Average customer rating:
- Whoa!
- Do you like perfection???
- Genius
- Beautiful luxury item..
- The Kubrick Experience
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The Stanley Kubrick Archives
Manufacturer: Taschen
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ASIN: 3822822841 |
Book Description
Stanley Kubrick The first book to explore Stanley Kubrick's archives is also the most comprehensive study of the filmmaker to date
Part 1: The films
In 1968, when Stanley Kubrick was asked to comment on the metaphysical significance of 2001: A Space Odyssey, he replied: "It's not a message I ever intended to convey in words. 2001 is a nonverbal experience…. I tried to create a visual experience, one that bypasses verbalized pigeonholing and directly penetrates the subconscious with an emotional and philosophic content." The philosophy behind Part I borrows from this line of thinking: from the opening sequence of Killer's Kiss to the final frames of Eyes Wide Shut, Kubrick's complete films will be presented chronologically and wordlessly via frame enlargements. A completely nonverbal experience.
Part 2: The Creative Process
Divided into chapters chronologically by film, Part 2 brings to life the creative process of Kubrick's filmmaking by presenting a remarkable collection of material from his archives, including photographs, props, posters, artwork, set designs, sketches, correspondence, documents, screenplays, drafts, notes, and shooting schedules. Accompanying the visual material are essays by noted Kubrick scholars, articles written by and about Kubrick, and a selection of Kubrick's best interviews.
Customer Reviews:
Whoa!.......2007-09-16
Lucky me! I scored a copy of this and I have to say it is the best book on an artist I've ever seen. The previous reviewers weren't kidding--this thing is huge! Too large and heavy to be read anywhere but on a large flat surface, but that's not a complaint, unless you're lugging it across an airport like I did.
A spectacular book that you'll refer to repeatedly. I pored over it for hours. The first half is devoted to an incredible array of pristine stills from each film. The second half is focused on every film with a plethora of on-set photos and interviews with cast & crew. The book is helpfully tabbed by film.
A stunning look into one of the greatest of all filmmakers. So well designed that my friends were awed by its beauty. And that 70MM film strip--holy cow! IMHO, it's worth the price for just for that.
Do you like perfection???.......2007-08-12
One of the most beautifully produced books I have ever seen!!! Worth every cent. This is the kind of book you set aside in a special place, so you can revisit it and continually discover something new. Five stars is not enough. An essential addtion for anyone who is interested in the work of Stanley Kubrick!!!
PERFECT!!!
Genius.......2007-06-01
The book is definetely a work of art. Congrats, Taschen, for such a well done job. You will find photos, storyboards, interviews, texts, articles and sorts of wonders from the Stanley Kubrick universe. The strip from a 90mm copy of 2001: A Space Odyssey is a delightful gift for appreciators of his masterpiece.
Absolutely worth-having.
Beautiful luxury item.........2007-05-17
As others have mentioned, this is a tremendously well put together book, with the tab system making it easy to get to the sections on the particular film you've just seen or are interested in. The essays, for the most part, are well written and engaging, and do a good job of enhancing the movies and giving you a context for the circumstances under which the movies are made. I've been using the book while watching each of one of Kubrick's movies, and it's a great way to get more out of each.
The size of the book is impressive from a collector's perspective but frustrating from an reader's - you do really have to read the book in a particular position, otherwise you may damage it. That said, the size of the book does enhance the tome's first half, featuring shots from the movies themselves. This might seem a bit dull, but for Kubrick, who actually grew up a photographer, it's well worth the time to flip through and marvel at the compositions.
Finally, I had wondered before buying the book if it was still in its first run with the filmstrip - as of May 2007, it is. I recommend sending a question to Amazon to ask - they quickly got back to me to let me know that the book I was buying did have the film strip.
Of course, the book is a bit pricey, so you certainly do need to be a devoted Kubrick follower to make it worth it. There are a number of other quality books with similar essays to the ones you'll find here, but the whole package - filmstrip, largeness of the book, screen shots, and the essays - combine to make the overall item something very special, and well worth it for those who can't get enough of Stanley.
The Kubrick Experience.......2007-03-28
The other reviews of this remarkable book have more or less summed up what I would say so I've approached it from another angle: I've uploaded eight photos to give you an idea of what this highly visual (and costly) book looks like. Amazon doesn't display images numerically so you'll have to see them at random. Click 'customer images' under the cover.
If you are buying a used first-run copy do check with the seller that Mr Kubrick's film strip is in its sleeve and the CD is also included, photo one shows them in position. Some reviewers have rightly said that owning a bit of '2001' from Kubrick's personal collection gives the book extra kudos.
