Average customer rating:
- Apple Seeds Hollywood
- Not required reading
- Disappointed. Not what I expected
- How Walter Murch Edited Cold Mountain Using Apple's Final Cut Pro and What This Means for Cinema, First Edition
- A Must Have Book!
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Behind the Seen: How Walter Murch Edited Cold Mountain Using Apple's Final Cut Pro and What This Means for Cinema, First Edition
Charles Koppelman
Manufacturer: New Riders Press
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ASIN: 0735714266 |
Amazon.com
Cold Mountain, the recent film based on the Charles Frazier novel, is a love story set during the American Civil War. Behind the Seen, being the story of how accomplished film editor Walter Murch (of Apocalypse Now fame), is also a story of love in a time of internal conflict. The difference being that Behind the Seen has to do with how Murch used Final Cut Pro, a software package that runs on any modern Macintosh and costs less than $1000, to edit Cold Mountain and thereby incite debate among professional film editors. Can such a mass-market product, accessible to anyone with a camcorder and a FireWire cable, be a serious tool for professionals? Murch proved that it can.
Behind the Seen deals with the technical accomplishment of using Final Cut Pro to assemble a feature film, but more importantly explains to its readers how shooting and editing work--and how the personalities involved in Cold Mountain worked together. This is a book of nonfiction that you can read from beginning to end; it is a technical book but not in the click-and-drag sense. Rather, it's a story about a creative team and the tools they used to deliver a work of drama. --David Wall
Topics covered: How Cold Mountain was shot and edited, using Final Cut Pro as the principal editing suite.
Book Description
The first volume to reveal the post-production process of a major motion picture (Cold Mountain) edited entirely in Final Cut Pro!
- Offers a rare inside glimpse at the creative process of one of cinema's giants: threetime Academy Award-winning editor
Walter Murch.
- Includes anecdotes from the director, edit staff, and producers; photos, emails, and journal entries from Murch; and behind-the-scenes insights.
- Accounts from Apple's Final Cut Pro team about what they think about the future of it in feature films.
As the first software-only desktop nonlinear editing system, Final Cut Pro sat the film industry on its ear when it debuted back in 1999. Now it's shaking things up again as editor Walter Murch, director Anthony Minghella, and a long list of Hollywood heavy-hitters are proving that this under-$1,000 software can (and should) be used to edit a multi-million dollar motion picture! This book tells the story of that endeavor: the decision to use Final Cut Pro, the relationship between the technology and art (and craft) of movie-making, how Final Cut Pro was set up and configured for Cold Mountain, how the software's use affected the work flow, and its implications for the future of filmmaking. More than anything, however, this is Murch's own story of what seemed to many a crazy endeavor-- told through photos, journal entries, email musings, and anecdotes that give readers an inside view of what the film editor does and how this particular film progressed through post-production. The book includes, in his own words, Murch's vision, approach, and thoughts on storytelling as he shapes Cold Mountain under the intense pressures of completing a major studio film.
With Academy Awards for his work on Apocalypse Now and The English Patient, sound and film editor Walter Murch is one of the few universally acknowledged editing masters in cinema. Along with George Lucas and Francis Ford Coppola, he is one of the founding members of the Northern California cinema community. Author
Charles Koppelman has been writing screenplays and directing video and film since the early 1980s, including the independent feature film, Dumbarton Bridge, award-winning documentaries, and commercials.
"An exploration inside the editorial engine-room of a major feature film - the first book of its kind ever and sure to remain the best. Charles Koppelman chronicles Walter Murch's astonishing high-wire trapeze act as he works his way through the first large-scale implementation of Apple's Final Cut Pro editing software. Must be read by anyone interested in film, computers, or how the creative process unfolds."-- Francis Ford Coppola, director of The Conversation, The Godfather,Apocalypse Now
"This is probably the subtlest and most tender account of what a craftsman brings to a motion picture ever written. It is fascinating in its detailand awesome in its gradual uncovering of the ear, the eye and the soul ofWalter Murch. The book may seem technical, or 'professional,' but anyreader will be thrilled by the description of a struggle and the necessarycommitment to it. To be read by anyone who has ever thought it might be funto make a movie."-- David Thomson, film critic and author of The Biographical Dictionary
"BEHIND THE SEEN is not only revelatory in terms of technicalinnovation, but it reads like a thrilling suspense novel. Superblywritten and paced, the book captures the brilliant and daringfilm/sound editor-scientist Walter Murch in all his passionate andcreative glory. Charles Koppelman has crafted a truly unique additionto the canon of film history, delivering a must-read for anyoneinterested in how movies are made."--Barry Gifford, author of Wild at Heart, Lost Highway and City of Ghosts
"... excellent, original and tremendously informative book...Koppelman's account reads like a thriller... Behind the Seen achievessomething remarkable: a chronicle about technology and data, machinesand methodologies which also manages to record a story of friendshipsand dreams-not least the dreams I have been lucky enough to sharewith my friend and editor over three films and for almost a decade."--from the book's foreword by Anthony Minghella, writer and director ofCold Mountain, The English Patient, and The Talented Mr. Ripley
Customer Reviews:
Apple Seeds Hollywood.......2007-01-06
This book offers a fascinating record of the interaction between art and technology, artist and corporation. It describes in thorough detail the logistsics of shooting and editing a feature film from start to finish using a totally untried and discouraged software and hardware tool chain formerly for amatuer efforts only.
The meeting of Silicon Valley and Hollywood industries creates a riveting plot that is hard to put down. The gorgeous graphic layout and attention to detail also help.
Only grumble was the detachment of one page from the binding, but if you don't sleep next to your copy, it probably won't be a concern.
Anyone interested in cutting edge (hah!) technology and/or legendary Bay area genius Walter Murch must read this book.
Not required reading.......2006-08-01
Get this is book if you want to read all about...
