want to deal with you.......2005-08-18
The book is good, but the publisher is a horror for educators to deal with. (ex: requests for desk copies are met with a reply that amounts to 'buzz off')
Amazon.com
It's well known that a vast number of people work on any given movie in roles as varied as writing scripts, choosing locations, dressing sets, costuming the players, lighting scenes, manipulating the camera, directing actors, editing film, working on sound, advertising the finished product, and screening it to an audience. Have you ever thought about how these components are collated? Or why the director is most often considered the author of a film? Wonder no more, because Sidney Lumet's Making Movies is a terrific journey through each stage of filmmaking that is overseen by the director. Lumet, the veteran director of Twelve Angry Men, The Pawnbroker, Serpico, Dog Day Afternoon, Network, The Verdict, and many other fine movies, knows the ins and outs of American filmmaking as well as anyone. In this excellent, personable account, Lumet tells what he's learned about making movies in the course of the last 40 years. He shows why fine directors need to have strong imaginations, extraordinary adaptability, and skill in many different fields. His enthusiasm for his life's work, particularly his love of actors, is evident on every page of this book. As Herculean as the labors of film directing are, Lumet takes great pleasure in his work, almost guiltily admitting that the film director's job is "the best in the world."
Book Description
From one of America's most acclaimed directors comes a book that is both a professional memoir and a definitive guide to the art, craft, and business of the motion picture. Drawing on 40 years of experience on movies ranging from Long Day's Journey Into Night to The Verdict, Lumet explains the painstaking labor that results in two hours of screen magic.
Customer Reviews:
Great for thos studying film!.......2007-07-05
This book was fantastic, and I recommend this to all ppl intersted in films, especially students. It really brings a reality check to it all and makes you love filmmaking even more! Just great!
Fun, and Still Informative.......2007-04-02
I got this book as a gift for my younger sister, a film major. It goes through the process of making a movie from rehearsal to release, with a lot of anecdotes and examples for flavor. It's a fun read; more of a memoir than a how-to manual.
Interesing, fun and insightful.......2005-05-17
Lumet's book is very well written. He has done a great service to movie lovers everywhere who want to learn more about the process of filmmaking. I wish more directors wrote books like this. It is helpful if you have seen some of his more popular films before reading the book since he uses numerous references to them to illustrate why a certian decision was made or how different elements of the film contribute to the theme.
A good summary........2005-03-12
You are just about to start filmschool?
Get ahead and read this faboulus book about making movies.
From the screenwriting process to the post work Lumet describes the making of a movie.
A must read for future moviemakers, filmbuffs or people who wonder how a movie is made.
Easy to read. Easy to understand.
easy interesting valuable read........2005-03-02
in a quick easy enjoyable read you learn a lot, and it's all logically processed so it all fits nicely into place. regardless he directed dog day afternoon, so how could you not read it?
Book Description
So you fancy yourself a filmmaker? Here to ensure that you truly are is a simple, to-the-point guide that leads you through the process of creating your very first digital video project with Adobe's brand-new consumer-level video editing software, Premiere Elements ($99). In these pages veteran author and PC Magazine contributing editor
Jan Ozer gets right to the point: Rather than explore every option and feature of Premiere Elements, Jan uses project-based instruction and big, colorful screen shots to demonstrates the quickest, easiest, and smartest route to cinematic success. Each short lesson builds on the last as you learn how to capture and import video; add transitions, titles and effects; take advantage of the program's stunning templates; use the program with Photoshop Elements to edit and incorporate still images; and output your finished video to DVD. The book's small size and even smaller price ($12.99) make it the perfect entry point into the world of digital filmmaking as well as the ideal jumping-off point for further exploration.
Customer Reviews:
Disappointing, Only Covers the Very Basics.......2007-08-27
This book has several issues. The first is that it is not written for any specific version of Adobe Premiere Elements. You will note a clear avoidance of tying this book to any software release. Therefore the book deviates from reality with Adobe 3.0 in several areas. This alone would be a reason to avoid this book.
My second issue is that this book only covers the most basic of steps, which are repeated in tutorials that you get when you purchase Adobe 3.0. Therefore, I can so no reason to purchase this obsolete book.