Photo two will give you an idea of how the book is organised. There are two sections, each with a series of colored tabs. His twelve movies have a tab each and in the first section there are eight hundred stills, black and white and color depending on the film. Photos three, four and five are some of the spreads from Dr Strangelove. The second part of the book covers each movie in detail with an amazing collection of visual material to back up the text. Photos six, seven and eight show some pages about the background and production of Dr Strangelove.
The back of the book has a fifty page Appendix A, B and C. A covers three unmade movies: Napoleon, AI and Aryan Papers. B has three essays. C is a chronology of Kubrick's life.
This is a BIG book, opening to thirty-three inches wide and at over fourteen pounds in weight it really can only be read on a table. Needless to say being a Taschen book it is beautifully designed and printed and if you do buy a copy the Kubrick experience will be quite overwhelming and long lasting.
Customer Reviews:
Explotation Goodness.......2007-09-14
This book is an excellent companion piece to the two movies that were part of the in theater double feature collectively known as Grindhouse.
The book treats us to plenty of pictures of not just the lovely ladies, of which there are many, but of everything from the movie. Included is the script for Planet Terror along with plenty of commentary about the filmaking process and the support network of both Robert and Quentin.
Unlike other film related books this one is not a fluff piece, there is a lot of material between the covers and this book is definately worth reading more than once.
Awesome.......2007-08-24
It's everything I expected and more! Loads of pictures and information. Even QT's AMI playlist. I love it XD
What a Ride.......2007-06-27
Talking about the movie, the girl riding on the hood of the challenger was quite a stunt and I have to admit that it was original and very edgy.
The girls in this movie were well cast and Cherry is hot.I can't wait to buy the DVD, hurry up and release it!
Not sleazy at all.......2007-05-25
Great transaction! No SLEAZY here! The book is great. The shipping was super fast. Thanks a whole bunch!
Grindhouse: The Sleaze-filled Saga of an Exploitation Double Feature.......2007-05-18
fantastic book with interviews, heaps of behind the scenes info and photos, screenplay for Planet terror and the trailers a very comprehensive book for any movie lover
Amazon.com
Film Directing Shot by Shot offers a good introduction to the rudiments of film production. Steven D. Katz walks his readers through the various stages of moviemaking, advising them at every turn to visualize the films they wish to produce. Katz believes that one of the chief tasks of filmmaking is to negotiate between our three-dimensional reality and the two-dimensionality of the screen. He covers the number of technical options filmmakers can use to create a satisfying flow of shots, a continuity that will make sense to viewers and aptly tell the film's story. Katz provides in-depth coverage of production design, storyboarding, spatial connections, editing, scene staging, depth of frame, camera angles, point of view, and the various types of stable compositions and moving camera shots.
Book Description
A complete catalogue of motion picture techniques for filmmakers. It concentrates on the 'storytelling' school of filmmaking, utilizing the work of the great stylists who established the versatile vocabulary of technique that has dominated the movies
since 1915. This graphic approach includes comparisons of style by interpreting a 'model script', created for the book, in storyboard form.
Customer Reviews:
Chicken scratches vs. Detailed Storyboards.......2007-08-19
I have used this book numerous times for my teachings in which students go through the process of making a short film with certain limitations being imposed. It is part of a process that I call "fast filmmaking". I like the examples that Katz presents, specifically that it is not the quality of the drawing, but how the drawing communicates the director's vision to the rest of the crew. I will usually have a student "explain" their storyboard to the class, and it is amazing how a few chicken scratches can give as much details as a fully detailed storyboard. Kudos to Katz for explaining the creative aspect of directing, and Michael Weise Productions for publishing these types of books.
of moderate interest to readers of video magazines.......2007-08-13
as a long-time reader of videographer's magazines, I didn't find much of interest in this book. If I were new to the trade, I'd probably have found it more useful. For that reason, I gave it a rather high rating of 4 stars
Mind-opening, even if you aren't interested in directing.......2007-06-30
I've worked in the graphics design business for years, but more recently I've grown interested in working with video, primarily shorts and documentary work. I was looking for a book that could help teach me the "language" of motion and visual storytelling, and this book fit the bill. In fact, I found it to be incredibly inspiring as a student of art in general. It's extremely well-written, chock full of practical examples, and contains numerous time-worn techniques as well as cutting-edge experimentation. One funny thing: since it was written a few years before the desktop digital video revolution began, it talks about some of the difficult aspects of shooting which are now in many ways moot. But it's good to hear about the history of the craft.
If you have any interest in all in shooting, directing, or producing any kind of motion picture, show, or short, you'll definitely want to buy this book. However, be forewarned: you'll never be able to watch movies the same way again. You'll begin to pick up all the subtle nuances of filmmaking without even realizing it, so don't feel bad if you have to force yourself to re-engage with the actual story as you're watching!
