Rebels on the Backlot: Six Maverick Directors and How They Conquered the Hollywood Studio System Review

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Rebels on the Backlot: Six Maverick Directors and How They Conquered the Hollywood Studio System ReviewIf you felt a little let down by Peter Biskind's recent look at 90's indie film, "Down & Dirty Pictures," this juicier but also more personal book might be closer to what you were hoping to find there.
Instead of focusing primarily on Sundance and Miramax, Waxman focuses on the six men responsible for some of the biggest movies of the past decade: Quentin Tarantino ("Pulp Fiction"), P.T. Anderson ("Boogie Nights," "Magnolia"), Spike Jonze ("Being John Malkovich"), David O. Russell ("Three Kings"), David Fincher ("Fight Club") and Steven Soderbergh ("Traffic").
They're a mixed bag of personalities and Waxman tells their stories with detail and relish, and also touches on other interesting filmmakers such as Wes Anderson, Roger Avary, Charlie Kaufman, Alexander Payne and others (though some are conspicuously absent -- Spike Lee and especially Richard Linklater, who isn't even mentioned).
It's hard to miss with a collection of stories like this: Tarantino's rise to power; Hackman cursing Wes Anderson on the set of "Tenenbaums"; Avary's attempts to buy a famous French film studio; Russell headbutting George Clooney on the set of "Kings" and P.T. Anderson admitting that "Magnolia" was probably too long.
"Rebels" (very deliberately) rises to the same sordid, "print the legend" heights as Biskind's "Easy Riders, Raging Bulls." But it also suffers from some of the same weaknesses - occasionally questionable accounts; some poor copy editing and more than a few awkward sentences that feel like they were written the Sunday night before the term paper was due: "Traffic" screenwriter Stephen Gaghan's high school drug problems are introduced twice in three pages; Wes Anderson's debut was "Bottle Rocket" not "Rushmore"; and what can one say about lines such as, "Soderbergh questioned his own questioning" and "The director kept the obituary about his father printed in the local paper framed in his office in Los Angeles" ? Waxman also has a strange storytelling habit of explaining the results of a situation, then backtracking once or twice to tell the circumstances that led to the results.
Nevertheless, it is absolutely impossible to deny the appeal of this book, and it was equally impossible for me to put the damn thing down for the past week.
Rebels on the Backlot: Six Maverick Directors and How They Conquered the Hollywood Studio System Overview

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Gaffers, Grips and Best Boys: From Producer-Director to Gaffer and Computer Special Effects Creator, a Behind-the-Scenes Look at Who Does What in the Making of a Motion Picture Review

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Gaffers, Grips and Best Boys: From Producer-Director to Gaffer and Computer Special Effects Creator, a Behind-the-Scenes Look at Who Does What in the Making of a Motion Picture ReviewAs far as I know there are two books on the subject, the other being William E. Hines' "Job Descriptions for Film, Video & CGI". From those two this book is certainly more prosa. Every major field of movie production is described through kind of essays written from industry insiders. Although the book is by no means an encyclopedia, the reader gets a good idea what those jobs really are about. If you want some insights instead of concise descriptions, buy this book.Gaffers, Grips and Best Boys: From Producer-Director to Gaffer and Computer Special Effects Creator, a Behind-the-Scenes Look at Who Does What in the Making of a Motion Picture Overview

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George Stevens: Interviews (Conversations with Filmmakers) Review