Visual QuickProject Guide .......2007-08-14
Disappointed to find this was for the earlier version of Premiere Elements and it did not contain the new important features. The classroom training book by Adobe is far better.
Good add-on book.......2006-03-04
This book provides color visuals and is a good add-on to "Adobe Premiere Elements for Dummies". I will not recommend it an independent guide to Premier elements as it is a little sparse on details.
Information without confusion.......2006-02-25
Wanting to transfer my camcoder footage and Video tape footage of my family holidays to DVD I came across the Making a Movie in Premiere Elements a Visual QuickProject Guide book,the reviews looked very good,so I took a chance and bought it.I have not been dissapointed,in fact I was well impressed.Its explained to you simply and in pictures that make you understand what its all about.It gave me,a 49 year old newcomer to camcorder/video editing,the confidence to go ahead and use Premier Elements (also works for Premier Elements 2.)I have found this to be money wery well spent.I sincerely recommend this.
Gift.......2006-01-16
I got this as a gift for a friend, but I have always had great luck with the Visual Quickstart books and would recommend them to anyone who needs to learn an application.
Book Description
Do you have to go to film school to get your movies made? No, say two young entrepreneurs who survived the grind. Here they offer 140 strategies for making movies no matter what. Whether its raising money or cutting your budget, or jump-starting the production or stalling it while you finish the script, these strategies are delivered with funny, illustrative anecdotes from the authors experiences and from veteran filmmakers eager to share their stories. Irreverent, invaluable, and a lot cheaper than a years tuition, this friendly guide is the smartest investment any future filmmaker could make.
Customer Reviews:
Fun but Useless.......2006-12-05
If you want something that might motivate you to make a film..-_- then go ahead and buy it... but dont expect to learn anything useful.
Enjoyable read, but limited in focus.......2006-11-08
I just finished this book and thought I would share a few things, good and the not so good.
First the good:
The authors do a really nice job explaining a lot things first time filmmakers might have trouble with, in other words, the 'gotchas'. Things as blaringly obvious as backup batteries and duct tape are included. They touch on a lot of things one should consider when making films.
The book is well laid out and lead one from beginning to end, like a good story. It was a very easy read and sometimes out-loud funny. They talk a lot about dealing with personalities, which is both good and bad.
Which leads me to the not so good:
As encouraging as they are, at times they bring up so many difficulties that one wonders why anyone would bother to make a film at all. The book is alternately encouraging and discouraging.
Given that they are both former film students, this book relies heavily on their film school background, which is an advantage for film school students, but not as useful for non-traditional film students (like Jeunet and myself). They reference the Hollywood film industry/culture almost exclusively, which again does not help those who are based elsewhere.
Bottom line:
I found this book useful, but not as much as I had hoped. This book is ideal for anyone who went to film school, but is only half helpful for the rest of us. The cover is a little deceiving (blame marketing) in that the publisher makes the book sound ideal for any filmmaker. Despite the flaws, I find it to be a useful reference for my filmmaking endeavors. I give this four stars, one extra star than I normally would have, just for sheer entertainment and readability value.
The push you need to make films.......2006-08-20
This book gave me the final nudge that I needed to go out and make my own films. It is light on the 'technique-side' but there are already enough books on that. What's missing is some inspirational words to muster up the courage as well as some wisdom to make your first filmmaking experience easier and this book fulfills those needs.
If you're interested in seeing how a newbie uses this book in making his own first film visit my film blog at www.kasemkharsa.com/empire
A mix of inspirational and practical advice.......2006-06-03
I'm currently enrolled in a university film program. Many of the teachers give a grim forecast of the job market and breaking into the industry. For me, this book was a breath of fresh air. It gives advice from party etiquette to budgeting to breaking through a writing block. All the advice is mixed with humor and interesting tidbits. Through their words, I could feel that the authors love making films. In turn, reading this book made me really exciting about pursuing a career in this field. However, I did feel that a lot of their advice was a matter of common sense. If you're looking for an easy read to get you pumped about working in this industry...this is a great book.
