Book Description
Tens of thousands of readers have benefited from Michael Rabiger's classic text on documentary filmmaking, now updated to reflect the revolutionary switch to digital video equipment and software. You will learn how to research and focus a documentary film or video idea, develop a crew, direct the crew, maintain control during shooting, and oversee postproduction. Practical work is emphasized, with dozens of exercises and questionnaires to help focus your ideas and give you hands-on practice. The documentary is treated as an important genre in its own right, as well as a useful prelude to directing feature films.
The fourth edition is a significant update. The book's emphasis has always been on concrete steps you can take to become a documentary filmmaker, and there are loads of new projects to help, along with assessment tables that allow you to gauge your progress. In addition, there is new material on location sound, the reality TV trend, top documentaries to see, and more.
*The definitive guide to making a documentary
*A hands-on approach with dozens of exercises
*A fully updated 4th edition of the classic textbook
Customer Reviews:
Enjoyable Too.......2007-04-11
Thought it would be much more heavy and academic. Is an easy read without dumbing down. Great for getting you going again if youhave "fallin off the wagon".
great.......2007-04-10
what a great book. it's up-to-date and goes through everything you could ever want to know about documentary filmmaking.
The Ultimate Guide to Documentary Filmmaking.......2007-03-26
I already use Rabinger's "Directing" tome as my filmmaking bible, and always refer to it when planning productions and right before shooting. So when I started a documentary project, I knew I had to get this version dedicated to that aspect of filmmaking. I was not disappointed. Right away, his advice improved my project planning and helped me make a much better project pitch than I originally had. And once again, it's loaded with practical advice that's very easy to read and use. Rabinger knows how to put together a great reference resource. Too bad all books weren't put together like these.
Great book for filmmakers of all kinds.......2006-09-21
this book includes all kinds of useful information that is not necessarily specific to documentary, although that is it's focus. there's excercises in here to help develop ideas into a filmic narrative, ethics, how to tackle an interview as well as subject matter. i've read a lot of film books, and i have to say, this is not only well written with a sense of humor and wit, it deals with potential situations in a down to earth way. The information provided is not just technical, but also how to approach an emotional situation, gain the trust of your participants, and address multiple points of view.
Directing The Documentary.......2006-07-19
I am currently writing a documentary for a feature length film, and found Michael Rabiger's book informative, subtle, and well structured. Having received a documentary film class at University, I had already learned about the basic tools of the medium. This book provides a masterclass in documentary filmmaking, and prepares you for the demands of documentary filmmaking. I recommend it to students and professionals alike.
Average customer rating:
- A first-rate primer for the aspiring filmmaker
- An Excellent Overview
- good intro for the novice filmmaker
- Stick to "Film Art" by Bordwell/Thomspon
- Best introduction to filmmaking I've found
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Art of Technique, The: An Aesthetic Approach to Film and Video Production
John S. Douglass , and
Glenn P. Harnden
Manufacturer: Allyn & Bacon
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ASIN: 0205142486 |
Book Description
This book provides readers with a teaching tool not currently available. It fills a gap in the literature by going beyond simple discussions of hardware usage, basic technical knowledge, and descriptions of technique to in-depth discussions of how this knowledge can be applied in a coherent approach to production.
Customer Reviews:
A first-rate primer for the aspiring filmmaker.......2002-01-21
"The Art of Technique: An Aesthetic Approach to Film and Video Production," is more of a primer than it is a critique of cinema. Yes, there is a big difference between this volume by John S. Douglass and Gleen P. Harnden and "Film Art: An Introduction" by David Bordwell and Kristin Thompson. The latter utilizes literally hundreds of frames from both classic and relatively unknown films to demonstrate cinematic techniques. "The Art of Technique" does the same thing with student models. Whether this has to do with the cost of using copyrighted images and/or transforming them into individual frames for use in a book, this is a major difference between the two textbooks. When Douglass and Harnden discuss something, like Ingmar Bergman's use of Extreme Close-ups (ECU) in "Scenes from a Marriage," they can only talk about the extraordinary intimacy it gave the production, without offering visual evidence to support their claim. However, the authors do use their "homemade" examples to good use at time; for example, when exploring the concept of framing they provide examples of "bad" shots (filled with distracting clutter) before showing better choices for the cinematographer.