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George Stevens: Interviews (Conversations with Filmmakers) ReviewThis book employs a concise interview approach, to one of America's greatest, and most respected directors. In all his work, from "Alice Adams", to "Swing Time", "Woman of the Year", to "Vivacious Lady", to "Gunga Din"...to his work with Laurel and Hardy, Fred Astaire and Ginger Rogers, Kate Hepburn and Spencer Tracy...and to his later series of Oscar winning masterpieces, including "Shane", "Giant", "A Place in the Sun"...this little book exposes a man of great humanity and integrity. Though it does not delve deeply into most of the films, it does delve into the personalities of some of the colleagues he knew well.
The book therefore is not definitive, nor is it intended to be. However, I would say it prompts the reader towards further questioning. It's one of those readings that whet the appetite for further reading. I would have liked to have asked much more about the films already mentioned. Others, like "The Diary of Ann Frank", and his monumental film, "The Greatest Story Ever Told", are dealt with in greater depth, with special interviews.
The interviews also cover his participation in WW II, as Ike's film maker of D-Day, the liberation of Paris, the concentration camps...and how this seminal experience forever changed George Stevens, and his career, in some very profound ways. And, his story, without being an autobiography, possesses the immediacy of the great director's own words...with the personal filter of a writer, being replaced by the questions of an interviewer. As a result, it is most satisfying to learn his view of his world, and his era...directly.
I highly recommend the book, not only because of the story of this extraordinary man...but also, because the tight interview format allows the reader to learn much...and fairly quickly...and with this knowledge, to research further.George Stevens: Interviews (Conversations with Filmmakers) Overview
At first glance, George Stevens (1904Ð1975) appears to be the quintessential Hollywood director. A closer look at his achievements shows him to be more than just the creator of some of the smartest melodramas and comedies of the 1930s and 1940s, including Annie Oakley, Swing Time, and Gunga Din. Several of his films--Giant, The Diary of Anne Frank, Shane, The Greatest Story Ever Told, and A Place in the Sun--are regarded as some of the most important and enduring dramas of postwar American cinema. As a leading producer and director of his era, Stevens repeatedly pushed against the Hollywood grain and clashed with censors.
George Stevens: Interviews showcases the deep moral vision of a director who is as meticulous, discerning, and contemplative in his conversations as he is as a filmmaker. Although not regarded as an auteur during his career, Stevens can now be understood as one of America's most personal and distinguished directors. Throughout this collection, his increasing concern over the control of his films is evident, and, like Alfred Hitchcock and Howard Hawks, he became a producer/director who claimed absolute control over his work. His interviews show a man committed to his chosen art and fully aware of the responsibilities that come with that choice.
Paul Cronin is a writer and filmmaker.

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D.W. Griffith: An American Life Review