1. Walter Murch.
2. Cold Mountain.
3. What it was like to edit a feature film on consumer software that was not ready for prime time.
4. The practical problems facing an editor.
Do not get this book if you want to improve your editing technique. While Murch drops some nuggets of useful information here and here, I think that you have to go through too much irrelevant material to make it worthwhile. The lessons that Walter learned from FCP 3.0 are outdated, for the most part.
Disappointed. Not what I expected.......2006-04-05
I picked up this book expecting to get a blow-by-blow account of the editing of Cold Mountain and how Walter Murch translated his film cutting techiniques (that are well explained in either "In the Blink of an Eye" or "The Conversations...") into Final Cut Pro.
Instead the bulk of the book was spent in excruciating detail about the selection of Final Cut Pro as an editing platform. There was much talk of the concerns around using FCP3 to edit a feature-length film project. Likewise there was too much detail about the worries they had about shipping these systems to Romania for the edit. Would they have tech support?!? Would they have enough hard drive space?!? Would it survive customs?!?
There are even copies of e-mails of the order of the system and how grand a moment it was... Sorry, I found the inclusion of this material to be boring. I lost interest well before the edit actually started.
To me it was more a story of how Digital Film Tree (God Bless 'em. They ARE good people.) took a big chance on championing this effort and how they supported Murch and his Assistant Editor to provide the technical knowledge of FCP than it was about the actual Edit of Cold Mountain.
The information IS dated now that FCP is in version 5.1 (as of 4/2006) and that may have tainted my read of the book.
How Walter Murch Edited Cold Mountain Using Apple's Final Cut Pro and What This Means for Cinema, First Edition.......2006-03-24
Interesting, well written and easy to get your head around.
A Must Have Book!.......2005-08-10
I have been using Final Cut Pro since version one, and when I heard about Walter Murch using it to edit Cold Mountain, I was so excited. The book is well written and it gives you first hand knowledge of the pain and excitement of editing.
I'm not a big book reader, but I couldn't put this book down.
Walter Murch is a true pioneer.
A must have for your book collection!
Book Description
What the Bleep Do We Know!? is the biggest New Age movie phenomenon . . . EVER! Spreading by word of mouth and an obsessive grass-roots following in the vein of The Passion of the Christ, in which discussion groups spontaneously form and people who never go to the movies go over and over again, What the Bleep Do We Know!? is a wake-up call to the millions of people searching for a voice somewhere in this fragmented culture who have been awaiting a catalyst.
This outrageous film plunges you into a world where quantum uncertainty is demonstrated-where neurological processes and perceptual shifts are engaged and lived by its protagonist-where everything is alive, and reality is changed by every thought. What the Bleep Do We Know!? gives voice to the modern-day radical souls of science, bringing their genius to millions.
What the Bleep Do We Know!? says that science and spirituality are not different modes of thought, but are in fact describing the same thing. And it brings the power back to the individual man and woman as it demonstrates creation as the god-like capacity of every individual.
In Beyond the Bleep, Alexandra Bruce illuminates the personalities and teachings of the physicists, neurologists, anesthesiologists, physicians, spiritual teachers, mystics, and scholars in the film, as well as the filmmakers, helping the reader sort through their wilder and woollier theories with simple explanations of the cutting-edge science on which they are based. The phenomenon of the movie is only just beginning, spreading outwards from the yoga studios and health food stores of the Pacific Northwest across America and the world. There is a huge demand for more information on the topics presented in the film; Beyond the Bleep is the place to start.
Alexandra Bruce's articles on urban legends and metaphysical and quantum physics themes have been published in Paranoia magazine, Steamshovel Press, Borderland Sciences, and Disinfo.com. She recently translated the book Celestial Secrets, The Hidden History of the Mystery of Fatima with a foreword by Jim Marrs. She lives in Rio de Janeiro.
Customer Reviews:
Excellent Content, and Good Value.......2007-06-04
The film "What the Bleep do We Know", left me a little disappointed. The claims were outlandish, and I was left somewhat skeptical. But while the film has its weak points, this little book by Alexandra Bruce shines brightly.
Bruce's "Beyond the Bleep" is like a miniature encyclopedia full for a rich content that sets the film right. And her full book is reasonably priced, considering what it contains.
Her first Chapter described the incredible phenomenon that surrounded the film. And she follows it with a highly readable account of quantum mechanics. These would be enough to please the reader, but she follow with additional chapters on each of 12 film personalities. She is very even handed with her accounts, and ends with a short conclusion.
Film personality, David Albert, was treated very fairly. Albert had some disagreements with the trendy claims made by the film (as I did), which is understandable. Bruce set the record straight for him. Fred Alan Wolf, author of many trendy books, is probably also delighted by Bruce's (page 26) presentation: "he is the Teflon physicist, who for over twenty years has managed to purvey his blend of quantum physics, anthropology and spiritualism without stirring up the bile of the orthodoxy". Wolf, no doubt welcomes the trends, and provides a balance to the more conservative Albert.
I really enjoyed reading about Stuart Hameroff with his deep intellect, and with his model of mind and quantum mechanics (the Orchestrated Objective Reduction). Bruce presented the monistic idealism of Amit Goswami in highly credible terms, despite what nay-sayers have said in the past.
Candace Pert's views on emotions and their connection to biochemical molecules was very interesting, hinting at a deep vitalism in nature that is contrary to our dualistic thinking. Bruce (page 174) writes: "What may end up being recognized as the most important aspect of Pert's work is her scientific mapping and understanding of what she calls the bodymind. Pert's revolutionary view is that the three classically separated areas of neuroscience, endocrinology, and immunology, with the various organs, the brain; the glands; and the spleen, bone marrow, and the lymph nodes are joined to each other in a multidirectional network of communication, linked by information carriers called neuropeptides." I refer to Pert's views in my book, "Trinity", which has to do with vitalism.
The chapters are followed by a section called "further reading/viewing" containing general resources, web sites, and references. Next comes a very detailed glossary. Then comes endnotes with important citations, and lastly an index. These, and the entire book, are very well organized, a real pleasure to read.