"The Art of Technique" is divided into two main sections. After an introductory chapter on "Interpretation and Treatment," there are six chapters focusing on the various ways a film can tell a story, essentially pre-production considerations. There is a nice little section detailing the basic types of stories Hollywood tells over and over again ("Jack the Giant Killer," "Fish Out of Water," etc.). Clearly the emphasis here is more on production than criticism, which makes the orientation of this textbook more towards the filmmaker than the movie audience. This first section ends with a look at Mise en Scene and questions of design. In terms of concepts covered, separate from the issue of how those concepts are presented in the textbook, the authors provided a comprehensive, well-organized presentation.
The second half of the book covers "Techniques for Interpretation," which starts with a consideration of the trinity of how the camera, editing and lighting can be used for interpretation. Again, everything is here; I could not find a concept or technique that was an obviously glaring omission. The book concludes with a pair of chapters on Symbols and Significance, which get into the impact film can have on an audience. You might expect to find a glossary at the back of the book, but instead we have a pair of appendixes on Electricity and Measuring Light, which only serves to reaffirm that this book is geared towards the novice filmmaker. If you are looking for a textbook that because you are a budding film critic, then this is not going to be your first choice. I can even make the argument that by not saturating their textbook with frames from dozens of films, Douglass and Harden do their readers a favor, because instead of borrowing shots and techniques from the acknowledged masters of the art form, they are being asked to reinvent the wheel. Do not knock this, because that is basically how we think Orson Welles made "Citizen Kane."
An Excellent Overview.......2002-01-15
This book explores many aspects of filmmaking in a logical, easy-to-follow manner. A great find, albeit a bit pricy. I used it as my text for teaching a video class as it offers some aesthetic considerations for why techniques may or may not be used in a given situation. This approach helps to minimize the technique-euphoria beginners tend to have with techniques which are new to them (ala George Lucas in the new Star Wars...)
good intro for the novice filmmaker.......2000-04-21
this book works very well as an introduction to the creative use of techniques for filmmaking. it is quite clear and concise and is not bogged down by too much technical details or dicussions on film theory. a good starting point.
Stick to "Film Art" by Bordwell/Thomspon.......2000-04-17
I was shocked when I looked over this book. I had always relied on "Film Art" which is the standanrd intro to film but I wanted to branch out. I found this book to be a superficial approach to cinema, no probbing analysis or challenge to interpretaion of technique or narrative. Save your money and stick to the classics. No one seems to use this book in higher education film studies- ask your professor to suggest a book.
Best introduction to filmmaking I've found.......2000-02-16
I teach filmmaking, and needed a book that covers all the basics in a few meaty and meaningful pages. This is it. Most books on filmmaking technique either wax philosophical on the author's pet theories or get lost in gee-wiz-you-can-do-this-neat-trick-with-the-camera mania. There's little of either here; instead, you'll find a focused, highly readable series of lessons on what really matters most--how to communicate a meaningful message on film or video. Unlike some VERY annoying books that give examples of lighting and other techniques via badly drawn line-art, this book shows every technique with actual stills from video shoots so you can see how lighting, framing, lens use, etc. actually change the appearance and impact of a scene.
There are also numerous references to excellent classic and modern films with quite specific suggestions for examining the techniques that make those films work so well. Perhaps most important of all, the authors never lose sight of the fact that filmmaking is about interpreting and creating a reality that evokes a meaningful and powerful experience for the audience.
So if you want a book listing all the oh-so-tacky transitions and effects that your new NLE will do, or a thousand-page treatise on the history of film, THIS AIN'T IT. But if you want a book that will help you quickly learn to put cameras, lighting, and editing in the service of your creativity--buy this one first.
