Book Description
Offers user-friendly knowledge and stimulating exercises to help compose story, develop characters and create emotion through skillful creation of the sound track.
Customer Reviews:
One of my all time favorite books........2007-06-19
"Sound Design" by David Sonnenschein is a very rewarding and fascinating read. Full of knowledge and practical examples as well as exercises to develop the reader's own awareness for sound. It's became one of my all time favorite books.
I highly recommend it to anyone interested in sound... be it for film or radio.... or music...
Great Service.......2007-03-10
It was shipped the same day and delivered a few days later. For those college students that get ripped off at their school bookstore this is a must.
A most excellent read and perfect for classes in sound design.......2007-02-12
David Sonnenschein's book is my "go-to" book for not only the quality of information that he presents but the interesting way that it is told. This book is an excellent read besides being extremely informative. I find that these are the best to assign to my students as many texts are just that: texts - dry and dull. David Sonnenschein presents the information herein in a delightful way and has many excellent tips on the overall shape of sound.
A great book, full of examples and creativity.......2007-01-30
I have to thanks deeply Mr D. Sonnenschein for this incredible book. I enjoyed it so much. This book helped me so much understanding the 'how' of sound effects and ambiences in movies. For sure a good choice and a good book.
I just can give an advice: buy it!!! I am a sound designer in Spainn and I consider this book a must.
Thanks David!
Great book to teach with!.......2006-01-26
I use this book in my Sound Design class at the University of Saint Francis. It is a great foundation upon which you can build confidence in your inexperienced students just by having them read the book! Also it helps make sense out of the confusion of directors dealing with sound and audio crew. This book has made my teaching job a lot easier and the students of my class a lot more saavy in sound design.
This book also would be excellent for anyone interested in the sound of movies and TV. AND it is essential reading for any Director (any GOOD Director, that is) Thanks David Sonnenschein for writing it!
Book Description
Have you noticed the renaissance of documentary filmmaking going on around you? Some are inspired by the work of legendary directors and cinematographers such as the Maysles brothers, D.A. Pennabaker & Chris Hegedus, Errol Morris, or Ken Burns. Others follow their own idols or simply set their own course. Inexpensive video camera equipment and video editing software have helped fuel this new wave of truth-tellers, bringing the tools of the craft within reach of amateurs and students, as well as independent journalists and filmmakers on a budget.
In The Art of the Documentary, the directors, editors, cinematographers, and producers behind today's most thought-provoking nonfiction films reveal the thought processes, methods, and collaborations that have guided their efforts- from project conception to developing, producing, shooting, editing, and releasing some of the finest documentary films of recent decades.
This richly illustrated volume, which will appeal to professional and aspiring filmmakers, as well as documentary enthusiasts, features conversations with director Ken Burns (The Civil War, Jazz, Baseball), director/cinematographer D A Pennebaker (Dont Look Back, The War Room), director/cinematographer Albert Maysles (Gimme Shelter, Grey Gardens), director Errol Morris (The Fog of War, The Thin Blue Line), director Chris Hegedus (Startup.com, Down from the Mountain), editor Larry Silk (Pumping Iron, Wild Man Blues), cinematographer Buddy Squires (The Civil War, Ram Dass, Fierce Grace), director/producer Lauren Lazin (Tupac: Resurrection, Journey of Dr. Dre), editor/director Paula Heredia (The Vagina Monologues, In Memoriam: New York City, 9/11/01), director/cinematographer Kirsten Johnson (Fahrenheit 9/11, Innocent Until Proven Guilty), and editor Geof Bartz (Lenny Bruce: Swear to Tell the Truth, He's Having a Baby). And with contributions by: Sheila Nevins, President of HBO Documentaries and HBO Family, Carol Dysinger, film editor and professor, NYU Film School, and Haskell Wexler, cinematographer.
Customer Reviews:
Artfully Done.......2006-03-11
The Art of the Documentary
By Mary Cunningham
Review by Pi Ware
Mary Cunningham's "The Art of the Documentary" is an attractive full-color compilation of interviews with some of the world's foremost documentarians. It's an intimate and insightful glimpse into both the art and craft of docs and a must-read for filmmakers serious about creating non-fiction work. You'll learn how Errol Morris creates "first-person cinema" using The Interrotron; why Ken Burns locks music before script, how D A Pennebaker futhered art via technology, and how cinema-verité documentarians like Haskell Wexler are able to "inspire" scenarios within their films.