Trinity: The Scientific Basis of Vitalism and Transcendentalism
If you like the movie.......2007-05-07
Get this informative little book. This is much better than the "official" bleep books.
Beyond the Bleep........2007-01-10
The book went a little deeper into the subjects in the movie
"What the Bleep Do We Know" as I had hoped it would.
This book is not what it seems.......2006-11-13
I ordered this book along with Down the Rabbit Hole. All the promotions would lead one to believe that I would learn more about the movie and the information in it. The author is on a mission to discredit everything about the movie and the people and organizations associated with it, including me, the viewer.
This book is not worth the paper it is printed on. I am disappointed that someone would take the time to write it. The author says she is amazed that such a movie would be made. The movie has much more credibility than this book. She has used the Bleep's populatity to promote and sell her useless book. Any good review has to be planted.
Get this cold shower - and lose your last hope?.......2006-09-16
This book by Alexandra Bruce, a Brazilian/American author, who also co-authored the book `The Philadelphia Experiment Murder: Parallel Universes and the Physics of Insanity' is quite remarkable because it provides some astonishing background information on the fashionable movie and the scientists interviewed in the movie.
The tone of the book is matter-of-fact and sometimes provocative, and it does definitely not range among the many publications that cumulate laudations of the movie. It's rather the contrary, and some of the information provided is rather shocking.
The author has well researched and backed up her allegations with quotes from a number of publications. In a feedback mail to the author, I summarized my feelings after reading her book as follows:
- I must also say that even for somebody like me, being a bit older than most people of the target audience, the book has given me an enrichment, a surplus of information. But honestly, it has also robbed me of some precious illusions. And that was a good thing! To be frank, I had built a last hope on this film, a last hope for our times and all what is happening especially in the USA. I had thought that this film kind of builds on a new innocence, and that it was made by a different kind of people, and that it would represent a counter-weight to what's currently going on. But from what you write, summa summarum, this was a fundamental error of mine, and what this film then is, and perhaps all of quantum physics, is a cover-up, a nice fairy tale, a Peter Pan story, or a Harry Potter for adults."
On the other hand, I know that finding truth in such a complex matter, and regarding a project where many people were involved, is not easy. Most of the findings and judgments the author presents in her book (and that I cannot mention here for mere space reasons) concern the majority of the scientists featured in the film, and some more general statements regarding the film crew. Few were exempted from the author's rather sharp feather, such as, for example, Masaru Emoto.
On the other hand, it's perhaps good to take neither the `Bleep' nor `Beyond the Bleep' for the Bible and randomly consider the wisdom expressed in this quote by Charles Webster Leadbeater:
- A grumbling and fault-finding attitude towards others is unfortunately sadly common at the present day, and those who adopt it never seem to realise the harm that they are doing. If we study its result scientifically we shall see that the prevalent habit of malicious gossip is nothing short of wicked. It does not matter whether there is or is not any foundation for scandal; in either case it cannot but cause harm. Here we have a number of people fixing their minds upon some supposed evil quality in another, and drawing to it the attention of scores of others to whom such an idea would never otherwise have occurred."
Source: Charles Webster Leadbeater, The Inner Life, Theosophical Talks at Adyar, Vol. II, Chicago: The Rajput Press, 1911, reprinted by Kessinger Publishing, 1942, ISBN 0-7661-0557-1.
Amazon.com
André Bazin is a great film critic and essayist, arguably the best France ever produced. His impact on the international cinema was monumental and continues to be felt today. He popularized the auteur theory, the idea that directors were the authors of their films. He was one of the first to take American "B"" movie genres, such as Westerns and films noir, seriously. He waxed eloquently on the Italian neorealist movement of the late '40s and '50s and inspired the "New Wave" of French directors, many of whom wrote for the journal he founded and edited, the legendary Cahiers du Cinema. François Truffaut dedicated The 400 Blows to him.
Bazin had a keen eye for cinematic detail and technique, but was also one of the cinema's great sociologists, psychologists, and historians. Volume two of What Is Cinema? collects some of his most characteristic writings. It contains essays on the aesthetic of neorealism; individual neorealist films by Vittorio De Sica, Roberto Rossellini, and Federico Fellini; the brilliance of Charlie Chaplin; and the mythmaking qualities of the Western. The volume ends with an appreciation of the great Jean Gabin and three essays on sex in the movies, including the delightful "Entomology of the Pin-Up Girl." Bazin's essays are short, smoothly written, revelatory, and filled with remarkable insights and a profound love for his subject.
Book Description
André Bazin's What Is Cinema? (volumes I and II) have been classics of film studies for as long as they've been available and are considered the gold standard in the field of film criticism. Although Bazin made no films, his name has been one of the most important in French cinema since World War II. He was co-founder of the influential Cahiers du Cinéma, which under his leadership became one of the world's most distinguished publications. Championing the films of Jean Renoir (who contributed a short foreword to Volume I), Orson Welles, and Roberto Rossellini, he became the protégé of François Truffaut, who honors him touchingly in his forword to Volume II. This new edition includes graceful forewords to each volume by Bazin scholar and biographer Dudley Andrew, who reconsiders Bazin and his place in contemporary film study. The essays themselves are erudite but always accessible, intellectual, and stimulating. As Renoir puts it, the essays of Bazin "will survive even if the cinema does not."
Customer Reviews:
A must for any lover cinema!.......2004-08-25
Andre Bazin was the most powerful mind and one of the deepest thinkers , creator of the famous Cahiers du cinema , these were passionate and interesting digest who meet to famous and youth film makers and very valuable people related with this art.
Bazin goes to the origins of the cinema his meaning and implications in the psiquis and its mythical roots , Bazin death (40) was a painful loss for the raising french directors in 1957 .
When you get The 400 blows of Francois Truffaut (The quintessential New Wave film) in the initial titles you will watch the special hommage to Bazin in memoriam .
You may consider several mistakes in the traduction , when this happens remember the chinese statement: All traduction is a betray.
Try to get a spanish edition . I have both of them since I have not been able to get the french edition.