Great Motivation to Get Out There and Get Creating!.......2006-03-08
I really enjoyed this book. While I was expecting more of a literal take on the "what they don't teach you at film school" part of the book, I was still pleasantly surprised. The authors really break down the information for you and make it easy to digest. It's truthful and written with a down to earth perspective. When I bought the book I was expecting more focus on technique and "rules" associated with the craft but found it to be more along the lines of a really good pep talk. If you're feeling discouraged or overwhelmed with making your own films this is the book for you, full of very good and practical advice.
Book Description
Making Documentary Films and Reality Videos is the perfect text for students of filmmaking who would like to make a documentary. Barry Hampe, who has made more than 150 documentary films and videos, traces the two main approaches to documentary--recording behavior and re-creating past events-and shows students how to do both effectively. Covering all the steps, from conceptualization to completion, the book includes chapters on visual evidence; documentary ethics; why reality is not enough; budgeting; and casting, crew, and equipment selection.
Customer Reviews:
Great Introductory Book.......2007-03-31
I took a two week documentary filmmaking course recently and this book was our text. The majority of the class had no prior experience with making a movie of any sort so this book became our life. I felt it was very easy to comprehend and gave ALOT of great advice. For those who did have experience in filmmaking, which included shooting, editing, and distrubution, this was a refresher for them. Overall I'd say it was a great reference book to rely on.
More like "documentaries for dummies"........2007-01-05
If you have absolutely no experience whatsoever in writing to tell a story, filmaking, photojournalism, videography or communicating in any significant way, this book will be helpful if you're suddenly called upon to produce a documentary film or video.
The advice given here is very basic and really doesn't have all that much to do with making a documentary. For example, Hampe describes the roles of the people who might be found on a typical documentary crew, such as the scriptwriter and camera operator. In sum, this is really a book that describes the entire process of creating a documentary from coming up with an idea, capitalizing it, putting a crew together and so on. It really is for someone who has absolutely no experience whatsoever - and while there are many people who may dream of making a documentary, this book will not provide them with the experience they actually need.
The book is also increasingly outdated. Almost all of the technology Hampe describes for lighting, capturing images and sound, editing has been superceded.
The good thing about the book is that it is thorough: Hampe really does cover every step. But its odd that a book on documentary and reality video creation has not a single illustration. Very strange. Another thing in Hampe's favor is his writing style. Except for way too much patting himself on the back for his own work, Hampe writes in a clear manner.
Overall, this is a quick read and useful to those who have no experience whatsoever with the film making process, but have dreams of making documentaries. This book will not really teach you anything about actually making a documentary, but it does an okay job of describing the process.
Jerry
good book.......2006-08-24
great book for his main points regarding the style and elements one should have in the documentary, mostly revolvong around the point of not having too many 'talking head' interviews and 'showing' the point more,,, the book isn't relevant at all regarding technologies, however, as it seems to be written before 1998 or so,,, but it's probably helpful to see everything from the past,,,
overall a great book, i think, for someone like me who is just starting out and doesn't know where to begin,, this book definitely has given me a great idea of the directions i want to be heading in,
A very helpful introduction to the world of documentaries.......2006-07-03
I found this book extremely useful and does as it claims-- covers all aspects of documentary production. Although written intially before NLE, it has adequately been updated to cover NLE. I found the planning part very useful but had to make my own notes to organize the author's thoughts. Otherwise would have deserved 4 stars.
Understandable.......2006-04-04
This book was an invaluable reference when I found myself (unexpectedly and quite unwillingly) involved in the production of a documentary. I'm a CPA-turned-housemover, and I could understand it. Enough said.
Average customer rating:
- Fascinating On Multiple Levels
- as many stars as possible
- A look at the business of movies and how it can all go wrong
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Final Cut: Dreams and Disaster in the Making of Heaven's Gate
Steven Bach
Manufacturer: William Morrow & Co
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Indecent Exposure : A True Story of Hollywood and Wall Street
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Hit and Run
ASIN: 0688043828 |
Customer Reviews:
Fascinating On Multiple Levels.......2004-08-10
I purchased this book to learn about the fiasco of Heaven's Gate from the inside perspective of a participant. The book provides this, with a blow-by-blow (dollar-by-dollar) recant of the film's making. This provides much insight into the world of motion-picture production, and of course the mechanics of Hollywood and its egos. The many details provided, from the movie's conception through its distribution, aptly illustrate how difficult a business it is to make film. Today the business side of Hollywood is often condemned for its effect on the artistic process, but this story shows how the two sides must co-exist, and that compromises must be made. Sometimes the result is disastrous to both.