Notably missing are the king of the personal documentary, Ross McElwee, and the masterful doc team of Bruce Sinofsky and Joe Berlinger. But Cunningham fills the spaces with interviews of the behind-the-scenes players--editors, executives and cinematographers. And in doing so she gives you a broader picture of the doc world and deeper insights into what it will take for you to make a successful non-fiction film.
Nonfiction documentaries reveal the methods and focus their directors.......2005-11-09
Megan Cunningham's Art Of The Documentary offers ten conversations with some of the best documentary directors, editors and producers in the industry. Nonfiction documentaries reveal the methods and focus their directors, which is captured in chapters which begin with project concept and move through the entire production process. Plenty of color photos illustrate each director's works.
Mentors Supplied.......2005-11-02
Ever wanted Ken Burns or others in the pantheon of documentary greats as your personal film making mentor? This book gives you that and more. This versatile book is as perfect for someone just starting out in documentary films as it is for a veteran who wants in on a few secrets of the masters. Our film production company read from it aloud on location and everyone, from the producer to the cinematographer to the researchers, all gleaned practical tips from it. The interviews are substantive, insightful and most importantly, very useful. A real keeper for those interested in learning nuances and techniques from a wide range of documentary styles.
Riveting reading.......2005-07-27
Consider this book a master class in documentary filmmaking.
Megan Cunningham's interviews are incredibly engaging - she manages to at once explore each documentarians' creative process, AND discuss how these various filmmakers achieved their success, AND to discuss specific films in-depth AND to elicit the filmmakers' fascinating views on theoretical issues such as what constitutes "cinema verite" or whether documentaries can be considered art.
Furthermore, Cunningham's book is wonderfully readable and well organized (and full of photos!). I especially enjoyed how Cunningham devoted equal space to such luminaries as Errol Morris and lesser known but equally powerful documentarians such as Lauren Lazin. The book manages to seamlessly cover more than 50 years of American filmmaking and it's wonderful to have the thoughts of multiple generations of directors, editors, and cinematographers compiled in one volume.
Whether you're a fan of documentaries, an aspiring documentary filmmaker, or unfamiliar with the entire field and would like to learn more, "The Art of the Documentary" is the book for you.
A must for students or anyone who wants to make docs.......2005-07-27
More so than anything else, this book is informative. In 10 interviews Cunningham does a great job of getting to the core of the passion for doc filmmaking of 10 of the biggest names in the genre (Burns, Morris, Lazin, Bartz, etc.).
Beyond getting a glimpse into the filmmakers' drive, the interviews also offer plenty in terms of understanding technique and the general "how-to."
This book is a must for anyone interested in movie making, be it practically, or academically. It's an engrossing read.
Book Description
An acclaimed writer takes readers inside the world of M. Night Shyamalan—the most successful filmmaker of his generation—as he creates a new movie masterpiece
In 1999, filmmaker M. Night Shyamalan exploded onto the cinema scene with his supernatural thriller The Sixth Sense, which garnered major acclaim and raked in massive box office numbers around the globe. Since then, his phenomenal commercial and critical success has continued as his films—including Unbreakable, Signs, and The Village—have grossed over $1.5 billion and reinvented the thriller genre. But throughout his rise to prominence, Shyamalan has remained separate from the Hollywood system, living and working solely in his hometown area of Philadelphia, and keeping his ideas, filmmaking techniques, and business practices tightly-kept secrets.
In The Man Who Heard Voices, journalist Michael Bamberger takes readers inside Shyamalan's world for the first time, getting total access to the man who has been called “the modern-day Hitchcock” as he prepares, creates, and test-screens his next film, Lady in the Water, which stars Paul Giamatti (star of Sideways) as a building superintendent and Bryce Howard (star of The Village) as a mysterious sea nymph. Bamberger's intimate perspective and insightful narrative prose will bring to life Shyamalan's creative process—from his multiple drafts and revisions of the screenplay to his on-location work with his cinematographer and crew and his relationships with the actors under his direction. The book also follows the high- stakes business decisions behind the scenes, including his agonizing decision to move from Disney to Warner Bros. for this film, his involvement in the studio's massive marketing campaign, and the evaluation of the crucial initial test-screening of the film.