Significant work - atrocious translation.......2000-12-04
André Bazin was one of the most important writers on film. His views have been influential worldwide. The term Bazinian realism has become one of the major theoretical categories in film studies. The impact of Bazin's work on English-language film studies has been generated, to a large degree, by this two-volume collection of essays. A number of major debates that have been going round for years now (decades actually) in English language works center on issues arising from these essays; e.g. the relation between objects and their photographs. However it must be stressed that these English language essays are re-workings by their "translator" rather than faithful renderings of the originals. Hugh Gray, the translator, not only chose some of the essays from the original French editions but also treated them with great liberty. Sentences and footnotes are missing, others are combined without reason; expressions are made more "flowery"; and meanings are changed. I cannot tell whether the translator was not up to the task of doing this job properly or he decided to mistreat his subject to such a degree consciously. In any case it is a great pity that Bazin's work is available in English only in this unfortunate form.
The original woks deserve 5 stars; it is impossible to decide how to rate this particular version.
What Is Cinema?.......2000-06-29
What is Cinema? Volume One and What is Cinema Volume 2 are English translations drawn from the original French four-volume work. They are not the entire four-volume work, but include some of the more important essays. In France itself, the four-volume work was later boiled to a one-volume set of selections. This French version was later used for the selections in the Spanish and Portuguese versions. The Italian version is different from the others, but also drawn from the four-volume work. Much of the four-volume original French work that has been omitted from the English What is Cinema? volumes I and II can be found in Cardullo's more recent collection "Bazin at Work."
Since Bazin's passing, film theory ventured more deeply into such things as semiotics, Freudian and Lacanian analyses, and sociological/Marxist perspectives. However, Bazin was one of the first and arguably most important writers to take film discourse beyond the "funny" "sexy" "scary" level. Some of the places film discourse has gone since the time of Bazin would be difficult or impossible for an unitiated person to comprehend. This is not so with Bazin, a man who also did such things as take Charlie Chaplin films to show at factories during lunch hour.
Although Bazin passed away more than 40 years ago, he remains relevant even if his writings have been subject to some critical analysis from writers like Brian Henderson and Noel Carroll. Moreover, in reading Bazin, one often has moments of recognition that are applicable to more recent things in the theatres; for example, a remark Bazin makes about Marilyn Monroe's skirt flying up is pertinent to discussion of the Austin Powers films, Bazin's remarks about such things as films about arctic expeditions, bullfighting documentaries, or films of Chinese executions may have a certain relevance in talking about the phenomenon of "The Blair Witch Project" . . .
Book Description
This book brings together the experience, knowledge, techniques, and wisdom of many of our most successful writing teams for film and television. Includes interviews with successful collaborators from film and TV.
Customer Reviews:
A major help.......2007-05-19
Many screenwriters are constantly looking for Mr. or Ms. Right - the writing partner who will make their professional life heaven on earth. Sharing the money and fame are a small price to pay for the friendship, support and extra creativity which a good partnership brings. But finding the right writing partner is almost as difficult as finding the right spouse. While Script Partners doesn't provide any magic formulas to help you find your dream collaborator, it examines the entire process in great detail.
Claudia Johnson and Matt Stevens are themselves a screenwriting duo and have interviewed some twenty teams of co-writers for this book. They've included all the biggies (Scott Alexander and Larry Karaszewski, Harold Ramis and Peter Tolan, Woody Allen's collaborator Marshall Brickman) and quite a few lesser-known writing teams. Chapters include finding the right partner, solving time and place issues, and all aspects of the actual writing (although the theoretical information mentioned here doesn't differ from the usual advice given to solo writers). Johnson and Stevens also use a lot of examples from their own experience, which proves you cannot always depend on first impressions - as they started out hating each other.
The most valuable chapters in this book are the ones dealing with the personal difficulties inherent in the creative process, and the business side of things. Here, we get some valuable advice on how to handle the many problems which will crop up in almost every writing partnership. For anyone considering a partnership, this book will be a great help.
A Great Addition to Any Writer's Library.......2005-08-06
In the interest of full disclosure, I should say first that Matt Stevens and I are long-time friends. That noted, I can honestly say that "Screen Partners: What Makes Film and TV Writing Teams Work" is one of the most useful and entertaining books on writing that I've ever read, and I've read quite a few. By focusing on how screenwriting teams operate, Johnson and Stevens provide not only a view into the inner workings of the collaborative artistic relationship, but also an original, engaging and illuminating look at the craft of screenwriting. Any working or would-be screenwriting team can certainly benefit by reading (and re-reading) this text, while even the most dedicated "go it alone" soloist may be inspired to keep his/her eyes open for the right writing partner after reading this book.
Writing in a personable and humorous style, Johnson and Stevens generously share what they've learned about collaboration during the course of their own artistic partnership, and they extensively quote other working writers and writing teams that they interviewed for the book. Occasionally, scenes or snippets from finished scripts are included to further illuminate certain points.
The book follows a clear, straightforward structure as Johnson and Stevens explore collaborative screenwriting from every angle. First, they focus the hows and whys, with three chapters that identify the various mental and creative benefits of collaboration, explain how writers go about finding appropriate partners, and explore how teams decide when, where and how to get the actual writing done. The middle section of the book focuses on the work itself, with four chapters dedicated to choice of project, character development, story development and structure, and drafting of the script. The last two chapters address a range of creative and business issues that every writing team should seriously consider up-front, from how to handle disagreements to how to split the money to how to part if the collaboration ends. Additional material includes useful checklists of "Screen Partner Points" that follow each chapter as well as the to-be-expected Introduction, Afterword, Filmography, etc.
While a fast reader can make pretty quick work of this book, it's chock-full of thoughtful, useful material that screenwriters and screenwriting teams can return to again and again for support, ideas and inspiration.