Book Description
David Lynch is an anomaly. A pioneer of the American 'indie' aesthetic, he also works in Hollywood and for network TV. He has created some of the most disturbing images in contemporary cinema, and produced startlingly innovative work in sound. If the consistency of his 'vision' suggests he might be approached as an auteur, defining that vision raises many questions. The essays in this collection push toward a fuller account of the cultural and technological contexts within which his works developed during the 1980s and 1990s, and of his intense engagement with the creative and working practices of the industry. They offer an up-to-date range of theoretically divergent readings that demonstrates not only the difficulty of locating stable interpretative positions for Lynch's work, but also the pleasure of finding new ways of thinking about it. Films discussed include Blue Velvet, Wild at Heart, The Straight Story, and Mulholland Drive.
Customer Reviews:
Very good read on David Lynch.......2007-07-06
I'm reading this book a 2nd time now. I would say this book is im my top three Lynch books as well and it provides a very good outline, and possibly, a key, for the way Lynch thinks. If anything, it will help you come up with more of your own conclusions. From a devoted Lynch fan, this is a great read!
lynch debunk.......2005-10-14
I gotta agree with Critic-AL... too much ink is being spilled about Lynch that reads like retread po-mo theories. I'll go with Pervert in the Pulpit too, and I'm not alone. You don't have to be a film student or academic to appreciate Johnson's heady read ... still, I think the review of Pervert by David Lancaster in the latest issue of Film and History totally sums up my thinking: "There is a slightly malicious pleasure in seeing a modish reputation being debunked, especially when the reader was mystified by the fuss in the first place. Pervert in the Pulpit is not a crude hatchet job, however. Rather, it is clear-sighted and informed, and, in true Manichean fashion, on the side of the critical angels."
adulation or criticism?.......2005-03-26
By calling Nochimson's book "amazing," [...]the problem with a lot of Lynch criticism: the audience for his films is divided between fans and serious students of cinema. As Lynch's reputation as an innovator continues to wear thin - face, it, his uneven oeuvre is not aging well - die-hard loyalists continue to gush about his, in my opnion, limited success as a cutting-edge film director. This book may be timely, but it isn't as interesting as Jeff Johnson's iconoclastic "Pervert in the Pulpit: Morality in the Work of David Lynch," which I'd recommend before any of the other, more pandering texts Joe cites.
One of the Best Books on Lynch.......2004-09-23
Is it possible for a good book of film criticism to be dominated by lavish photos and the like? Not in my experience. The closest to that is the BFI series, and those are hardly the sort of thing "a reader" is talking about. Of all the books on Lynch out there, this is probably my #3, behind Martha Nomchinson's amazing "Wild at Heart in Hollywood" and the essential "Lynch on Lynch."
The simataneous release of the paperback and hardcover editions should have clued "a reader" into the HC edition being a library edition... Don't let this person's stupidty put you off, this is one of the best books analyzing Lynch one can find.
Book Description
What the industry's most succcessful writers and directors have in common is that they have mastered the cinematic conventions specific to the medium.
Customer Reviews:
Spectacular.......2007-08-28
To call me a newbie screenwriter would be to insult newbie screenwriters. I'm a fledgling, nascent, inchoate, and very bad screenwriter. And if you would read the mere one-page script I wrote yesterday, you'd call me some choice names but I daresay 'screenwriter' will not be one of the myriad.
That said, this is such a great book, the highest quality through and through, from the binding to the clear type and the clear picture examples of each shot type. I found myself reading this like I would an easy novel: it was literally a page-turner and filled with so much information, and information I could immediately start using.
With each example, I popped in the respective DVD and found the particular shots and marveled at how the author's description and subsequent interpretation of the scene was spot on, a real "Aha!" moment on each page. In my long and very arduous road to screenwriting mediocrity, I believe 'Cinematic Storytelling' will be a staunch ally, immovable from its perch as a resident of my reference bookshelf.
Great take on film theory........2007-05-09
The use of storyboards and stills from scenes in congunction with a theoretical breakdown make this a vey useful and thought provoking study on cinema.
BILL HASH AUTHOR OF AMRA.......2007-01-09
It is a really good book showing the RULES of story telling.DON'T YOU USE A ROAD MAP WHEN THERE IS SOMEWHERE YOU WANT TO GO? GET THIS 'ROADMAP'
great book.......2007-01-09
usefull to discover a lot of ideas of movie "telling" , really simple and clear a book usefull for writers and directors, gives you an opportunity of meeting a lot of good scripts and visual idea.