Customer Reviews:
Cut & Dry.......2007-09-15
If you're an M. Night fan you will not be able to put this book down. It's amazing.
An unbiased look at the film making process.......2007-04-11
I almost didn't read this book after reading some of the reviews and comments made by others on this site. I'm glad I decided to give this book a chance. This is a must read for anyone interested in the process of film making. The fact that the author is a sports writer and not involved in the film industry gives the book more authenticity, not less. The journey from script to completed film is told through the eyes of someone seeing it for the first time and not prejudiced by other films.
I read the book first and then saw the movie (on DVD). If you haven't seen the movie, this is the order I would recommend. You'll especially like the DVD extras after reading about the various collaborators in the book. If the "Lady" script had been submitted by a no-name screenwriter, it would never have made it past the script readers. Yet not only did Night get to make a movie based on a weak story idea with a weak script, he got Warner Brothers to put in over a hundred million dollars to film and market it. No matter how talented the actors, the cinematographer, or the director, if it doesn't work on the page it isn't going to work on the screen. This book shows how bad movies get made.
The Man Who Ignored Voices.......2007-04-06
After delivering "Lady in the Water", Shyamalan somehow managed to offend a pubescent American culture that prefers to be the offender. And somehow he did it without any pretentious artistic attempts at being shocking through sex, violence and vulgarity. Kind of ironic that it would take a bedtime story to get under the skin of a society plagued with the Peter Pan syndrome. And then he tops it off by having the audacity to let a biographer tell us how he did it. I mean, the nerve of Shyamalan. Why can't he blow his own horn like everybody else?
But that's what happens when one is an artist truly committed to his art. And instead of taking the usual X-Rated route of cage rattling, Night pulled it off with a PG-13 Rating. Impressive.
But to read this book you realize that he paid the price of the much sought after and coveted title of being "controversial" -- even if that wasn't his goal. In fact, from this book we learn that his intentions were the exact opposite. He was hoping to inspire a hopelessly adolescent culture that is hell-bent on being cynical. Because, you know, cynicism is a worthy accomplishment.
Michael Bamberger, the biogrpaher, seems to be somewhere in the middle of this willingness to be inspired and cynical resistance (He admits to having spotted feelings about "Lady"). This makes him more than just a biographer but also a character in his own story. While Bamberger describes Shyamalans vulnerabilities and strengths in the turbulent ride of artistic rejection and redemption, I couldn't help but wonder about Berbengers feelings while acting as a passenger. And he is a passenger. When someone else is doing the driving and your duty is to watch, you have a heightened sense of doom when the driver is irrational and, at times, reckless. Bamberger all too often becomes the rubber-neck passenger watching the chaos that sometimes zooms past Nights peripheral. For instance, the erratic antics of the Director of Photography often occur when Night has left the room.
There is a palpable doom that soaks these pages. Bamberger knew while shadowing Night that the "Lady" was going to show the darker side of herself. The side of her that was a "B*itch." It comes through vividly when he describes Giamatti's late, albiet enthusiastic, acceptance of the role which threw Shyamalan into a mild panic. And that's just the beginning.
One of the recurring themes that Bamberger picked up from Night and migrated into this book is loneliness. Nights loneliness in the development of his movie is so well documented by Bamberger that it becomes experiential for the reader. You'll find from chapter to chapter how loose the strings really were as Night struggled to keep his often reticent players tied together. It's painful to read, because the very people who doubted Night -- and his script -- happen to be on his side. But this is all proof that Night really is the innovator that cynics and critics wish he wasn't. Innovation is inherently a lonely mans game. And naysayers who lack the courage for innovation are always looking forward to seeing the courageous take a loss in their own game.
I think it's safe to say that these same critics are among the voices chattering away in Nights head. That is why, from this book, we learn that Nights personal journey was not just to make a movie, but to silence those voices by being insubordinate. It takes a genius to be a rebel during the day and tell bedtime stories at night.
The Man Who Heard Razzberries.......2007-03-15
I agree that Bamberger could be the greatest satirist living, if that was his intention. The endless verbal oral sex the author performs on his subject...The abject awe...It is truly hilarious.