A True Pleasure!.......2004-11-13
Let's be honest here. Although I may toy with the idea of writing a great screenplay, the truth is that I probably never will. That being said, I must say that this book was an absolute delight to read! The 'insider' stories were funny and fascinating. I found myself reveling in the anecdotes and in the authors' self-deprecating humor. I thought I'd find the book mildly interesting, since I'm not really and truly in the industry. However, I was pleased to discover that the material was thoroughly engaging and had me laughing out loud on more than one occasion. In the event that I ever decide to get serious about writing, this book will be an invaluable source of information. Thank you Matt and Claudia...for giving us an definitive alternative to sitting in front of a computer screen just waiting for wisdom to spring forth! I am quite sure I will never again underestimate the value of a good kick in the pants (nor the unwavering support) from a 'script partner'!
Jumpstart Your Creativity.......2003-09-03
This book exceeded my expectations and helped me discover better writing through partnership. I'd previously attempted screenwriting with a partner (with limited success), but had no model to base the partnership on. As a result of the interviews and examples the book provides, I was more confident that I could find a collaborator whose style more appropriately complimented my own. Needless to say, I found a screenwriting partner and through trial and error (with the book as a guide) we explored different styles of working, finally settling into a routine that has not only helped our writing improve, but has increased our productivity by leaps and bounds.
I highly recommend that you pick up this book if you find your writing hits a dead end ? even if you don?t, it's the only book of its kind, a great read, and definitely worth a look.
"Work marriage".......2003-07-09
SCRIPT PARTNERS can easily be expanded to a larger audience. In gathering information from other outstanding writing teams and their own experiences in working together, Claudia & Matt have captured the essence of the creative/collaborative relationship. Within the first few pages of the book, I was transported to an earlier experience in my career with another type of "work marriage"- co-therapy. The parallel between writing teams and co-therapy is quickly apparent. Both assist in the development of their characters/clients; both find themselves caught up in their own issues; both misread their character/client and discover that they are going down the wrong path; both experience the sadness and joy of discovery and human emotion. And (SCRIPT PARTNERS p.1) "we both know on some level that we could do this by ourselves...we both could, but we're better together and prefer it that way."
As a therapist, if you've never experienced the joys of co-therapy or found solutions for the struggles, read this book. Claudia & Matt have given us a map that guides our partnerships through the ups and downs of a "work marriage". Don't miss it, it's an insightful, humorous, and refreshing book.
Book Description
The stereotypical hillbilly figure in popular culture provokes a range of responses, from bemused affection for Ma and Pa Kettle to outright fear of the mountain men in Deliverance. In Hillbillyland, J. W. Williamson investigates why hillbilly images are so pervasive in our culture and what purposes they serve. He has mined more than 800 movies, from early nickelodeon one-reelers to contemporary films such as Thelma and Louise and Raising Arizona, for representations of hillbillies in their recurring roles as symbolic 'cultural others.' Williamson's hillbillies live not only in the hills of the South but anywhere on the rough edge of society. And they are not just men; women can be hillbillies, too. According to Williamson, mainstream America responds to hillbillies because they embody our fears and hopes and a romantic vision of the past. They are clowns, children, free spirits, or wild people through whom we live vicariously while being reassured about our own standing in society.
Customer Reviews:
D.W. Griffith meets Andy Griffith (and the Coen brothers).......2005-03-03
This is a well-researched look at Hollywood's never-ending fascination with moonshine, country bumpkins, and what goes on up there in the hills beyond Beverly. In the early 1920s as more people moved to the cities, Hollywood found it could make money telling audiences about the places they'd left behind. Lurid tales of sex and debauchery, such as 1950's "Tobacco Road," undercut the good-hearted goofiness of the Ma and Pa Kettle series of the 1940s. By the 1990s, the Coen brothers' "Raising Arizona" was a hit on the strength of Nicolas Cage's ironic portrayal of a lovable yokel (an updated edition of this book would have to include the current TV show "My Name Is Earl," proving this archetype isn't dead by a long shot).
Williamson covers a lot of ground here, from "The Andy Griffith Show" to John Boorman's "Deliverance," and his conclusions are fairly broad ones. His best writing narrows focus on a specific film or theme: the on-location making of the log-cabin potboiler "Stark Love" (1926) is wildly detailed, with newspaper reporting and interviews with local extras who made appearances in the film as members of an "authentic" mountain family. Lots of movie stills, contemporary cartoons, and detailed captions accompany the text. At times the book reads like a college course -- Williamson is a professor at Appalachian State University in North Carolina, and acknowledges the input of several students -- but for film buffs and general readers, "Hillbillyland" is an entertaining look at how the film industry exploits one facet of American culture.
Average customer rating:
- The Cybill Strikes Back!
- You Know...She May Be A B-List Celebrity But This Isn't That Bad A Book
- I'm blonde, I'm beautiful, and don't you forget it!
- Example of one version of the Liberated Life
- You have to be a big fan, to find all of this interesting.
|
Cybill Disobedience : How I Survived Beauty Pageants, Elvis, Sex, Bruce Willis, Lies, Marriage, Motherhood, Hollywood, and the Irrepressible Urge to Say What I Think
Cybill Shepherd
Manufacturer: HarperCollins Publishers
ProductGroup: Book
Binding: Hardcover
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Moonlighting: Season 4
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ASIN: 0060193506
Release Date: 2000-04-04 |
Book Description
Few women in the past three decades have lit up the American imagination like Cybill Shepherd. From wholesome beauty queen to saucy cover girl, from heartbreaking movie star (The Last Picture Show) to one of television's most beloved comediennes (Moonlighting and Cybill), she has imbued each of her roles--right down to her current passions as devoted mother of three, champion of women's issues, and sultry cabaret singer--with an indomitable spirit that has made her, at fifty, a female icon to an entire generation. Now in her much-anticipated memoir, she tells her remarkable story with humor, pathos, and more highlights than her famously blond hair. Cybill has absorbed the lessons of Southern womanhood, including the whispered message about sex: Wait until you're married, then you won't enjoy it, and certainly never speak of it. She gleefully disobeyed these and other rules of decorum in a career laced with controversy, featuring unforgettable cameos by Martin Scorsese, Peter Bogdanovich, Orson Welles, Robert De Niro, and Jeff Bridges. Whether stepping on Elvis's blue suede shoes or going toe-to-toe with Bruce Willis, Cybill has never held anything back, and it's all in Cybill Disobedience, including:
the night a network executive tried to barter thirteen episodes for a horizontal tour of Cybill's bedroom
why she'll never be invited back to Ryan O'Neal's beach house or Marlon Brando's island
the time she greeted David Letterman in nothing but a towel
the real reason two of television's most popular and acclaimed series, died premature deaths
how she made Richard Nixon blush for the first and only time in his life
From her Memphis roots to her insider's track in Hollywood, Cybill Shepherd is a woman who has weathered every onslaught and withstood every rebuke to emerge as a luminous model of endurance, courage, and an insatiable lust for life.