The topical matter however is much broader than simply Heaven's Gate. Significant details are provided regarding the merger between Transamerica, an insurance company, and United Artists. Working in the corporate world, and having experienced a merger and the accompanying "culture clash", I found this part of the book to be quite interesting. The author does a terrific job of detailing the various personalities involved and the interplay between two heterogeneous cultures. The book is articulately written.
as many stars as possible.......2003-09-09
this is a brilliant book.
stephen bach is such a good writer-- witty, urbane, and the book reads like a tale of glamour and folly.
one of my favorite reads of all time.
A look at the business of movies and how it can all go wrong.......1996-10-27
When we sit in a darkened theater, watching pictures flicker and come to life before our eyes, we often forget that the movies are made with one primary purpose in mind, and contrary to popular belief, it's not to entertain us. Film studios are in the business of making money and lots of it, through careful financial and creative planning. They choose the concepts they think we will most like to see, they hire the directors and actors whose work they think we will find most appealing, and then they put a film together for a price they think they can recoup or, even better, make a profit from. Sometimes however, things go wrong. Final Cut tells the story of the making of Heavens Gate, infamous as one of the greatest financial debacles in film history, from an insiders point of view. It shows what can happen to the best laid plans of mice an men and gives a glimpse of a back office Hollywood we rarely see or hear about. Not only is the reader able to discern why the film was so unsuccessful, but how such a movie could even come to be made. Though now a bit dated, this remains a must-read for anyone with an intrest in the process of big-budget film making
Book Description
The most comprehensive book on the principles, methods, and strategies vital to the creative art of film editing.
Customer Reviews:
Maybe the best..........2006-11-16
Many books are written on filmmaking, yet far too few are written by those who can bridge the gap between theory and application. In this book, you get both.
Anyone who does not appreciate the INVALUABLE education that this book is, simply does not have enough experience with editing to understand the value of the insight.
As a professional filmmaker, I nearly butchered my first feature, only to ressurrect it by applying what I learned in this book. The author references many films I had not seen, but the lessons were clear, and the illustrations more than clarify the cut points he is referencing.
This book is written by an editor, for filmmakers, with the lessons being most profound to someone who can nod there head, and say, "yes, I too have experienced that challenge, and / or made that mistake."
This book is not formulaic but an in-depth look at the principles of not only good editing, but good story-telling from the perspective of the editor. It is the principles and techniques learned in this book that allow the reader to come away with an arsenal of tools and check-points. When you are stuck and frustrated, you have to understand good fundamentals, and be able to check your work against those principles. Without an understanding of these principles, a filmaker is left with only instincts, opinions, and guess-work. OR, even worse, become reduced to chasing his/her tail in a vain attempt to make a film that pleases people.
If you are a filmmaker looking to learn the science of good editing, then this book is for you. Once you learn the science, the art is up to you.
Mike Reilly
did anyone edit this?.......2006-11-13
There are a few great concepts that Pepperman barely manages to get across but for the most part this Ivy League educated reader was lost. Pepperman uses scenes from films not just as examples, but as the jumping off point for his theories. Yet he doesn't give enough detail that if you haven't seen a scene you can still follow what he's saying (his chicken scratch drawings do little to help). Rather, he provides you every page with a "hint!" or a "tip!" or if you're lucky a "hint & tip," such as "ask a lot of questions!" or "a study in asymmetrical beats." (Seriously, I pulled those two at random and they mean little more in context than out). I began to ignore these diversions but holy god, did anyone edit this book?
edit for story.......2006-04-20
Loads and loads of analysis on the art of editing. Not just edits that don't jar, but edits that adds emotion and builds the story. Best book on editing I've yet found. I give it 4 rather than 5 stars because sometimes it's a little unclear.