It's also true that you'll only enjoy laughing at this road apple of a book IF you didn't pay anything for it, as I didn't.
Let us all hope that in the future, M. Night Shamalamadingdong does NOT listen to the same voices that told him to put out "Lady in the Water," AND this book.
I was looking for just a little more..........2007-01-22
I enjoyed this book, but I admit that as I was nearing the middle of it, I started to lose some interest. It began to tell me that the entertainment business is all the hype, egos, and vanity I thought it was to begin with. And it got a bit boring in parts. My interest came back again at about three quarters of the way through. This may or may not be because that is about the time I watched Lady in the Water on DVD. I so enjoyed the movie... it has a great combination of little laughters, mystery, emotion, and storytelling. There were parts and characters that could have been developed better... I say this after reading the book since I did feel I had a better understanding of the idea behind some characters than the movie portrayed. (This after watching with my husband, who did not read the book... though he liked the movie.)
Interestingly, I think the book's author and Shyamalan are having the same struggles. Both of them have a little trouble getting out of their own way. There are moments when Shyamalan seems to lose it and blame others for his dissatisfactions when making the movie. Bamberger throws in one too many "dude"s and "dig it" type dialogues as well... as if he is trying too hard to portray Shyamalan as an ordinary guy. Paul Giamatti comes across as the wonderful and ordinary guy. Probably because he doesn't think about it, he just is. Shyamalan's reactions to Disney and others seem confusing to me. The folks at Disney did tell him that he could make the movie, yet his attitude was as if they were supposed to treat him like a movie god and not hesitate. In the end it sounds like the movie, the story, could have truly been great if he had gotten out of his own way. He did what he told Cindy Cheung to stop doing... trying too hard and not just letting it happen. It seems like there could have been tremendous gains if the story were kicked around for another year. While I really did enjoy the movie, it could have made the difference from a really good story to an amazing story. I think Shyamalan may have learned from the experience, and as an excellent director, I'm anticipating some amazing movies yet to come in my lifetime.
In recommending this book, it depends on what you want out of it. Definitely a great read if you are interested in moviemaking. Perhaps a learning experience if you are interested in a struggle to do what your own inner voices may be telling you.
On recommending the movie... definitely. Especially if you love magically stories. The look and feel of the movie is well done. Lots of interesting characters. (I loved the Anna Ran and Mr. Drury characters the best.)
Customer Reviews:
Multiple Voices helpful to those "in the know".......2000-11-09
Multiple Voices is a great complilation of developmental feminist film theory. Interesting and diverse essays are included: Christine Gledhill (one of my personal favorites), B. Ruby Rich, bell hooks, Teresa de Lauretis, Linda Williams and more. The anthology is broken into three parts: "perspectives", which gives a brief histoical and general overview of American feminist film criticism; "practice", which is a series of essays that apply the theory to various films/film genres; and finally, "course files" which are course outline suggestions for teaching theory to students.
This is a great book for someone well-versed in feminist theory. However, there are a few drawbacks to it which makes it a little less accessible to a novice. Namely, Laura Mulvey's theory is talked about in many of the essays, but her historic essay, "Visual Pleasure and the Narrative Cinema," is not included. Also missing from this collection is a good representation of French feminist theory.
Book Description
For decades the Village Voice set the benchmark for passionate, critical, and unique film coverage. Including reviews by some of America’s most respected critics, The Village Voice Film Guide compiles spirited landmark reviews of the Voice’s selection of the 150 greatest films ever made. Collecting some of the best writing on film ever put on paper, this is a perfect book for film buffs.
Customer Reviews:
voice.......2007-05-12
It's the Voice review. Most appropriate for those who don't get their movies from blockbuster, but rather Kim's or the like.