Writers, look through someone else's eyes........2006-10-03
What a fascinating book for a scriptwriter to read! At first, you think "This isn't meant for me--it has chapters on camera lenses and camera positions, and wardrobe and sound effects! That's stuff directors and cinematographers and other people work with." From understanding the medium you're working in, comes better work.
Jennifer Van Sijll's Cinematic Storytelling provides 100 film conventions (as mentioned in the full title) in concise, two-page examples. The pages are index card-like in their brevity, but are so well-done there is no need for extra words. First, she lists the filmmaking element, such as "Motion," and gives an explanation. Next, she gives a film example, such as E.T., and explains the scene pictured in stills and how the particular scene conveys the element. If needed, she lists a script note or two and then explains what the dramatic value is of the element. Lastly, she lists a few other films that can serve as examples. The page with movie stills also contains the scene's script passage to show how the element was written. A writer will find the pieces of script excellent examples from which to learn.
Van Sijll's layout and logical progression through the different elements of film, from frame composition to locations and lighting, are easy to follow and almost Zen-like in their simplicity. Despite that simplicity, they do make an impact and stay with you long after you've put the book down. You'll find that when you sit down to write, you'll try and put those elements into your script with just a few well-chosen words (so not to look as if you're trying to direct). There are no exercises or homework and there is no general format information or advice on what the latest trick is to get your script seen. This is straightforward instruction presented in an easy-to-follow way.
After each chapter, Van Sijll inserts a "Chapter Credits by Film Element" index where you'll find a segment on each film she's highlighted. Within the segment, you'll find its release date, writer, director, production company and distributor. It's an unconventional scriptwriting book, for sure, and definitely worth checking out. Van Sijll teaches at San Francisco State University, holds seminars, and also works as a script analyst for producers. I enjoyed this book thoroughly.
Book Description
This new edition of the filmmaker's bible has been completely updated to reflect changes in every aspect of the moviemaking process.
Customer Reviews:
Complete and then some.......2006-06-01
This book goes into fairly extensive detail on almost all aspects of film production. Production is a grey area to most and this book illuminates it quite well. It is a bit dry and long winded but is more than made up for by its excellent index and organization. It doesn't have to be a page turner if you can find the page you need. Buy it and use it as you need it (and you will need it)
Invaluable resource, a must-buy for all aspiring and experienced independent producers.......2006-02-17
I'm a writer-producer currently prepping my first independent film where I'm in the driver's seat. This book has been an invaluable resource for me along the way in terms of educating me on the industry and laying out all of the steps I need to take in order to pull off this project. I've read a number of other books on producing lately, and so far nothing else comes even close to this one. Completely comprehensive, from development to distribution.
Dov's book is better.......2006-02-07
If "From Reel to Deal, by Dov Simens, is Hollywood's top rated film how-to book then this book surely will take a close second.
Every indie filmmaker needs this book........2006-01-02
I couldn't have produced and written three feature-length independent movies without this book. Check out my latest, The Indie Pendant, to see what I mean. This book also helped me put together my radio show, The Indie Film Hour, coming to WorldTalkRadio.com in 2006. www.vdefilms.com
Great book, but needs to go in to a bit more detail.......2003-09-02
What can you expect from a single book about indy feature film production. It's a great introduction book, but for those aspiring producers and directors to be. You'll need to do some research on your own.
Book Description
The Technique of Film & Video Editing provides a detailed, precise look at the artistic and aesthetic principles and practices of editing for both picture and sound. Analyses of photographs from dozens of classic and contemporary films and videos provide a sound basis for the professional filmmaker and student editor. This book puts into context the storytelling choices an editor will have to make against a background of theory, history, and practice. This new edition has been updated to include the latest advances in digital video and nonlinear editing and explores the new trend of documentary as mainstream entertainment, using films such as "Farenheit 9/11" and "The Fog of War" as examples.