Customer Reviews:
The Cybill Strikes Back!.......2007-05-07
I wanted to read this book mainly to see what Cybill would say about Bruce Willis and Moonlighting, one of my all-time favorite shows, and although I was left wanting more, she does give a few interesting tidbits about them. But even if she hadn't this would still be a page turner.
Most references to Cybill Shepherd by the media over the years have been negative. I just wanted to hear her side of her story for a change and I have no problem with this so-called 'B-list' actor making a few bucks in the process.
While I don't approve of or agree with everything Cybill says she's done or believes in, this little book is a small interesting slice of history and a record of how things work behind the scenes of the modeling and acting professions. The message I got is 'proceed with extreme caution - or better yet choose another career.'
Also, my belief that Hollywood culture is depraved in general remains unshaken after reading this. And you certainly can't blame it all on Cybill Shepherd.
Even so, I appreciate what I believe is Cybill's candor about herself, the people she's met and her experiences which is written with a witty humor and a verbal style I appreciate.
You Know...She May Be A B-List Celebrity But This Isn't That Bad A Book.......2005-10-16
I don't know what compelled me to check this out from the library since I didn't really know who Cybill Shepherd was, but she kept me reading with her honesty and `dang-it-it's-true' breed of self-flattery. In this autobiography, the star of the '80's TV hit Moonlighting (when she mentioned Moonlighting, I was finally like, "Oh, I know who she is...") candidly talks about the cut-throat world of Hollywood, tells about how Hef, of Playboy fame, stole images from her nude scene and improperly published them, talks about an affair with Elvis (who "charmed" her by telling her in one of his pill-popping hazes about the time a doctor gave him an injection directly into the pupil of his eye!!!!!) and throws caution to the wind and dodges claims of skankhood by talking about a seemingly unending series of affairs with scores of married and unmarried men, from her beauty queen teen years in Memphis, well into her fifties. Shepherd name-drops and that's the making of this book since it's most interesting when the focus is not on her. She tells about having Orson Welles as a long-term house guest, about how she introduced Elvis to certain amorous technique, tells of clashes with Bruce Willis, whose ego was a match for her own, and provides tell-all revelations about some of the biggest stars in the movie business during the 1970's. Shepherd is also doggedly committed to certain feminist causes and gives ink to her views on them. This book is definitely a celebrity stroking her ego, but it's not dull or preachy and since it can be read in about two hours, it's not a bad way to spend a free afternoon.
I'm blonde, I'm beautiful, and don't you forget it!.......2005-05-20
Truly the title sums up the whole of this autobiography. I wonder if Ms. Shepherd hadn't believed so deeply in her ephemeral outer beauty, maybe others wouldn't have assumed that that's all she had going for her.
Conspicuously absent from her story were her relationships with her siblings, which were touched on ever-so-briefly toward the end, tellingly admitting that they had a tenuous connection at best, their sibling bonds having been sacrificed at the alter of Shepherd's career.
Cybill Shepherd spent her life being promiscuous, including involvment with married men, and lays it all out for the record, no matter how it makes her look. It's amazing to me that she never came away from fling after short-term fling not feeling used or taken advantage of.
The comment that rings the loudest to me, out of everything she crammed furiously into this book, was the fact that she tried to make '5 minutes feel like 5 hours' with her kids, as if that were possible. Although she does go on to admit that it is simply not possible to do it all.
Contradictory to me is the fact that Ms. Shepherd found lurid tabloid stories to be embarassing and insulting to herself and her children, but she voluntarily lays bare all her personal laundry.
I picked up this book because I fondly remember Moonlighting as must-see TV of my teenage years, Maddie Hayes and David Addison being the best on-screen couple of my generation. Although that was just one small part of Cybill's story, I did find the Hollywood insider stuff a fun guilty pleasure.
One last criticism - the subtitle is far too long and completely unnecessary, bordering on downright silly.
Example of one version of the Liberated Life.......2004-08-24
Cybill Disobedience : How I Survived Beauty Pageants, Elvis, Sex, Bruce Willis, Lies, Marriage, Motherhood, Hollywood, and the Irrepressible Urge to Say What I Think
by Cybill Shepherd
This was an interesting read and useful as a resource since it is a first person description of the kind of life one can lead as a liberated (using the pill) female. Not only was Cybill successful, but as she says, she was "a very, very, bad girl." Cybill did what she wanted to do.
Regardless of whether or not this sort of life should be recommended, it is certainly a resource that can be referred to as an example.
You have to be a big fan, to find all of this interesting........2004-04-19
Some interesting comments about show business, and about some of the people she worked with, and went to bed with. The last part, about her TV show, "Cybill," would only interest a BIG fan of the show. (Who did what and who said what about the show's individual episodes isn't exactly gripping reading.) (I'm glad it's a short book.)
Book Description
You Lose Some, You Lose Some authors Lou Harry and Eric Furman continue their preoccupation with failure with In the Can — a look at fifty major movie stars and their biggest critical and box office duds. Some stars’ lowest moments may be obvious, while others take a bit more digging. Sections include:
• Bury It (or, Go Directly to Video/DVD): Including Jerry Lewis’s legendary (and never released) The Day the Clown Cried and Jim Varney and Kareem Abdul-Jabbar in Slam Dunk Ernest.