Goodbye New York .......2007-03-19
I pretty much became a cinema studies major at American University in the 1980's because the Village Voice film critics had taken an unfocused love of film and set it on fire. Nevermind that I never got the degree and switched over to journalism. Andrew Sarris, for me, was the greatest teacher of film I've ever known, and he did it in a way that combined theoretics, ideology and description with . . . passion and joy. I got excited about what he talked about. I argued and agreed with him and his quirks. I found his wife, Molly Haskell, through reading him. I began to drift to the New York Times for more reviews. I began to see how some people wrote seriously, and others rehashed the plot and then said whether the film was any good or not. This led to thumbs up and thumbs down, which is what we pretty much have today. I remember reading B. Ruby Rich and being absolutely fascinated by her feminist spins. I remember hating Georgia Brown, because she seemed so simple, until I realized she was quite strong. I fell in love with J. Hoberman because he was so knowledgable and so sensible. I began to love the critics as much as the movies because, to me, some of them packed the same emotional and intellectual impact as the films they were writing about. The dialogue about film was written by those with fiercely intelligent views and passion for the art. Now, a chain publisher called New Times has gone in and pretty much raped the Village Voice and set up its puppet government. New York, when you visit now, has pretty much become a playground for the rich and an outlet center for retail giants. The city is most famous for its one constant -- change -- but the organic humanity has been ripped out and replaced with something sponsored by something. The working class, the bohemia, the art, the crazies, the entire street life that made it so thrilling for so many, many decades is just plain gone. The hangouts aren't for the flowering of ideas, but for the empty-headedness of the pickup. CBGBs is gone. Just about everything is a cartoon memory of what came before. Only Wall Street remains and maybe the doorman district, because even though money changes everything, money, itself, never changes. This new guide by the great Village Voice writers now becomes a tombstone, not a living, breathing extension and completed chapter in an ongoing story of criticism. The Village Voice you see in New York now is one of 17 publications in a miserable chain, and some of the critics -- including, apparently the film editor -- aren't even based in New York, but, rather, writing for all the rags. So, I would say take this away and enjoy it, learn from it and find new films. When in New York, don't pick up the Voice and think you are reading something of the city, anymore, though. It, too, is a hollow facade.
The Village Voice Film Guide . . . ur-Terrific!.......2007-01-28
A must-have guide for any cinemaphile. Readers will devour 150 reviews of classic films by renown contributors Jay Hoberman, Michael Atkinson, Jonas Mekas, Georgia Brown, Andrew Sarris, Amy Taubman, and several by Dennis Lim. The Village Voice remains the foremost alternative newspaper in the country. You'll find a distinct difference in approach and opinion rendered by Village Voice contributors than say by contributors to the SF Chronicle or other mainstream media. Village Voice film reviews take an entirely different intellectual spin.
In this collection,you'll discover a notable review and letter exchange between critic Jonas Mekas and the late John Cassavettes about SHADOWS. Mekas championed Cassavettes original version of SHADOWS screened in 1958 and basically panned a reshot/recut version completed in 1959. Jay Hoberman contributes a review in June 2003 due to a restored version of SHADOWS which was premiering at Anthology's Jonas Mekas Theater. The next update from Hoberman comes in 2004 with the rediscovery of the original 1958 film he refers to as "ur-Shadows." Interestingly, this original "ur-Shadows" film was "turned down by Sundance" and premiered at Rotterdam Film Festival. Hoberman says that the 1959 film "is not a virtual remake" as Mekas suggested when he disowned the film. These pages leave you wanting more about the story-behind-the-story of this "lost"version of SHADOWS---and its ur-Sudden reappearance.
Customer Reviews:
Feminist Film Theory.......2000-05-25
Silverman's observations regarding classical Hollywood cinema constantly drive the reader beyond the complacency of a male-centered interpretation of film. Make no mistake about it, her prose is thick, but the rewards of contemplating her thoughts are there for the picking. She extends the thought of Laura Mulvey, and does so by also using the psychoanalytic method. If the reader has questions about the validity of this particular method, then he/she may question some of the ideas that are put forth. However, Mulvey's acknowledges that the psychoanalytic method itself has traditionaly bowed to the father-figure. Her intention is to raise the reader's awareness of this tendency before she begins to explore the ramifications of patriarchal society on the filmic medium. Incredibly interesting are remarks on the "disembodied voice" and its relationship to female characters that can be found in Hollywood cinema. This is the essence of what makes film an "acoustic mirror."
Average customer rating:
- Not a Music Note in It!
- Pray Observe the Magnanimity...
- Different editions
- Good version
- Another G&S Winner from Dover
|
The Pirates of Penzance: or The Slave of Duty Vocal Score
Manufacturer: G. Schirmer, Inc.