Useful, pleasurable.......2007-05-07
I'm a college student, not at film school, who makes videos as a serious hobby. I thought this book was much better than other titles in the same market, because it's so specific. Instead of telling you what anyone with common sense knows, like "keep continuity" and "composition can affect the mood of a scene," this film lays it all out in detail. I recommend this for everyone who wants to improve. Even if you're not particularly interested in storyboarding, you'll learn how to think about your sequences in advance much better.
Learning the Rules Before You Break Them.......2007-01-13
Even though many of the great filmmakers may have not utilized storyboards, every one of them has pre-visualized their films.
Pre-visualization is the essence of what it means to be a director. A director can only be effective if he/she properly prepares for each scene. Even if one does not have every shot precisely planned out, they will still have an idea of the look and the flow of the process.
There are certainly many people who feel directing should be intuitive, that there should be no structure to the process or else creativity is stifled. This is a valid point from the perspective of the artist.
What is wonderful about this book is that it gives extensive insight into WHY one should cover a scene in a certain way. Directing as a profession requires a certain amount of preparation and PROOF that you have a handle on the film. Producers want reassurance that you have a vision worth pouring tens of millions of dollars into. Armed with the ability to properly express yourself in regard to your vision, you will have a much easier time convincing others to follow you.
So, in the end, if you are interested in studying the language of film and the methodology behind classic film composition and editing, then this book and the accompanying Film Directing: Cinematic Motion are essential.
Book Description
Written by Stu Maschwitz, co-founder of the Orphanage (the legendary guerrilla visual effects studio responsible for amazing and award-winning effects in such movies as Sin City, The Day After Tomorrow, and Harry Potter and the Goblet of Fire), this book is a must-have for all those budding filmmakers and students who want to produce action movies with visual effects but don't have Hollywood budgets. The Orphanage was created by three twenty-something visual effects veterans who wanted to make their own feature films and discovered they could do this by utilizing home computers, off the shelf software, and approaching things artistically. This guide details exactly how to do this: from planning and selecting the necessary cameras, software, and equipment, to creating specific special effects (including gunfire, Kung Fu fighting, car chases, dismemberment, and more) to editing and mixing sound and music. Its mantra is that the best, low-budget action moviemakers must visualize the end product first in order to reverse-engineer the least expensive way to get there. Readers will learn how to integrate visual effects into every aspect of filmmaking--before filming, during filming and with "in camera" shots, and with computers in postproduction. Throughout the book, the author makes specific references to and uses popular action movies (both low and big-budget) as detailed examples--including El Mariachi, La Femme Nikita, Die Hard, and Terminator 2.
Customer Reviews:
Essential Reading for Indie Filmmakers.......2007-10-03
The DV Rebel Guide, by Stu Maschwitz, formerly a member of Industrial Light And Magic, explains in easily understandable, yet highly technical language, exactly how to create astounding visual effects using the kinds of cameras, computers, and software available to ordinary people. A Spielbergian budget is NOT required. In addition to his information, he offers many links to other websites of technical expertise and training,
You may be making a little family drama, rather than a shoot-'em-up, but the techniques in this book will increase your palette of possibilities. In other words, every indie movie maker can benefit from this book. It's essential reading, period. No one else has published anything like it.
Maschwitz assumes throughout that you are not an idiot or a dummy. Scores of color photos show exactly how every technique is done. He also runs an on-line forum; he and other digital rebels (some of whom are exceedingly experienced and clearly top pros) will help you through the rough patches.
Get this book, go out and make movies better than anything you thought you could do.
This is got the TRICKS!!!.......2007-09-23
Awesome book. My friends and I make ugly videos as a hobby and we've tried many things... but this book has some balls to the wall tricks. The guy is not a scaredy cat about shooting videos with minimal resources and lets you know how to make the most with what you've got. Also has great instructions on how to build your own stuff and pull crazy stunts. Grease up your baby, this is gonna have you running to your video camera with ideas as soon as you open it up!
love it.......2007-08-27
I've done video production professionally for several years and picked up some of these tricks from simple trial and error. What I love is how well Stu connects the techniques in this referrence and compares them to equivalent effects on film. And its not just informative, its enjoyable to read.
I recommend this book to anyone interested in making their videos stand out or looking to up their production value without spending a lot of money.
Love this book.......2007-08-19
I have read a lot of film making books and this is easily the most useful and informative. Anyone trying to make a film on their own needs to have this book!
Best Book for Independent Digital Video Production Ever!!!.......2007-08-12
This is it!!! If you want to produce an Independeant Film this is THE book to read. Don't be fooled. You still need to know what you're doing go to school. Read the manuals, watch the best movies, by the best directors, then read this book and make your movies!!!!!