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D.W. Griffith: An American Life ReviewThis is a lavishly detailed biography of the pioneering film director David Wark Griffith (following the prevailing custom of the time, Griffith typically was referred to by his initials and his last name, hence D. W. Griffith). Griffith is a controversial figure on account of his groundbreaking feature film success, "The Birth of a Nation." The film was set during the Civil War and Reconstruction and revolutionized movie making.
Griffith was the son of a last ditch Confederate veteran who served until Lee surrendered the Army of Northern Virginia at Appomattox. As a small child, Griffith idealized his father, a gentle ne'er do well, for whom the War for the Confederacy was the singular highlight of his entire existence. When his father died, Griffith was still a child of tender years and this separation only served to romanticize Griffith's memory of his beloved father to a greater degree. The significance of these vivid memories of his parent's storytelling are to be found in Griffith's landmark film "The Birth of a Nation."
Key battle sequences in the film are precise recreations of events that Griffith's own father experienced firsthand such as subsisting on parched corn when the Confederates were unable to supply their dwindling army with daily rations. Likewise, Colonel Griffith participated in a heroic battlefield charge quite like the one shown in the film.
Ostensibly an adaptation of Thomas Dixon's sensational bestselling novel and the subsequent stage play, "The Clansman," Griffith kept the billing for publicity purposes, but freely reworked the scenario to suit his own preferences. One testimonial to the effectiveness of the drama, to my mind at least, is to see how much of Margaret Mitchell's "Gone With the Wind" simply built upon the structure of Griffith's film. The original was an overwhelming financial success and fixed innumerable cliches about the Civil War in the consciousness of a generation who had only read about the fighting.
The movie radically changed the nascent film industry and soon the public demanded more feature length films and exhibitors needed to erect large theaters as the flickers were no longer a novelty to be watched solely in nickle and dime arcades. Theater owner Louis B. Mayer, the future leader of the powerful Metro Goldwyn Mayer studio, financed his entry into Hollywood by underreporting the total box office receipts from "The Birth of a Nation" and shortchanging Griffith of his rightful share of the profits.
Griffith was such a seminal figure during the development of the film industry that many of his assistants became celebrated directors after apprenticing under the master. Raoul Walsh, John Ford, Tod Browning, Erich von Stroheim, W. S. Van Dyke and William Beaudine all worked for Griffith. Following the success of "The Birth of a Nation," Griffith staged a lavish four part film entitled "Intolerance" in partial response to efforts to boycott, censor or enjoin the showing of his previous film. The film was not profitable, but Griffith became increasingly interested in staging epic spectacles and lost his way when he was unable to bring pictures in on time and on budget. Frequently, he courted financial disaster. Studio executives wanted immediate profits while Griffith was engrossed in the art of cinema. Soon he was deemed to be unreliable.
Changing public tastes also were a factor in his decline. Griffith produced melodramas that could have been staged in the limelight era. Once audiences had become more sophisticated and other movie makers had mastered his techniques, there was a greater demand for more modern and realistic stories than Griffith's homespun rural romances. After the production of the biopic "Abraham Lincoln," in 1930, Griffith was effectively finished in Hollywood. Although he had filmed the crime drama "The Musketeers of Pig Alley" on the streets of New York, employing actual gang members, no less, Griffith was considered politely old fashioned not twenty years later.
There is one major fault that must be mentioned with respect to this biography. Schickel's seems utterly nable to come to terms with Griffith's racial attitudes and his oftentimes patronizing depictions of Negroes in his films (African Americans was not the accepted term in Griffith's era). As such, the book becomes Exhibit "A" as a definitive example of the historical error of "presentism." Presentism occurs when historical figures are judged not according to the prevailing attitudes and standards of their own era, but according to contemporary and, oftentimes, politically correct standards. Using these criteria, many past persons are found guilty of having failed to conform to the societal expectations of an enlightened future era in which they did not live.
In fairness, men such as Griffith are entitled to be judged based upon their own generations, not ours. While it is valid to compare and contrast differences in opinions and standards by way of explanation, it is unjust to condemn Griffith for failing to join the civil rights movement decades before such a movement came into existence.
The racist sentiments contained in Griffith's films are an accurate reflection of the biased opinions that were widespread in 1915. It should be remembered that President Woodrow Wilson was instrumental in segregating the District of Columbia at the same approximate time that "The Birth of a Nation" was being filmed. The newly established NAACP attempted to have the film suppressed and numerous lawsuits were filed seeking to enjoin its exhibition. In certain cities, their efforts were successful.
To Schickel's credit, he summarizes virtually all of Griffith's many films, including many short subjects and feature films that no longer exist. Griffith was a largely forgotten man when he died in a nondescript Los Angeles hotel. Hollywood's leading hypocrites belatedly staged a fitting memorial service to honor Griffith after neglecting him for more than a decade and a half. Not quite thirty years earlier, Griffith had founded United Artist Studios.
There is a wealth of information to be found in this book, but the biographer's liberal biases detracted from my overall enjoyment of the book.D.W. Griffith: An American Life Overview"This magnificent and important biography...is the best ever written on the man." -The New Republic "Mr. Schickel's excellent and important biography makes it clear that when the movers of our century are tallied, D.W. Griffith, flawed genius that he was, can never lose his eminent position." -Peter Bogdanovich, The New York Times Book Review

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Creative Filmmaking from the Inside Out: Five Keys to the Art of Making Inspired Movies and Television Review