ProductGroup: Book
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Similar Items:
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Gilbert & Sullivan - The Pirates of Penzance / Kline, Ronstadt, Smith, Routledge, Delacorte Theater (Broadway Theatre Archive)
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Pirates of Penzance in Full Score
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The Pirates of Penzance
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The Mikado Vocal Score (Dover Vocal Scores)
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Gilbert & Sullivan: The Pirates of Penzance
ASIN: 0793525861 |
Book Description
The Pirates of Penzance, premiered in 1879, confirmed the comic genius of librettist W.S. Gilbert and composer Arthur Sullivan, following on the heels of their wildly successful H.M.S. Pinafore. Pirates invade the rocky coast of Cornwall in this topsy-turvy tale of love and duty, highlighted by the famous strains of "Poor Wandering One," "I Am the Very Model of a Modern Major-General," "Oh, Is There Not One Maiden Breast" and "With Cat-Like Tread, Upon Our Prey We Steal." This vocal score includes the complete music and all dialogue, a plot synopsis, articles on the famous partnership and the history of The Pirates of Penzance, a filmography and a discography.
Customer Reviews:
Not a Music Note in It!.......2007-01-12
Be aware that this book does not have a single musical note in it! I ordered 30 copies for a production I am directing and when the book came, it is only the dialogue and the lyrics to the music. You can download that much from the internet! I don't know why the other reviewers talk about it being a vocal score. It has no music in it. If you want to get a vocal score, this is not your ticket. Besides, this book is a copy of another book. Amazon says the book is 48 pages long, but the script is only 20 pages and the other pages are blank. I am sending this back and getting the Shirmer edition.
Pray Observe the Magnanimity..........2006-07-15
I used this score in a production of Pirates at my university, and from the standpoint of a cast member it was excellent. It outlined each part and was easy to read. At any point where scores between production years differ, this handy volume recounts them all with notes as to which part belongs with which year. My only complaints are that it is not ring-bound (regular paperback binding, harder to hold on to/use) and some harmony parts are difficult to pick out because they divide on the page turn and appear at different parts of the page. Other than that, it is a wonderful score and I would recommend it to anyone interested in producing this enchanting operetta.
Different editions.......2002-02-28
We're staging a production of "Pirates" in April 2002, and we have two editions of this score by G. Schirmer. The cheaper one is for the chorus, and has just the choral passages. The more expensive one (listed here) has the complete vocal music and dialogue.
I have seen both, and would rate them at five stars except that the original page plates are a little dirty, introducing some confusing dots and spots.
Good version.......2001-12-08
I'm not sure what an earlier reviewer is saying about this score not having the solo stuff. This book has the complete score and dialoge. I've used it for two productions of POP and it is missing nothing.
Unless this is a different edition than the one I have..but it has the exact same cover and credits so I doubt it.
Another G&S Winner from Dover.......2001-11-06
Once again Dover has managed to produce a Piano Vocal score which is a major improvement over the existing editions. While I can't speak for the Scholarly content, and while it doesn't claim to be a "critical edition", it does EXACTLY what a performer wants in a piano vocal score. It is clear and readable and has the words as well as the music. It is also clearly market with measure numbers at the start of each staff and has clear and well marked Major Measure markers throughout. In sum, if you are looking to perform the work, this is the edition to get.
(And if you need a Full Score, the Dover full score is also a very good deal).
Product Description
The revised edition of this book features 11 songs from Tim Burton's creepy animated classic, with music and lyrics by Danny Elfman. Songs include: Jack's Lament Jack's Obsession Kidnap the Sandy Claws Making Christmas Oogie Boogie's Song Poor Jack Sally's Song This Is Halloween Town Meeting Song What's This? Finale/Reprise.
Customer Reviews:
Danny Elfman is an incredible movie soundtrack composer.......2007-09-24
This book is a challenge even for the most experienced pianist. His music is fun and intricate and complex. I recommend this book for anyone who is not only a fan of the movie but a fan of excellent music who is looking for music that takes their knowledge of music theory to the max.
absolutely amazing.......2007-08-17
I love all things tim burton, especially the soundtracks to his movies. danny elfman is possibly the most talented composer in hollywood and it baffles me that not all his music is sold as a piano vocal series, since it is so very suitable for just that. consequently I was thrilled to find this little book, and I was not disappointed. it is simple enough for a novice to play along based on the chords, and yet sophisticated enough for the more experienced pianist to get a lot out of the instrument. as has been noted elsewhere, the guitar chords are indeed systematically drawn every tim they occur, which to me is a fantastic idea. every tim burton/danny elfman fan who likes singing and playing the piano should own a copy of this!
the second I got my hands on it, I went directly to my piano and did not get up for the next four hours. that's how great it is to be your very own nightmare before christmas soundtrack!