Customer Reviews:
Film: A Critical Introduction.......2007-09-12
Great book for a humanities class! I recommend it.
Great into to Cinema! Delivery quick and good condition.
A Superior, Well-Developed, Introductory Text . . ........2007-01-29
Whether you are a student or professor, there are a wide range of introductory film texts from which to choose -- it can be a bit overwhelming and a mistake is costly! This is especially true if you are the professor who is selecting an expensive text for your students (and they are all expensive) . . . you want provide them with a text worthy of the expense AND you do not want to invest additional hours photocopying material from other texts to compensate for less-than-fantastic chapters.
With this in mind, allow me to say that Pramaggoire and Wallis' text is the best I have ever encountered . . . bar none. I have used this text for over a year now, and the response has been extremely positive. It may initially seem irrelevant, but this text is extraordinary aesthetically appealing. Why is this important? Because we are talking about professors and students who have an interest in a VISUAL art. This text presents large, lush examples to compliment the text: not all texts invest this effort or expense. Moreover, the selected examples are spot-on . . . they are not randomly chosen BUT are the quintessential example of any given technique.
What makes this text great is both the organization (which others have mentioned) and the accessibility. Let's say you are not taking a formal class in film, you would have no problem reading this text solo. It is that understandable . . . and, let's face it, if an author cannot clearly explain an idea to a lay-person then he/she really do not know the subject. Pramaggoire and Wallis KNOW their subject.
And while there are several "well-written" texts on the market, not all incorporate contemporary examples. While Orson Wells and Ingmar Bergman are key to understanding film, one cannot successful base an introductory text on "The Greats." It simply does not engage the new student. Luckily, this text includes essential examples from film history as well as contemporary examples (like "Super Size Me," "Waking Life," "The Piano" and "Requiem for a Dream"). I am especially fond of the short analysis of Harron's "American Psycho" (an oft overlooked, cinematic masterpiece).
One final reason to select this text: while other writers are rehashing old critical approaches to film, Pramaggoire and Wallis select the most relevant and contemporary ones. They instruct readers on how to view a film in the context of race, gender, sexuality, class, and national identity: all of which are crucial to understanding film! Likewise, they address "film authorship" which is equally as valuable. The text is never bogged-down by jargon (many are) . . . nor is it heavy-handed in its approach. Unlike most texts, this one wants to be understood.
You will find texts with DVD-ROMs, texts with "writing" supplements, texts with online-course access, and other "bells and whistles" . . . but this text does not NEED any of that. (It seems the others are trying to compensate for their short-comings by including "bonus" material . . . but it just becomes MESSY!). I plan to continue using this text as a tool for teaching film . . . it is, BY FAR, the best on the market. It is "smart," beautiful, and completely accessible. Whether you are a professor seeking a new text or a lay-person looking to enhance your knowledge of film, you cannot go wrong with this work. Trust me, it is worth the price!!
Fabulous introduction!.......2006-01-19
This is not only the best introduction to film studies that I've found, it's also a model of how a textbook should be organized and written. After an opening chapter on plot structure and thematic analysis, it goes in-depth into the elements of film form, with chapters on narrative form, mise en scene, cinematography, editing, and sound. The final section includes chapters on documentary and avant-garde film, writing about film, social context, ideology, stardom, genre, film authorship, and the economics of the film industry. Everything is covered very in-depth and in detail, with lots of excellent examples and photos. There is also a helpful film glossary in back. The writing is model of clarity and organization. This textbook is notable for the way that writing instruction is integrated into the text. Each chapter concludes with brief essay which exemplifies the concepts and terms used in the chapter, and includes margin notes which discuss the formal and rhetorical features of a college essay, including organization, research, thesis statement, and so on. There is also a concise chapter devoted entirely to writing about film, including the different kinds of essays typically assigned by professors. Students who read carefully will be well prepared to write film analysis papers for their college classes. Since this is an introductory text, it doesn't try to give complete coverage to film history and film theory, although these topics are introduced. Film history and theory really need to be covered in separate books and classes, as the authors recognize.
As Reference & Textbook for "Intro to Film".......2005-08-26
As a current user of Giannetti's "Understanding Movies", I find this new text to be a breath of fresh air. First impressions: the initial page prior to the content is a splash-page still from Visconti's "The Leopard", a film that perhaps has seen recent resurgence of interest in the film community. Overall, the text tries to convey the thesis of "Film as Art & Cultural Phenomenon" with thorough examples & concise explanations. Also appreciated is the brief desc of "persistence of vision & the phi phenomenon" & other more operational/technical aspects of film, filming & projection equipment.