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Creative Filmmaking from the Inside Out: Five Keys to the Art of Making Inspired Movies and Television ReviewThis book is a hybrid of interview collections and workbook exercises, designed to help filmmakers with their creative processes, not using the dumbed-down how-to-manual approach that so many filmmaking books employ, but in an intelligent and subtle way that engages and challenges the reader. These authors have assembled a formidable list of filmmakers -- the brains and souls behind The English Patient, Toy Story, E.R., Boys Don't Cry, many more -- and asked them more than the usual-suspect kind of questions, and by doing so have managed to go deeply into the creative process. The book interweaves the interviews with anecdotes, proverbs, and a group of creativity exercises which are several levels above the kind of artists' self-help books that have sometimes insulted our intelligence in the past. Ever wonder how Anthony Minghella thought of the opening shot for The English Patient? Or how Merchant Ivory get those stellar casts? This book actually tells you things you want to know, and then challenges you to go out and make a movie.Creative Filmmaking from the Inside Out: Five Keys to the Art of Making Inspired Movies and Television OverviewFive keys to creating authentic, distinctive work, whether you are a student, professional or simply love making films on your own For Creative Filmmaking from the Inside Out, three professors at the renowned University of Southern California School of Cinema-Television interviewed fifteen outstanding filmmakers, then distilled their insights into the "Five I's" of creativity. Learn how to: • Uncover your unique creative voice (Introspection) • Work from real-life observations and experience (Inquiry) • Draw on your nonconscious wells of creativity (Intuition) • Strengthen your creative collaborations (Interaction) • Communicate at the deepest level with your audience (Impact) This comprehensive approach provides practical exercises that will enrich and transform your work, whether you are looking for a story idea, lighting a set, editing a scene or selecting a music cue. The participating filmmakers, who have collectively won or been nominated for 39 Oscars and 27 Emmys, are: Anthony Minghella, writer-director (The English Patient); Kimberly Peirce, writer-director (Boys Don't Cry); John Lasseter, writer-director-producer (Toy Story); John Wells, writer-producer (ER); Hanif Kureishi, writer (My Beautiful Laundrette); Pamela Douglas, writer (Between Mother and Daughter); Renee Tajima-PeÑa, director-producer (My America...or, Honk If You Love Buddha); Ismail Merchant, producer (The Remains of the Day); Jeannine Oppewall, production designer (L.A. Confidential); Conrad L. Hall, cinematographer (American Beauty); Kathy Baker, actor (Picket Fences); Walter Murch, sound designer-editor (Apocalypse Now); Lisa Fruchtman, editor (The Right Stuff); Kate Amend, editor (Into the Arms of Strangers); and James Newton Howard, composer (The Sixth Sense).

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Pre-Production Planning for Video, Film, and Multimedia Review

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Pre-Production Planning for Video, Film, and Multimedia ReviewMr. Cartwright's book is a excellent teaching text for high school or college students studying video and multimedia production. It does a great job of taking the beginner through all of the steps needed to ensure a successful production.
However, one can't help overlook that a text written four years ago on this subject is LONG overdue for a new edition.
Many software applications that are referred to as "soon to be released" are now in their 3rd or 4th version. Likewise, the hardware section of the book is terribly behind the times, as their is virtually no mention of digital video cameras, digital capture cards, current generation non-linear editing systems, or DVD.
Also disappointing was the 3.5" disc that's included, which contains all of the forms in the book. The disc is specially formatted so that it cannot be read on a Macintosh-which CAN read any commonly formatted PC diskette! Instead the publisher encourages Mac users to send in the PC disk and receive a Mac disk at no charge. Why not just use the standard 1.4mb formatting for a PC disk and let users of either platform access the material? Or better yet, just put the forms on a hybrid CD-ROM. This is especially irksome to Mac devotees, when practically all of the computers pictured in the book doing video editing are Macs!
Yet, despite its need for a new edition to address the latest and greatest in hardware and software, and its platform specific floppy, Pre-Production and Planning for Video, Film and Multimedia will serve as a valuable resource for those new to the pre and post production arena, as much of the planning and organizational approaches in the text never go out of style!Pre-Production Planning for Video, Film, and Multimedia OverviewThe key to a project's ultimate success is good planning.This unique new book shows how to prepare for the myriad of steps required to execute production and post production of a video, film or multimedia project.Cartwright explains in detail how to save money and time in production and post-production, yet produce a quality program with high production values.The craft of production planning is explained through a comprehensive system.The production steps are all there, enhanced with graphs of the production process, production forms, photos and a comprehensive list of production resources along with a chapter devoted to the use of computers for the production and post-production process.The techniques of planning for success are easily applied to both traditional linear program development to interactive multimedia development for all types of programs, including communications, training, marketing, corporate news and teleconferencing.Pre-Production Planning for Video, Film and Multimedia also includes 30 planning, production and post-production forms that can be accessed on an accompanying complimentary disk (for both IBM compatibles or Mac).Steve R. Cartwright is president of Cartwright & Associates, a training and communications company, and co-owner of the Motion Graphics Company, a computer graphics and animation firm.A leading producer, consultant and instructor, Cartwright is author of Training with Video and Secrets of Successful Video Programs.A comprehensive system for pre-production planning for video, film and multimedia.Includes a detailed description of the production and post-production processes.A disk with useful forms is also included.