• Out of the Vaults: Forgotten movies that get dragged into the spotlight when a star hits it big, like Kevin Costner’s Sizzle Beach U.S.A. and Sylvester Stallone’s Party at Kitty and Stud’s.
• Oscar Jinx: You’d think an Oscar would lead one to better projects. Sometimes you’d be wrong. Think Jane Darwell after The Grapes of Wrath or Marisa Tomei after My Cousin Vinny.
Customer Reviews:
Disappointning, underresearched effort.......2006-06-03
This book sounded good: An alphabetical listing of nearly all recent movie stars with a discussion of each star's worst film. To qualify, a film had to be both a commercial and critical disaster. Only problem is the authors appear to have written the book over a long weekend. The entries are very short -- usually a page, sometimes less -- and contain almost no background on the films, apart from their box office take and, occasionally, quotes from reviewers. We all know Halle Berry's a fine actress and Catwoman was a bomb. Why not tell us how she came to make the film, what problems the film encountered in production that made it so bad, and so forth? The authors did essentially no research that might have enabled them to discuss these issues. Instead they provide a brief summary of the actor's career before and after the bomb under consideration and make a few smart remarks about the movie itself. They would have to be far wittier than they are to pull this off. In short, if you are movie fan, you probably already know everything you will read in this book. For a much better book on the same subject, check out James Robert Parish's Fiasco.
A great idea...and a fun, informative read.......2005-10-06
The authors seem to have had a very rough job while researching this book--it consists of nothing but big, big Hollywood bombs. I never thought it would be this fun reading about Battlefield Earth, Surviving Christmas, Mary Reilly and other tanks by Hollywood's biggest stars. Lots of interesting information. It's a page-turner.
Book Description
• Every film student needs this book • Insights from top industry executives, critics, and filmmakers • Perfect for film festivals or anywhere independent films are shown or discussed
The explosion of independent cinema over the past fifteen years has created thousands of would-be filmmakers, all dreaming of becoming the next Quentin Tarantino or Steven Soderbergh—and all working away like beavers, making thousands of independent films. But what do they do once the movie is made? In I Wake Up Screening, powerhouse authors John Anderson and Laura Kim tell emerging filmmakers how to (and how not to) get their movies talked about, written about, sold, and seen. The authors' advice is supported by insightful interviews with more than sixty top industry insiders, all offering priceless behind-the-scenes tips and tricks. Making a film isn't the end anymore—it's only the beginning. I Wake Up Screening can make the difference between a movie that gets into theaters and one that ends up on the floor of the director's bedroom closet.
Customer Reviews:
Very helpful, quick read.......2007-01-04
Lots of important insights from industry leaders. Topics are very well planned out. Transitions from one quote to the next become a bit cumbersome and redundant, but authors cover what should be remembered most.
A Career in Film? Read I Wake Up Screening Now!.......2006-07-31
This gem of a book needs to be absorbed long before a filmmaker makes their first or next movie. Filled with tips and do's and don't from interviews with more than 60 veteran insiders and filmmakers, a few things became clear to me right off: (1) no single person harbors all the answers, (2) the competition is fierce, (3) quality films deserve a better shot than they're getting, (4) never alienate NY Times Critic Manohla Dargis, translation: know how each journalist works, how-to approach them, & spell their name right, and (5) cultivate link(s) to respected industry contact(s) who will champion your film with you.
Holy Good Book!.......2006-04-09
This is a really good book, hard to stop reading, because it's so lively and well written by two respected indie pros -- a film critic and a publicity whiz -- giving advice and interviewing other pros. Great for anyone who wants to know who the players are and understand the reality and mystery of how independent films get to the big screen, and how they're handled on their way there by the filmmakers, press, publicists, reps, agents, festivals and distributors. It's a page turner you'll want to read straight through and go back to later for reference. Full of information you don't get in film school, with lots of specifics, even a section on legal issues and what to include in a press kit -- everything except how to raise money, shoot footage and edit dailies. It's also nicely printed, lightweight, affordable and good looking in paperback.
MUST READ - If you make a film you must read this book.......2006-04-08
Think of yourself running in a mile-long race - you kill yourself to finish the mile, and when you can see the tape, you find out you have four more miles to go!
That's exactly how the authors frame the problem for a filmmaker. You got the money scraped together, you shot your film, you've been in post cutting the film, and then (and perhaps only then) do you become aware of the millions of details, hurdles, and pitfalls that lie between you and bliss - a theatrical release. The authors love film, and want nothing more than for your film to find an audience...but how? This is where the step-by-step analysis of dealing with PR, producer-reps, attorneys, media and buyers all get outed in fascinating detail. The tone of the book is encouraging overall, but stern in its advice when necessary, i.e. "Don't ask a film critic what they thought of a particular film." The juicy vignettes are funny and poignant. They have been around the block a few times, from LA to Cannes and everywhere inbetween, and the experience shines through in their examples of how things good and bad happen to unsuspecting filmmakers. The Sundance stories are a hoot!
First-time filmmakers who have already made their film should be forewarned - you may be deeply depressed by how tiny and incestuous the business is, especially for the top sales and producer rep talent. And there are some very unhappy endings for a lot of films, truth be told. But even at the end of the line, as our faithful authors tell us, there is still self-distribution. About the only ones in the business who get short shrift in this book are actors - notably the ones who don't support their film during festivals.
Ultimately, this book captures the vibe of indie film admirably. This book should be read alongside "The Big Picture", and the comparison/contrast will make you never want to see a blockbuster again. If there is an Independent Spirit Award for how-to books about film, this should be a nominee. Read it, and you will be much more prepared to reach the real finish line - your world premier at the film festival of your dreams.
Picky detail - this edition needs copyedited and proofread. There are too many repetitions of who's who (after the 59th reference you *know* Kenneth Turan is a film critic for the LA Times) and the chapters are too discrete - too close to a textbook assignment. The flow is there, though, and the whole is greater than the sum of its parts. A good scrubbing is all it needs, not surgery.