The book features examples of what could be student film analysis papers. It also goes about analyzing the road to writing essays with an adequate thesis statement.
The book's highlight is the Chapter on "Writing about Film", which will likely help students in their film journal writing & paper thesis formulation. There won't be an intro book to tell the entire "story" of film, but Prammagiore & Wallis's book provides a commendable "structure" with film stills that ties closely to their text.
If you're looking for a summary of general film history in intro film studies, I don't think you'll find it here. Still a highly recommended book for students of film.
Book Description
Helps readers understand how the many languages of film work together to create meaning. Louis Giannetti organizes Understanding Movies around the key elements of filmmaking, including cintematography, Mise en Scène, movement, editing, sound, acting, drama, casting, story, screenwriting, ideology, and theory. He synthesizes every element through a complete case study: Citizen Kane. This book's ideas are illuminated with hundreds of high-quality still photos, more than 70 in full color, taken from movies such as The Matrix, Almost Famous, jackass the movie, Chicago, Lord of the Rings, Mystic River, and Traffic. New in this edition: a full section on contemporary special effects and computer generated imagery (CGI); up-to-the-minute information on new developments in film technology; more coverage of recent films and filmmakers; more ethnic diversity (including new material on the Islamic cinema); and more lavish use of color and high-quality paper. An updated Companion Website contains animations, video clips from interviews with movie professionals, and Research Navigator access to New York Times film reviews. For everyone who wants to understand the artistry and meaning of the movies.
Customer Reviews:
Great guide to film analysis.......2007-09-30
This is an essential book for students of cinema. It does one thing and it does it quite well: it introduces you to the language of film analysis, the categories that critics use to analyze a film. It doesn't try to cover film technology or history.
I totally agree with the other reviewer that the new editions are completely unnecessary, and serve only to destroy the market for used copies. Buy one of the older editions unless it's for a college class and you need the same edition as the class.
amazon never delivered!.......2007-09-24
This is a great book although, amazon never delivered. I had ordered this book 2 weeks before school(along with 2 other books for school), it never came. Amazon said that i have an "undeliverable" address, but when i ordered it from ebay i got it in 3 dAys! Then i had to wait forever for a refund!
good seller.......2007-09-10
great seller and i would buy from this seller again. the book was new just like it stated.
EXCEPTIONALLY INFORMATIVE TEXT -- Although Some Movies Don't Require Explanation (*A Haiku Review).......2007-05-10
So now when I watch
PLANES, TRAINS AND AUTOMOBILES,
I "get it" . . . and laugh.
~ Stephen T. McCarthy
[This goofy review is dedicated to the goofy MARTIN BRUMER (Feb. 15, 1960 to July 18, 1989),
a doggoned good actor and even better friend whose copy of this fine book was presented to me
by his Mother after he left for "That Great Sound Stage In The Sky."
Thanks, Marty & Miriam!]
An incredible introduction to film........2006-04-03
Gianetti continues to produce the ultimate in introductory film texts. He seemlessly introduces us to the history of cinema while teaching us everything we need to know to fully understand film. After finishing this text you will no longer look at films the same way.
The end of the book was by far the most intriguing. Gianetti devotes a whole chapter to what is arguably the greatest film in history, Citizen Kane. His synopsis allows the reader to truly understand the beauty of the movie as well as cinema as a whole.
A must buy for anyone truly interested film.
Book Description
After the 1973 success of American Graffiti, filmmaker George Lucas made the fateful decision to pursue a longtime dream project: a space fantasy movie unlike any ever produced. Lucas envisioned a swashbuckling SF saga inspired by the Flash Gordon serials classic American westerns, the epic cinema of Japanese auteur Akira Kurosawa, and mythological heroes. Its original title: The Star Wars. The rest is history, and how it was made is a story as entertaining and exciting as the movie that has enthralled millions for thirty years–a story that has never been told as it was meant to be. Until now.
Using his unprecedented access to the Lucasfilm Archives and its trove of never-before-published “lost” interviews, photos, production notes, factoids, and anecdotes, Star Wars scholar J. W. Rinzler hurtles readers back in time for a one-of-a-kind behind-the-scenes look at the nearly decade-long quest of George Lucas and his key collaborators to make the “little” movie that became a phenomenon. For the first time, it’s all here:
• the evolution of the now-classic story and characters–including “Annikin Starkiller” and “a huge green-skinned monster with no nose and large gills” named Han Solo
• excerpts from George Lucas’s numerous, ever-morphing script drafts
• the birth of Industrial Light & Magic, the special-effects company that revolutionized Hollywood filmmaking
• the studio-hopping and budget battles that nearly scuttled the entire project
• the director’s early casting saga, which might have led to a film spoken mostly in Japanese–including the intensive auditions that won the cast members their roles and made them legends
• the grueling, nearly catastrophic location shoot in Tunisia and the subsequent breakneck dash at Elstree Studios in London
• the who’s who of young film rebels who pitched in to help–including Francis Ford Coppola, Steven Spielberg, and Brian DePalma
But perhaps most exciting, and rarest of all, are the interviews conducted before and during production and immediately after the release of Star Wars–in which George Lucas, Mark Hamill, Harrison Ford, Carrie Fisher, Sir Alec Guinness, Anthony Daniels, composer John Williams, effects masters Dennis Muren, Richard Edlund, and John Dykstra, Phil Tippett, Rick Baker, legendary production designer John Barry, and a host of others share their fascinating tales from the trenches and candid opinions of the film that would ultimately change their lives.