* Learn how to strengthen your story and engage your audience through the editing process
* Examples, analysis, and film stills from great movies
* Includes a new chapter on the impact of documentaries
Customer Reviews:
Not Great.......2007-09-02
I had to buy this for a film editing class. I'm only about 2 chapters in so far, but I'm thoroughly disappointed. Dancyger seems to prefer directing techniques over editing techniques, and definitely theory over practice. The first two chapters are reiterating the basics of film history with many techniques used in the classics by Melies, Porter, and Eisenstein. I've learned so much about film history and SO LITTLE about editing technique I am definitely disappointed and unenthusiastic about reading more.
Book Description
From Scorsese and Lynch to Wenders and Godard, interviews with twenty of the world's greatest directors on how they make films--and why
Each great filmmaker has a secret method to his moviemaking--but each of them is different. In Moviemaker Master Class, Laurent Tirard talks to twenty of today's most important filmmakers to get to the core of each director's approach to film, exploring the filmmaker's vision as well as his technique, while allowing each man to speak in his own voice.
Martin Scorsese likes setting up each shot very precisely ahead of time--so that he has the opportunity to change it all if he sees the need. Lars Von Trier, on the other hand, refuses to think about a shot until the actual moment of filming. And Bernardo Bertolucci tries to dream his shots the night before; if that doesn't work, he roams the set alone with a viewfinder, imagining the scene before the actors and crew join him. In these interviews--which originally appeared in the French film magazine Studio and are being published here in English for the first time--enhanced by exceptional photographs of the directors at work, Laurent Tirard has succeeded in finding out what makes each filmmaker--and his films--so extraordinary, shedding light on both the process and the people behind great moviemaking.
Among the other filmmakers included are Woody Allen, Tim Burton, Joel and Ethan Coen, and John Woo.
Customer Reviews:
Master Class, unmasterly with repetition .......2007-10-01
This book is great and has a wealth of insightful conversation with some amazing directors but my one complaint is that the bulk of the book is framed too similarly. While the directors all have their unique take and insights, Tirard essentially asks them all the same questions which leads to repetition over the bulk of the book. In no way am I saying not to purchase this book but I'm simply criticizing it's redundancy.
Master class for sure!!!.......2006-10-18
This is exactly what a moviemakers master class should be. It asks technical and artistic questions to some of the greatest directors of all time.
If you want to hear why Tim Burton likes wide lenses, which contemporary directors Scorsese admires and why, Jean Pierre Jeunet's theory of camera movement, David Lynch's "secret dolly move", John Woo's method of shooting and cutting scenes to music, The Coen brothers writing process, Lars Von Trier's take on the rules of Dogme 95, Jean-Luc Goddard's theory of filmmaking out of desire vs. need, then this book is your ticket.
This is a goldmine of knowledge. There are no fluff interviews here; only the best filmmakers in the world relating solid technical advice and tried and true shooting strategies developed from years of experience.
Very telling.......2006-02-24
Great stuff. Gives a lot of info on each director. For example; Sidney Pollack was an acting coach before he became a director.
This book is filled with insight, knowledge and terrific stories all from the top directors of our time.
Highest possible recommendation.......2005-10-23
What with formal education and all, I don't really have much time for outside reading. It's rare that something is so addictive that it will make me completely ignore my studies, against my better judgement.
This book is fantastic. Not only is it first-hand advice from actual filmmakers, rather than second-hand interpretations from critics or theoreticians (which are both helpful, the latter moreso, and I do read such things), but they are short enough to be digested at any pace whatsoever, and diverse enough to give you multiple perspectives. You get to find out if you're a Scorsese or a Wenders. You also find out that Von Trier is actually a pretty nice guy. Who knew? (Just kidding, I'm a fan).
Anyway, there's really no excuse to read this. It's very inspiring, and it's simple and fun. I read 150 pages or so in one sitting without becoming restless. Go for it.
Best conversations with Directors.......2005-08-30
This is the must read book for any aspiring movie director. It encapsulates the ideas and personal perceptions on presentation of screen story. It's not a book to know nitty gitty technical details, this is a collection of interviews with many directors and their style of making movie, when they talk about it. Same questions have been asked to all directors (Very good questions, no sterio typical questions you see in movie promos).
Get your copy today and enjoy it.