A kick-ass and informative look at marketing indie films. .......2006-04-02
This book appeared in my mailbox recently, I'm not sure how. But I'm glad it did. (And I wish it had appeared in my mailbox three years ago.)
"I Wake Up Screening" is an excellent guide to the ups and downs & ins and outs of getting a film out of your bedroom and into the world. It covers, with humor and aplomb, the details of fixing mistakes BEFORE you start shooting, how to get into festivals (and why you shouldn't rush to do so), and how to keep your sanity and humility in a world that is heavily populated with large budgets and larger egos.
A lot of people recommend that anyone wanting to "get into Hollywood" study films and read books like "The Kid Stays in the Picture", "The Art of War" and Machiavelli's "The Prince". While stuff like that is good for dreaming and scheming of becoming a cross between Cecil B. DeMille and Montgomery Burns, I'd recommend that for every two books like that, you read a book like this. And I'd especially recommend that you read THIS book.
Michael W. Dean
Author, "$30 Film School"
Book Description
Hollywood Drive: What it Takes to Break in, Hang in & Make it in the Entertainment Industry is the essential guide to starting and succeeding at a career in film and TV. Written by a Hollywood insider, Honthaners invaluable experience and advice will give those attempting to enter and become successful in the entertainment industry the edge they need to stand out among the intense competition. Because while film school prepares students to write a script, direct a scene and operate a camera, few newcomers enter the job market understanding how this business truly works and how to land a first jobmuch less succeed in the industry.
Hollywood Drive is not merely a book about what it takes to get your foot in the door. It goes beyond that by offering you the tools, attitude, philosophy and road map youll need to give yourself a good fighting chance at success -- whether youre looking for your very first job or for a strategy to move your career to the next level. This book will allow you to proceed with your eyes wide open, knowing exactly what to expect.
Hollywood Drive explores the realities of the industry: various career options, effective job search strategies, how to write an effective cover letter and resume, what to expect on your first job, the significance of networking and building solid industry relationships, how a project is sold, and how a reel production office and set operate. Youll learn how to define your goals and make a plan to achieve them, how to survive the tough times, how to deal with big egos and bad tempers, and how to put your passion to work for you.
* Hollywood insider with 20+ years of experience provides realistic advice and tips on getting a first job and moving up in a tough industry
* Covers a variety of career choices and the basics of how a production is set up and run
* Includes must-have information on breaking into both Hollywood and smaller markets nationwide
Customer Reviews:
Good resource for Writers.......2006-11-19
You wouldn't know this book is a great marketing book and writers should read this one. The book focuses on the film industry but there is a wealth of information in here about marketing yourself that writers can benefit from. There are some great excercises you can use to start defining yourself and begin your publicity. Whether it is for your book, screenplay or yourself.
Excellent read.......2006-06-16
I just received this book today, and cannot put it down. Honthaner writes with such ease, it's almost as if she's sitting there discussing the entertainment industry with you. As a recent graduate and an intense drive to make it in Hollywood, this book suits all of my needs in seriously knowing the ins-and-outs of the business. I would definitely reccomend Hollywood Drive to anyone with a similar passion to want to know all and be in the mix of the entertainment industry.
Film School in a Book.......2005-11-08
I attended author Eve Honthaner's class at USC in 2004. Titled "Breaking In, Hanging In and Making It," the class gave me all the skills and tools necessary to make it into the film industry in Hollywood. Her encouragement and burning desire to help people succeed in following their dreams translates well from the classroom to the page. For those who don't have 6 weeks and $2,000 to spend on her enlightening course at USC, this book is a real bargain. If you are serious about pursuing a career in Hollywood, "Hollywood Drive" will teach you the importance of networking and all the other skills necessary to get your foot in the door. Using the tried and true methods of Eve Honthaner, I got my first job in Hollywood with Fox -- and many more to follow. I now recommend this book to everyone who dreams of Hollywood and has the courage to pursue that dream.
Ms. Honthaner's book is a must read!.......2005-09-20
As a fulltime industry professional for over seven years in Los Angeles, I can highly recommend Ms. Honthaner's book. If you are moving to Los Angeles or are a resident but want to "up your game", this book is for you. Additionally, it should be a required text book for ALL university level film departments.
A real and honest book about the Biz.......2005-09-14
For anyone who's serious about a career in the entertainment business, this book is a must. It's real. It's honest. I just wish I had it when I moved to Los Angeles a decade ago. It would have helped save me from making a lot of bad, naive decisions. Whatever you do make sure you read this book cover to cover.
Average customer rating:
- again.... its johnny
- He is Gorgeous
- disappointment
- wonderful book
|
What's Eating Johnny Depp?
Nigel Goodall
Manufacturer: John Blake Publishing, Limited
ProductGroup: Book
Binding: Paperback
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ASIN: 1857825128 |
Book Description
Johnny Depp, Hollywood’s most famous outsider, is one of this generation’s most impassioned, highly lauded stars. Nigel Goodall looks at his often turbulent life, his highprofile love affairs, and his extraordinary career in film.
Customer Reviews:
again.... its johnny.......2007-01-07
Another book for a collection if you are a true johnny fan. good read
He is Gorgeous.......2005-11-25
Okay, so the book isn't that well written. It's pretty bland and is organized a bit confusingly.
But, then again, there are gorgeous pictures of a gorgeous man, and we get to learn about his life, so do we really care about the literary content?
Nope.
If you love Johnny Depp and just want to learn some more facts about him (and look at lots of good pictures of him!), you'll enjoy this. But if you're looking for a biography that's a good read, this isn't it. Go read...something else that isn't this.;-)
disappointment .......2004-08-30
Really disappointed in this book! Too much jibber jabber going on! Who cares? I wanted to read about JOHNNY! Way too little info on HIM!! too much junk.
wonderful book.......2004-08-13
i loved this book and it is a great biography for johnny depp fans and admirers.
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