I wish I had read this book in school..........2006-01-21
I first saw this book in Barnes & Noble and was wondering why I had never seen it before. After flipping through it, I was curious to read it. I am always looking for good "technique" books. When I was about to read the book, a friend of mine said to me, "it's good, but it covers basic techniques, so you probably won't learn anything new technique-wise." That was odd because I still found things I could take from it. I keep it as a reference book on my editing desk. It's nestled next to On Film Editing (definitely a technique reference--that book blew my mind when I read it and I wish I had read it in college) and In The Blink of an Eye (for inspiration--also mind-blowing). I basically look at it as a very strong supplement for storytelling and structure. It made me think more about my cuts, the scenes, the shots, etc.--how I was arranging things and what I was putting in or taking out and why. Above all, it's a book that makes you think and question (which leads to better filmmaking). The Crucible example on page 38 & 150 and the example from Fargo on pages 145-147 would be a few that stick out in my mind (although there are several others).
A few gems.......2005-11-16
This book has a fine cover, a promising title but little more. I have no idea what he is talking about half the time. Could it be perhaps that Mr Peppermans strength in teaching can only be appreciated in real life? For me the points are not coming accross clearly enough in printed form, I find myself more and more confused as the book goes on. A few gems can be found, it's just a shame that you have to read the entire book to find them. Nope, I'll stick to Edward Dmytryks book 'On Film Editing' thanks...
Average customer rating:
- A great companion volume for fans of Miss Potter!
- Adults love her too!
- Missed the movie........
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The Making of Miss Potter: The Official Guide to the Motion Picture
Garth Pearce
Manufacturer: Warne
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Beatrix Potter: A Life in Nature
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Miss Potter
ASIN: 0723258635 |
Book Description
A full-color illustrated guide to the background and making of the motion picture on Beatrix Potter's life, starring Renée Zellweger as Beatrix and Ewan McGregor as the man she loved. The book takes the reader behind the scenes to give a real flavor of the film set and includes sections of the script, the costumes, production design, all the main actors, the experiences of the director, producer and scriptwriter, and the views of Renée Zellweger herself on being Beatrix and what the connections are between the real Miss Potter and the woman who is playing her.
Customer Reviews:
A great companion volume for fans of Miss Potter!.......2007-07-05
I have always loved Beatrix Potter's children's tales, and the movie version of her life starring Renee Zellweger, "Miss Potter" was a true classic...moving in its character exploration, beautiful in its execution and depiction of the beauty of the Lake District, and truly inspiring. If you loved the movie or are simply a fan of all things Potter [Beatrix, not the wizard]...you'll love & treasure this guide to the movie. It is lushly illustrated with full-color pictures, and takes readers behind the scenes of the movie, with insights by the director, producer, scriptwriter, and Zellweger herself. I also plan to get 'Beatrix Potter: A Journal",and "At Home with Beatrix Potter: The Creator of Peter Rabbit" to add to my collection.
Adults love her too!.......2007-05-12
Somehow growing up I missed all the Beatrix Potter stories. I find them delightful now and am going to share them with my grandchildren. This book about the making of the movie makes me really want to see the movie. I enjoyed it thoroughly. I highly reccomend it.
Missed the movie...............2007-02-18
but loved the book and can't wait to own my own copy of the DVD. I've been a big fan of Beatrix Potter ever since my daughters were born and I read her many books to them as children. Today I find myself reading these same stories to my grandchildren. I loved this book because it showed all that went into making the movie. I couldn't help but admire the actors and actresses who were fortunate enough to be a part of this wonderful film. If you admire Beatrix Potter you must add this book to your collection. I have along with the wonderful books written by Susan Wittig Albert.
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- The Presence Process: A Healing Journey into Present Moment Awareness
- The Prop Builder's Mask-Making Handbook
- The Reproduction of Colour (The Wiley-IS&T Series in Imaging Science and Technology)
- The River of Doubt: Theodore Roosevelt's Darkest Journey
- The Secret
- The Ultimate Verbal and Vocabulary Builder for the SAT, ACT, GRE, GMAT and LSAT
- The Watercolor Sketchbook Kit: Materials, Techniques, and Projects
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