No matter how you view the spectrum of this thirty-year phenomenon, The Making of Star Wars stands as a crucial document–rich in fascination and revelation–of a genuine cinematic and cultural touchstone.
Customer Reviews:
Wait, you mean there's stuff I didn't already know?!.......2007-09-30
The Making of Star Wars: The Definitive Story Behind the Original Film (Star Wars)
I was four years old when the original "Star Wars" was released, and like so many kids of that generation, that film and its two sequels defined an enormous part of my childhood. Even though I didn't know it at the time, it introduced me to the "best bits" of classical mythology, while being a visual catalyst for my imagination (and years of subsequent role-play, particularly in Upstate New York, where re-enacting ice planet Hoth after "Empire" came out was all too easy...).
As I grew older (I hesitate to use the phrase "grew up," as I'm not sure it's happened yet), I came to appreciate more than just the adventure and dynamic visuals that "Star Wars" represented; it was my "gateway drug" into wanting to learn more about how movies were made. I remember all of the TV specials of that era that pulled back the curtain on the filmmaking process, particularly with regard to the original "Star Wars" trilogy, and I couldn't get enough information. That hunger became the same kind of obsession that's typically associated with "Star Wars" fans, and I absorbed every scrap of detail I could find, from Ralph McQuarrie's concept art, to model photos, to script pages, and even before the Internet made it only a matter of a few clicks to access such information, there was a wealth of it, when it came to "Star Wars."
Fast forward to 2007; "Star Wars" is 30 years old, a whole separate trilogy has come and gone, and my own children are budding "Star Wars" fans for their own reasons. I figured I knew pretty much all there was to know about this film. I darn well should have, for as much time as I had spent (and continue to spend) over the years actively seeking out new details about it. Then came this book; I didn't know anything.
This is dense, dense reading, covering every minute detail about every aspect of production of the original "Star Wars," from drafting the script, to getting it taken seriously by Hollywood, to assembling the team that would revolutionize filmmaking as we came to know it. This is a wonderful thing. I find myself poring over every word, every image, every caption and footnote, just as I did as a child who was learning about film for the first time. It is an amazing tribute, an insanely detailed reference volume, and most incredible of all, a unique representation of a film that has been covered in so many ways by so many authors, that finding anything new to talk about seemed impossible.
The aspect of this book I personally find most exciting is that all of the interviews that comprise it are taken from the period immediately surrounding the production and release of the original film. There is none of the revisionist hindsight pertaining to the film that has come about as a result of the films that came after; every word spoken by the people involved is "of the moment," and as such, is refreshingly candid about what was going on while the film was in the throes of its conception and execution.
The hardcover volume is worth the extra cost, because of its additional supplemental material, not found in the softcover edition. There are 45 pages of storyboard reproductions, as well as Lucas' first-ever references to the larger world beyond what was shown in the original film, in the form of interview excerpts taken in 1977, which involve Lucas describing character and environmental background information. As author J.W. Rinzler explains in the opening to the section, "Many of these ideas...[have since been] modified to a greater or lesser degree. They are presented here...[as] an idea of how he first began [the process of expanding the "Star Wars" universe]." Given the amount of tweaking that the backstory has undergone in the decades following "Star Wars," the inclusion of Lucas' first impressions of it in this volume are incredibly valuable to anyone who, like me, has wondered if the second trilogy of films was truly borne from his original ideas, or was more a product of his later experiences.
This book is exactly what its title promises: the definitive history behind the original film. And for someone who has spent most of his life feeling like there was nothing new under the suns (not a typo) when it came to the story of how "Star Wars" was made, that's saying something.
Wonderful.......2007-09-22
I think I've been waiting 30 years for this book. It is excellent and packed with really cool behind the scene photos and notes. It is exactly as it should be given the lack of "marketing" tools of movies back in the late 70's. It has a lot of information and will add nicely to any Star Wars collection for years to come.