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Peckinpah: A Portrait in Montage Review

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Peckinpah: A Portrait in Montage ReviewPeckinpah, written by Garner Simmons and published by the Universtity of Texas Press in 1982,is a no-nonsense, non-opinionated look at the life and work of director Sam Peckinpah. The first few chapters are devoted to his early life: parents, childhood, growing up, early TV work, etc. The rest of the book is presented in a movie-by-movie format, with one chapter being devoted to each film. The chronological discussion of each film pays great attention to detail form pre to post production. Lots of good insight from cast and crew members help make this book really special! There is little info on Peckinpah's final film, "The Osterman Weekend", as it had not been released at the time of this book's publication. The book is dedicated to the memory of Jerry Fielding, the extremely talented composer who worked with Peckinpah on several films.Peckinpah: A Portrait in Montage Overview"Sam Peckinpah is, by his own admission and that of almost everyone else in this richly entertaining book, a director who needs adversity to get the juices flowing. As shooting goes on, complications multiply and tensions increase. The wild man, fortified by booze and shots of vitamin B12, rides the whirlwind he creates firing the incompetents beneath him, baiting the ones over him, and bullying and testing and goading the rest...[This book gives] a nuts and bolts account of the...complex interplay of power and art or movie and myth-making as practiced by an idiosyncratic but skillfull manipulator." -New York Times Book Review

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Control Systems for Live Entertainment, Third Edition Review

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Control Systems for Live Entertainment, Third Edition ReviewThis book is comprehensive in its coverage of the topic.
It's very well written and focuses on individual control standards with a few examples of how they can be implemented to work as part of an integtrated live control system in the entertainment industry.
Improves with each edition!Control Systems for Live Entertainment, Third Edition OverviewIf you are interested in how control systems and computer networks are used in all areas of live entertainment, Control Systems for Live Entertainment is the industry standard reference.With a unique combined focus on computers, networking, art, and practice, this book offers an in-depth examination of control for lighting, lasers, sound, , stage machinery, animatronics, special effects, and pyrotechnics for concerts, theme parks, theatre, themed-retail, cruise ships, museums, special and other events.This new edition also includes:.expanded emphasis on networking technology and practice.complete coverage of important new protocols such as ACN and RDM.completely revised and updated case studies.a completely reorganized and revised structureDrawing on his extensive experience in the field and classroom, author John Huntington clearly explains everything that goes on behind the scenes and inside the machines to bring bold visions to life in real-world settings.* Author's website is a live, updated resource for this audience - visited from control systems technicians in countries around the globe!* Systems formerly solo are now being networked together and audio and lighting techs need this knowledge* Loaded with realistic examples that readers love

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Filmmakers and Financing, Fifth Edition: Business Plans for Independents Review