Book Description
An essential resource for both students and professionals, offering shrewd insight into the business, process, and art of writing music for film and TV. Interviews with top film scoring professionals add the priceless insight of the wisdom that comes with experience.
Customer Reviews:
Fantastic insight.......2007-07-13
This book arrived at my house yesterday, and I have since nearly completed it. I really can't put it down. This book is a real gem, with interviews of the real pros whose work you have certainly already heard. This book really gives you an extensive background of music in movies and a formidable description of what kind of work it REALLY takes to take on such a monumental task. For someone who is interested in film scoring, it shows you just about everything and everyone you will encounter. The interviews towards the back of the book are total gems. This book was a shot-in-the-dark buy, but a real gem. If you write music and you don't own this... you get the idea.
Beginner or Pro this will work for you.......2007-07-03
It`s all Berklee here !!!
Written by the great Richard Davis it`s an invaluable book that reveals the film scoring process.
It's just perfect for people who wants to begin a composer career. Very practical to read.
And if you're pro this will ilustrate you how to do it better, and have some important considerations
WARNING!!! This book will make you WANT to become a Film Compoer!.......2007-06-28
WARNING: this book will make you want to become a film composer! The quick, easy-to-read form of COMPLETE GUIDE TO FILM SCORING is nearly flawless because the more you read, the more you'll want pursue film scoring as a career.
The first part on the History of Film Music I was actually planning on skipping but I'm glad I didn't because it was super interesting! This section contains just enough information to make the reading effortless; not too many details to bog down the opening chapters.
Production is the title of the next section, which explores how a movie gets made and, more importantly, how music is incorporated into the film. Section two explains the composer's time frame, the spotting session and how every member of the music department contributes to the score. Now this is when the book begins to get dangerous because, as you read it, you think, "So these are the people that will work for me when I'm the film composer".
The guide gets more dangerous in Part 3, the Music because this section talks about composition, styles, songs, soundtracks, animation, and ethnic music but presents no written music. Part 3's chapters only offer examples of movie soundtracks; therefore you could only understand the particular idea of the example by actively listening to the soundtrack of the movie. This fact has forced me to give this book four stars instead of five. (If more musical examples of great film music are what you are looking for, buy The Art of Film Music which is full of them!)
The next section deals with the business side of music. This section is EXTREMELY DANGEROUS and is the reason I gave this book a warning. The first chapter in the section talks about attorneys and agents. The way the author talks of about them, it gives the impression that the composer composes and everyone ELSE does the rest. Then, he explains copyrights and other aspects of publishing which was very informative. At the end of this section it explains royalties and throws huge dollar amounts at you. By the end of this chapter you can't wait to become a composer!
The last section has some fascinating interviews. 19 to be exact, and because there are so many, they kind of blend together.
Now let me explain the warning.
If you are good at interpreting scenes and are able to write music to match, then this book will only add to your knowledge and when you read it, you should be saying to yourself, "I can do all of this!" If you cannot interpret scenes and write music, you'd better plan on learning to do so because if you want to be a film composer, this book's added knowledge will NEVER make up for your lack of musical comprehension.
Not a bad book, but not what I expected.......2007-01-12
When I bought "The Complete Guide to Film Scoring", i wasn't expecting it to be so... complete.
Actually, being a music major i was expecting a much more musical approach to this subject. I was interested in examples and more detailed information about how to write music for a film. The book includes this subject in a chapter, but it is treated pretty generaly.
What I found, and in really detailed way, were the means of making money with your score, full of examples, different approaches and all the necessary data to take full advantage of your score. However, it didn't satisfy me too much.
This Book Is The Best.......2006-11-10
I am a film music composition student and this is the most detailed book that I have read on the subject. The interviews with well-known film composers are really good. I highly recommend this book.
Book Description
Complete with behind-the-scenes diary entries from the set of Vachon's best-known fillms, Shooting to Kill offers all the satisfaction of an intimate memoir from the frontlines of independent filmmakins, from one of its most successful agent provocateurs -- and survivors. Hailed by the New York Times as the "godmother to the politically committed film" and by Interview as a true "auteur producer," Christine Vachon has made her name with such bold, controversial, and commercially successful films as "Poison," "Swoon," Kids," "Safe," "I Shot Andy Warhol," and "Velvet Goldmine."Over the last decade, she has become a driving force behind the most daring and strikingly original independent filmmakers-from Todd Haynes to Tom Kalin and Mary Harron-and helped put them on the map.