A wonderful piece to celebrate this film's 30th anniversary!!.......2007-08-24
Before this book came out, the greatest making of book in star wars lore was Once Upon A Galaxy. Now it has a partner!!! This book is amazing; truly a magnificent look at what it took to get this film on the screen. Not only do you get hundreds of never before seen and priceless photos, the sheer amount of text is incredibly impressive. This was very hard work to put together. There isnt much more I can add about this book. So.......go buy it; and Happy 30th Star Wars!!!
Exhaustively complete, excellently thorough.......2007-08-23
This book goes into more detail than anyone but a die-hard fan would want to know, in all honesty; but as it's one of the greatest movies ever filmed, Star Wars has more than its fair share of die-hards. The book is thoroughly researched and excellently presented and covers every aspect of the film's genesis from the very first words scribbled on George Lucas' yellow legal pads to the opening day. This book is, as the title states, the definitive story behind the making of Star Wars. Again, fascinating for the die-hard, but may be a bit detailed for the casual fan.
The Making of Star Wars: The Definitive Story Behind the Original Film .......2007-08-13
For all those you loved the first Star Wars experience this book is a must have. The hard copy has many extra pages and it worth the additional price. The pictures and details included makes this a fun, informative and exciting book to read and re-read.
Book Description
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.
Book Description
In Bambi vs. Godzilla, David Mamet, the award-winning playwright and screenwriter, gives us an exhilaratingly subversive inside look at Hollywood from the perspective of a filmmaker who has always played the game his own way.
Who really reads the scripts at the film studios? How is a screenplay like a personals ad? Whose opinion matters when revising a screenplay? Why are there so many producers listed in movie credits? And what the hell do those producers do, anyway? Refreshingly unafraid to offend, Mamet provides hilarious, surprising, and bracingly forthright answers to these and other questions about virtually every aspect of filmmaking, from concept to script to screen.
He covers topics ranging from “How Scripts Got So Bad” to the oxymoron of “Manners in Hollywood.” He takes us step-by-step through some of his favorite movie stunts and directorial tricks, and demonstrates that it is craft and crew, not stars and producers, that make great films. He tells us who his favorite actors and what his favorite movies are, who he thinks is the most perfect actor to grace the screen, and who he thinks should never have appeared there.
Demigods and sacred cows of the movie business–beware! But for the rest of us, Mamet speaking truth to Hollywood makes for searingly enjoyable reading.
Customer Reviews:
Vintage Mamet with a twist.......2007-09-09
This is vintage Mamet; sharp, insightful, renegade, taking potshots at sacred cows. Unlike earlier collections like 'Writing in Restaurants' there is a new ingredient running through most pieces- a knifetip of something angry and bitter.
That's made more noticeable by a chapter that starts with a genial, witty quote from 'Richard Weisz'... Richard Weisz being one of Mamet's alter egos. The world -and specifically that world- needs all the Mamet it can get.
War Stories A Plenty.......2007-07-29
As the title suggests, this is not a book that glorifies the movie business. Through stories from the trenches Mamet paints a vivid and realistic picture of what it's like trying to negotiate the turbulent rapids of Hollywood. I was a little afraid of this book at first, because I really thought the author, whom I respect very much, was going to trash the business, that I love so very much. But I was pleasantly surprised that he was able to present a balanced picture. Yes, there are some people that he hates (actors be ware), but you can tell that he has a true love for the business. Mamet also uses his humor to offset some of the more acidic anecdotes. All in all, a good book. A quick read. And his insights are very unique.
Disappointed.......2007-07-24
I love David Mamet's plays. He's an excellent writer. So I was enthusiastic about getting the chance to read his personal views of Hollywood. And while I agree with him that the studio machinery is all about profits and very little about art or craft - when was it ever different? - I was ultimately disappointed by his book. There were times when I just didn't know what he was talking about. I think his writing here is often inaccessible. I may not be the most erudite reader, but Mamet left me cold. I just couldn't get into the style of his writing. I felt distanced rather than drawn in. When I read a book like this, I want to devour it, not pick at its little pieces. You may feel differently, that's fine. The book didn't pull me in the way I'd hoped it would.
David Mamet on the movie business? Please?!.......2007-06-01
This book was so wonderful, I took it out from the library, read it, and then had to buy it. I never do that. It's a book you'll want to read over and over, have other people read (at least certain essays) and refer to the filmography repeatedly. Mamet is so amazingly astute about everything, but particularly about things relating to theater and the movie business. If you are a movie buff at all, read this book.
Great Beach Book.......2007-05-28
A bit of Hollywood background, some insightful comments on current culture, essays of a sort and one can pick up and put down but comforted that it remains there to continue to read. I read it on spring break in the South of France as did two other family members. Three generations enjoyed it on the terrace overlooking the Mediterranean.