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Filmmakers and Financing, Fifth Edition: Business Plans for Independents ReviewI found the book to be perfect in describing how to set up an independent film company. The Sample Business Plan for a Fictional Company (in the Appendix) is written in plain english which made it easy to see how one could put together their own thorough business plan. I definetely enjoyed the book and am working on my business plan for my independent film company as I type this.Filmmakers and Financing, Fifth Edition: Business Plans for Independents Overview

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Sound for Film and Television, Second Edition Review

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Sound for Film and Television, Second Edition ReviewHaving read almost every book out on sound for film and television, from the most contemporary to the classics, it was a surprise to find both the theoretical/aesthetic use of sound and technical sound information (from one who really knows, the author, creator of the THX sound system.) The innovative thinking Homan put into the design of the THX system has been equally applied to this book. The book gives countless examples of both classic and contemporary films demonstrating practical application of sound theories.The information in the book has been of great value to me in my film work and to several students I know from USC School of Cinema-TV and its Summer Production Workshops. I also found the CD in the back of the book extremely helpful in actually "hearing" principles discussed in the book, another innovation from the author.Sound for Film and Television, Second Edition OverviewSound for Film and Television, Second Edition provides a thorough introduction to the fascinating field of recording, editing, mixing, and exhibiting film and television sound. It strikes a fine balance between aesthetic and technical content, combining theory and practice to approach sound as both an art and a science, as no other text has before. This edition includes new information on digital techniques as they have arisen in the industry, and expanded coverage of sound editing and design.Written by one of Hollywood's leading sound experts, Sound for Film and Television, Second Edition provides a solid grounding in all aspects of the sound process. Basic principles are presented with illustrations demonstrating how they affect the day-to-day activities on a film or television set, in the editing room, and in the mix room.
*The only text to present sound design as both an art and a science*Bridges the gap between production books and design engineering books

*Accompanying audioDVD contains examples demonstrating key concepts from the book


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Raindance Producers' Lab Lo-To-No Budget Filmmaking Review

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Raindance Producers' Lab Lo-To-No Budget Filmmaking ReviewThe book touched on all the challenges of indie filmmaking in a clear and concise way. He discussed what areas you should focus on and what areas you can spend less money and time while still getting a great film as your final product. Elliott explored the psyche of the indie filmmaker too by bringing his own easy to understand explanations of why things work the way they do.
His anecdotes really help explain why things work the way they do on low budget productions. He is gifted at giving you insights into the small things you can change that show big improvements on camera. This book eases your mind about not having enough money to make your film. And hopefully give you the courage to put your film out there.
I recommend that any filmmaker who has little or no money buy this book. With Elliot's expertise, you can gain value insights into telling the story that you want.
Raindance Producers' Lab Lo-To-No Budget Filmmaking Overview

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Make the Cut: A Guide to Becoming a Successful Assistant Editor in Film and TV Review