So what do producers do? "What don't they do?" she responds. In this savagely witty and straight-shooting guide, Vachon reveals trheguts of the filmmaking process--rom developing a script, nurturing a director's vision, getting financed, and drafting talent to holding hands, stoking egos, stretching every resource to the limit and pushing that limit. Along the way, she offers shrewd practical insights and troubleshooting tips on handling everything from hysterical actors and disgruntled teamsters to obtuse marketing executives.
Complete with behind-the-scenes diary entries from the sets of Vachon's best-known films, Shooting To Kill offers all the satisfactions of an intimate memoir from the frontlines of independent filmmaking, from one of its most successful agent provocateurs-and survivors.
Customer Reviews:
Outstanding guide to producing.......2007-09-13
Christine Vachon has written an extremely accessible, entertaining book about what it means to be an independent film producer. She covers every step of the movie-making process, from finding a script to casting to hiring a crew, editing, etc. She covers the material with an engaging style and a sense of humor, and the facts are punctuated with examples and anecdotes from the movies she's produced. She's candid and unapologetic, and apparently some reviewers here have a problem with that. News flash - if you intend to make a career in the film industry, you better get used to people who yell, tight schedules, high expectations, plus low budgets if indies are your thing. If you spent any time on a film set, you would know that it is the producer's JOB to be tough, to get things in on time, and to run a tight ship. At the end of the day, it's the producer's butt that is on the line. It's just plain silly to give the book a low rating because Christine had the guts to be honest about the way things work on a film set and you wouldn't want to work with her. It's clear that some reviewers here need to get a thicker skin or find a different calling.
Christine's films have been critical success stories despite their low budgets and tight time frames - she knows what she is doing and has taken the time to write a wonderful introduction to the world of filmmaking for beginners and those of us with some experience. I highly recommend this book.
There is an Indie Neverland After All.......2005-09-20
Not only is this a thorough and informative piece of work, which would make it worth twice the price all by itself, it's also an inspiration and should be read by anyone, writer, actor, producer, director, anyone.... who's ever been told you have to compromise your vision in this business to get your movie made. There are several great stories in this book but the image that keeps resonating in my head is Christine Vachon, the High Priestess of Indie Film and Soverign Protector of Infant Directors, saying to the producer's rep: "We'll talk about it" and saying to everyone else after hanging up the phone, "We're not cutting anything, we're not cutting anything." Not only did I not know there were people out there doing such things, I had begun to wonder if it was even possible. This book can make you believe again. I didn't read it. I devoured it.
Best behind the scenes indie film book I've ever read.......2002-10-14
Having just directed a low-budget feature in Hollywood, I wish I had read this book beforehand (and I certainly wish my producer had read it). Vachon breaks down the process, making it understandable to even the most novice film fan. The writing is gutsy, the tales from the trenches always interesting. One of the must-reads if you're at all interested in making movies.
Producers aren't directors.......2002-09-24
Somewhere between the world of independant movies and studio pictures reside a group of people who've bounced between both worlds and have taken up residence in the void. The author is one of those people. This book isn't very informative for the ultra low budget producer but a good read nonetheless. Although at times it wanders aimlessly while the reader tries to figure out which of the half-dozen guys named "Todd" she's talking about now. I'd recommend this book to people with budgets in the neighborhood of 100,000 to 5 million. I wouldn't call it a very good resource for locating financing.
Blunt as Hell, Thank God.......2002-06-20
If you want to know more about what it's like to produce, rather than HOW to produce...this is the book. Vachon takes you through her life, and I've learned more about producing just from reading about one of her days. She's honest, doesn't preach much, doesn't give very many golden rules (since we all make our own), and tells you how it really is. If your tired of reading books on forms and paperwork, negotiating and contacts, and are just plain interested in what it's like to be IN IT, buy the book. It's so worth it.