Book Description
This ultimate insider's guide reveals the secrets that none dare admit, told by a show biz Veteran who's proven that you can sell your script if you can save the cat!
Customer Reviews:
re-name the book.......2007-10-03
The book should've been named "How to take the joy out of screenwriting."
Although Blake Snyder is at the top of the screenwriting industry (he has had two spec scripts that have been made into movies), it is fortunate that he wasn't born during the Renaissance and wound up teaching artists how to precisely paint.
Perhaps everything he states in the book may be the absolute gospel in Hollywood (ala Syd Field/Robert McKee at al), but Blake Snyder believes all screenplays must be severely structured:
- The script must have precisely 40 scenes for some unknown reason
- the theme of the script must be made by page 5
- the catalyst (a life-changing event) must occur precisely on page 12
- the hero finally making the decision to act must be on page 25 (end of act one)
- the B story of a script must begin around page 30
- there must be an identifiable midpoint (exactly on page 55 of a 110-page script) where the hero peaks or the world collapses all around the hero or vice-a-versa
- the hero's "All is lost" scene must be on page 75
- and so on.
True, he reveals previously unknown industry secrets such as all scripts must have a terrific logline, a great title, a likeable hero (thus the title of the book), and must have conflict.
On the plus side, the book is certainly well organized and extremely well written. Is it worth shelling out 3 bucks on E-bay? Check your public library.
Ignore the Haters; they didn't get it.......2007-10-03
If you think this book is just for family-film-oriented writers, you missed the big picture. Blake Snyder has hit the ball way, way, way, WAY out of the park with this one. Take the analytical tools he provides and unleash them on any mainstream movie from any genre from JAWS and SAW to E.T. and BACK TO THE FUTURE. I guarantee that the ones that follow his structure most closely are the ones that not only struck a chord with viewers, but laughed all the way to the bank.
Want to write a nice indy flick that you and your twenty closest friends can watch in someone's basement? Ignore Blake Snyder. Want to write a loud, crash-and-bang, content-missing movie people will forget in five years except to laugh? Ignore Blake Snyder. Want a movie you won't be able to pitch in five HOURS, let alone the five minutes you'll really have? Ignore Blake Snyder.
But if you want to write/direct/produce a film that satisfies on every level from the superficial to the sublime, then this is the book for you.
I never had a single offer on my work until I followed his advice.
SAVE THE CAT. Live it. Love it. Learn from it. Buy extra copies, 'cause if you're smart, you'll wear out the first one.
simple good advice and nothing more.......2007-09-30
This book contains alot of good advice for screenplay writing. however, the book is really aimed towards making "family films". all the movies he references are family films, and sometimes his own. It is a good book to get yourself in the right mindset for writing a screenplay but you can't rely on it to much or you might find yourself writing really dumb kids movies like "Blank Check". The process he gives you is very formulaic and his approach is more toward making money. but overall good read and good information. and who knows, maybe if you follow his advice to the point you could sell a screenplay to Spielberg for a million dollars too!
Friends close, Enemies closer.......2007-09-29
This IS a book about writing incredibly formulaic screenplays period. For my likes and dislikes, I would refer to Blake's movie ideas as groaners. That said, I find this book to be INCREDIBLY HELPFUL, amazing, on laying out that Hollywood 'movie' formula. It's great for creating structure. I'm not expecting this book to make me a more intersting storyteller. But I've worked with a number of hugely successful film producers / directors, and for the most part, they comletely rely on formula. Now, it's YOUR job to make that intersting. It's your job to know HOW breaking that formula makes your idea work better. It's all really valuable information. Do other books cover this same subject? Probably. But since I don't want to waste too much of my time reading screenplay books, I found this one to give me exactly what I needed. And I'll make it interesting.
Fun Learning.......2007-09-13
The kind of book I wanted to read and write at the same time. Fun, very informative, inspiring and helpful. I've already ordered some as a gift for other writer-friends.
Books:
- The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society (Studies in Contemporary German Social Thought)
- The Texas Cowboy Cookbook: A History in Recipes and Photos
- The Trouble With Physics: The Rise of String Theory, the Fall of a Science, and What Comes Next
- The World Is Flat [Updated and Expanded]: A Brief History of the Twenty-first Century
- Thunderbird Falls (The Walker Papers, Book 2)
- Transgressions
- Tutankhamun and the Golden Age of the Pharaohs: Official Companion Book to the Exhibition sponsored by National Geographic
- Understanding Digital Cinema: A Professional Handbook
- Understanding the Golf Swing
- Undoing Culture: Globalization, Postmodernism and Identity (Published in association with Theory, Culture & Society)
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