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Make the Cut: A Guide to Becoming a Successful Assistant Editor in Film and TV Review
I found this to be a hard review to write. Normally I pick up a book after reading its title and figure that it will include something that will interest me. I read the title to the instant book and figured the contents would include information about what a skilled film editor needs to know to be good at his job. Basically I expected to read a book that would help me understand "how to stock footage, sound effects (SFX), music (MX), visual effects (VFX or VIZFX), automatic dialog replacement (ADR), onlining, protecting network/studio assets, and even organizing the office space." [see page 3 of book]. I also expected to learn about being "responsible for paperwork systems, project settings and organization, digitizing, import/export/file transfer procedures, logging, media storage, backup technologies and procedures." [id]. Unfortunately I did not get what I expected. Instead I was stuck reading a career guide for someone considering getting a degree in filmmaking or who has sufficient technical training to skip such schooling.
Sometimes I give a very low star rating to a book that is guilty of bait and switch. Sometimes I don't. It really depends on the mood I find myself in when sitting down to write my review. I have put off writing this review for over a month now. So if I cannot find some good qualities in it, then I should have written a killer review a month ago, i.e, 1-star.
The authors have been involved in filmmaking for a long time now - more than 30 years each I think I read. I got the feeling they are kind of old and by writing this book they were "giving back" so younger people could successfully follow in their footsteps. The authors are freelancers. They work on projects and when one projects ends they go without work for a bit until another project comes along. In the book they explain how a recent graduate of filmmaking school needs to get an intern position under a film editor. Such jobs usually are performed without pay, but they enable you to eventually get hired as an assistant film editor - i.e., chief bottle washer under a full-fledged film editor. Interestingly we are told you have to be an assistant before you can become a full-fledger. However, one of the full-fledgers interviewed at the end of the book said he had no technical skills and couldn't do what an assistant does if his life depended on it. So I got conflicting messages from this book.
If I were interested in learning about how to get an internship, then get gigs as an assistant editor, and finally get recognized as a full-fledged editor, then I would have been very happy to read this book. It explains that there is a lot of pro bono work provided by the wanta-be assistant editor. There is a lot of effort required to be expended in order to appear to be skilled and competent and willing to go the extra mile. All in all, I though someone would have to be crazy to want to be a film editor in the filmmaking business. It reminded me of my days trying to find my way in the legal profession as an attorney. What a racket!
Much of what we are told is common practice in any project management setting. There are the managers with authority, and then there are the worker bees doing all the real work for little or no pay. By the way, why wasn't compensation mentioned more in this book? After all, money is why people pursue a career and this book is certainly a career guide.
This book included 16 chapters that were divided among 4 parts or sections. The subject headings for the "parts" did not really help me follow the book too well. And it seemed absurd to group 9 of the 16 chapters in a part called "Getting Started."
Since this book is a career guide I think it should have had a few less chapters in the first part of the book. I think there should have been a "part" that covered filmmaking schools and degree programs. And there certainly should have been some coverage of the technical training that could be substituted for a filmmaking degree before a person sought an internship.
So the book is mistitled. It covers a bunch of interesting stuff for a career guide, but it fails to cover all the bases that should be covered in a good career guide. So I can't say I loved or liked this book. But I didn't dislike or hate it, either. So what is left, a 3-star rating? The book is just OK.Make the Cut: A Guide to Becoming a Successful Assistant Editor in Film and TV Overview
Being a successful editor is about more than just knowing how to operate a certain piece of software, or when to make a certain transition. On the contrary, there are many unwritten laws and a sense of propriety that are never discussed or taught in film schools or in other books.

Based on their own experiences, first as upcoming assistant editors, then as successful Hollywood editors, the authors guide you through the ins and outs of establishing yourself as a respectedfilm and video editor.

Insight is included on an array of technical issues such as script breakdown, prepping for sound effects, organizing camera and sound reports, comparison timings,assemply footages and more. In addition, they also provide first-hand insight into industry protocol, providing tips on interviewing, etiquette, career planning and more, information you simply won't find in any other book.The book concludes with a chapter featuring Q+A sessions with various established Hollywood editors about what they expect from their assistant editors.

* Cutting insight and tested tipsfrom 2 established Hollywood editors (combined credits include Cesar Milan: Dog Whisperer, The Simple Life, The Shield, Dawson's Creek) will have you on the path to being a successful assistant editor in no time * Includes discussions with some of the top editors in the industry, sharing their views on what they expect from their assistants in the editing suite * Offers technical info such as the intricacies of digitizing and breaking down a script, as well as practical knowledge on topics like interview preparation and industry ettiquette


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Movie Speak: How to Talk Like You Belong on a Movie Set Review

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Movie Speak: How to Talk Like You Belong on a Movie Set ReviewThis book was a pleasure to read from start to finish (or perhaps I should say from "Roll 'em!" to "Cut!"). It was informative, engaging, interesting and witty, and there was "never a dull moment". In short: anyone interested in any aspect of film making, or simply curious about the subject, should have a copy in their collection- and that's a wrap!Movie Speak: How to Talk Like You Belong on a Movie Set Overview