Book Description
Learn how to read a script, find its core, determine your vision, communicate with writers, actors, designers, cinematographers, editors, composers, and all the members of your creative team in order to insure that your vision reaches the screen.
Customer Reviews:
A Deep and Practical Inspiration.......2006-12-03
If you are searching for a book to inspire, inform and clearly break down the making of a film and the relationship between the many creative entities that go into that process, look no further. Mark Travis has written a literate, thoughtful and experienced guide to how to approach issues relating to written material, casting, performance, production values...really everthing you need to work intelligently on a project. Whatever stage of your career you're in, you will find yourself referring to this book again and again.
FABULOUS! A MUST READ!.......2006-12-02
If you're at all serious about directing, look no further, this is the book. Mark Travis will guide, inform, inspire you...and all done with such a light and humorous touch, as well as great enthusiasm, you can't wait to try it yourself. Really, of all the 1000's of books out there on the subject, this is the best. The information is presented so clearly, you wonder why everybody doesn't work this way. Mark Travis obviously has a deep respect for actors and writers, and how best to work with them in a collaborative spirit . He also appears to have a great wealth of knowledge from years in the business, which he openly shares. I loved this book, and often refer back to it. I'd highly recommend it, and would give it to anyone interested in directing.
It's clear!.......2006-12-01
I've read many books on filmmaking, especially directing. But Mark is one of the few authors that actually was able to talk to me directly. This book has a way to surpass the bull#@!% and talk straight. It shows me how clear directing can be when understood on the level that Mark writes about. I would recommend - and for that matter already have - this book to anyone who's interested in getting down to the core of directing.
The journey continues.......2006-12-01
I love this book! I'm going to have to buy another one, because I've bent the pages all over in returning to refer to advice again and again. I'm an emerging film-maker, and this book is the secret key that unlocks to door to the skills and steps crucial in directing. It's pragmatic, comprehensive, and applicable. I applied Mark's advice on rehearsals, collaboration, pre-production, and script breakdown to my film and saw immediate deep improvements. The Director's Journey is more than a manual for making great films though, it's a support to the person going through the process. Mark Travis illuminates the psychology, relationships, objectives and pitfalls inherent in this work, and he offers the creative traveler excellent personal guidance.
A "Must-Have" Book for Your Collection.......2006-12-01
About 12 years ago, my directing partner (who is also my wife) and I attended an incredible, intensive directing workshop. For three days we ate, drank, slept, and lived filmmaking from script analysis to post-production, under the tutelage of a very intimidating instructor - Mark Travis. I say intimidating because this guy was direct, succinct, focused and INTENSE. Not only that, but he was brilliant. His insights, technique, innovations, and even the simple fundamentals were so solid, and straight-forward, there was NO way you could have walked away from the experience without being a better director. If there every was one, Mark Travis is a virtuoso director... a Mozart of actors, stage and celluloid, if you will.
Now, 12 years, 4 films, 19 theatrical productions, and a handful of awards later, we use this book nearly every day. Be it on the set or stage, or just from inspiration and brush-up, this magnificent book encapsulates everything about Mark's talents. He is no primadonna, unwilling to divulge more than a few vaguaries of his techniques, nor does he preach to you about his own successful career and how wonderful he is. What he does do if layout technique, approach, execution and adjustment in a no-nonsense fashion that yields one of the best "How-To" books on directing (not only film but more specifically actors), and achieving the vision of a director, ever written.
If you are looking for a book to keep in your hip-pocket on the set, or something to refer back to for inspiration, ideas, and fixes, then look no further. This is it.
Books:
- DSM-IV-TR TM in Action
- Einstein: His Life and Universe
- Encyclopedia Prehistorica: Sharks and Other Sea Monsters
- Execution: The Discipline of Getting Things Done
- Film Posters of the Russian Avant-Garde (Jumbo)
- God Thinks You're Wonderful
- Grindhouse: The Sleaze-filled Saga of an Exploitation Double Feature
- Hammer Films: The Bray Studio Years
- Hannibal Rising
- Harry Potter and the Deathly Hallows (Book 7)
Books Index
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