Don't know music myself, but my son does!.......2006-11-04
I'm not musically gifted like the rest of my family; I only took 4 years of violin to get out of gym, but wouldn't know what to do with one if I picked it up today. But I do know that this music/lyric book has every song from "The Nightmare Before Christmas" movie. anyone that's watched it KNOWS that every song is hauntingly, melodiously beautiful, just like any other Tim Burton production. Even if you can't carry a tune or don't know the words, you have to try to sing along. But with this musicbook you can! -at least know the words -you know best if you can actually sing... I would highly recommend this product! Kudos to the Hal Leonard Corp for making it available! :)
Good song book with guitar chords.......2006-10-06
There's lot of stuff in this tiny cheap book. It's obviously not aimed at orchestrators but more at the movie fans who expect some nice evenings, singing these excellent tunes.
I give this book a 5 because of the guitar chords which are systematically drawn each time they occur. It wasn't expected, especially as we're dealing with a piano vocal song book, so: 2 thumbs up=5 stars !
Delicious nightmare.......2006-03-27
This is a great book with all the wonderful songs of this marvellous musical. I recommended it to any fan of the film, because it will not dissapoint them. There are funny, tragic, exciting, romantic songs, and all of them are absolutly beautiful. I'm going to learn to play the piano just to play this songs.
Book Description
Voice & Vision is a comprehensive manual for the independent filmmakers and film students who want a solid grounding in the tools, techniques, and processes of narrative film in order to achieve their artistic vision. This book includes essential and detailed information on relevant film and digital video tools, a thorough overview of the filmmaking stages, and the aesthetic considerations for telling a visual story.
The ultimate goal of this book is to help you develop your creative voice while acquiring the solid practical skills and confidence to use it. Unlike many books that privilege raw technical information or the line-producing aspects of production, Voice & Vision places creativity, visual expression, and cinematic ideas front and center. After all, every practical decision a filmmaker makes, like choosing a location, an actor, a film stock, a focal length, a lighting set-up, an edit point, or a sound effect is also an expressive one and should serve the filmmakers vision. Every decision, from the largest conceptual choices to the smallest practical solutions, has a profound impact on what appears on the screen and how it moves an audience.
In Practice sidebars throughout Voice & Vision connect conceptual, aesthetic and technical issues to their application in the real world. Some provide a brief analysis of a scene or technique from easily rentable films which illustrate how a specific technology or process is used to support a conceptual, narrative, or aesthetic choice. Others recount common production challenges encountered on real student and professional shoots which will inspire you to be innovative and resourceful when you are solving your own filmmaking challenges.
Other features in Voice & Vision include:
* Comprehensive technical information on film and digital video production with a focus on low-budget techniques and creative expression
* Close to 600 lavish illustrations
* A seamless integration of film and digital video. Express yourself with any camera and any format.
* A focus on successful filmmaking within limitations, learn to work successfully with available resources (time, equipment, budget, personnel) and turn limitations into opportunities.
* A substantial exploration of the sound tools and techniques used in film production and the creative impact of the post-production sound design.
Customer Reviews:
Everything you need to know to make a movie and more........2007-05-09
Well written and informative.
Books:
- Spike, Mike, Slackers, & Dykes: A Guided Tour Across a Decade of American Independent Cinema
- Star Pilot (DK READERS)
- Steve McQueen The Last Mile
- Story: Substance, Structure, Style and The Principles of Screenwriting
- Study Guide for American Cinema
- The Art of The Two Towers (The Lord of the Rings)
- The Artist as Monster: The Cinema of David Cronenberg
- The Developing Person Through the Life Span (paper)
- The Devil's Candy: The Anatomy of a Hollywood Fiasco
- The Filmmaker's Handbook: A Comprehensive Guide for the Digital Age
Books Index
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