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Hollywood Dealmaking: Negotiating Talent Agreements for Film, TV and New Media Review

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Hollywood Dealmaking: Negotiating Talent Agreements for Film, TV and New Media ReviewI work at a Production company and a lot of contracts we hand to outside lawyers, but this is a good tool for me because it goes into details and discusses each point in a contract. This is something I'd love to have had many years ago, when I just got started in the business, and now that I have it, I am learning a lot of new things. There isn't any other book out there- quite like this.Hollywood Dealmaking: Negotiating Talent Agreements for Film, TV and New Media OverviewHollywood Dealmaking has become the go-to resource for new and experienced entertainmentattorneys, agent trainees, business affairs executives, and creative executives.Entertainment attorneys and Hollywood insiders Dina Appleton and Daniel Yankelevits explain the negotiation techniques and strategies of entertainment dealmaking anddetail the interests and roles of producers, writers, actors, directors, agents,and studio employees in crafting a deal. This new edition captures the dramatic changesover the past five years in the film and television industry landscape, with twonew chapters: Reality Television details the sources of revenue, syndication possibilities,and format sales of these shows as well as the talent deals that are made and theInternet/New Media chapter delves in new digital formats such as mobile phones, gameconsoles, video-on-demand, and web-based apps, and explains where today's revenuesare generated, where the industry is headed, and talent negotiation issues. All theins and outs of negotiating are explained, including back ends, gross and adjustedgross profits, deferments, box office bonuses, copyrights, and much more. This easy-to-followreference is packed with expert insights on distribution, licensing, and merchandising.The book's invaluable resource section includes definitions of lingo for acquisitionagreements and employment deals, twelve ready-to-use sample contracts, and a directoryof entertainment attorneys in both New York and Los Angeles. In Hollywood Dealmaking,readers will recognize the key players in the process, understand the "lingo" ofcrafting deals, learn how to negotiate agreements for the option and purchase ofbooks and screenplays, be able to negotiate employment deals for all members of afilm or television crew, understand payment terms and bonuses, and be able to registercopyrights in scripts and other literary works.

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What I Really Want to Do Is Produce: Top Producers Talk Movies and Money Review

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What I Really Want to Do Is Produce: Top Producers Talk Movies and Money ReviewVery informative read for those curious about producing. You get a sense of the producers personality through the interviews even to the point of sensing some of the pomp and ego that goes with operating at their level. These guys are tops of their field and don't mind sharing lessons learned and how they got where they are. One warning: the producers interviewed are disproportionately from England and Europe. The Americans interviewed are not the most cutting edge and look sort of boring by comparison. All the producers are tops of their field, but by focusing only on the very successful the Americans have typical career paths while the Brits are mavericks since it is much harder to make it there. I would have liked to see some of the good lesser known American producers.What I Really Want to Do Is Produce: Top Producers Talk Movies and Money OverviewWhat does a movie producer actually do for a living? Does producing amount toanything more than writing checks and smoking cigars? Helen de Winter, herself an intrepid young producer,explores the ins and outs ofa job that requires the combined skills of a wheeler-dealer, a diplomat, a stern but doting parent, and a clinical psychiatrist.

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You're Only as Good as Your Next One: 100 Great Films, 100 Good Films, and 100 for Which I Should Be Shot Review

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You're Only as Good as Your Next One: 100 Great Films, 100 Good Films, and 100 for Which I Should Be Shot ReviewIf you like movies over the past 30 years, you'll love this book. It's well written by an intelligent man who saw the industry from a perspective few do, as studio head. The man that writes the checks. Medavoy is pretty blunt about how movies get made and how he managed to make bad movies as well as good.
The highlight of the book comes early as he is in charge of production at UA and produces Best Oscar movies repeatedly in his first few years starting with One Flew Over the Cuckoo's Nest and Rocky. UA specialized in making artist's driven movies which shaped Medavoy's footprint to stay away from youthful, tentpole event movies throughout his career. From Rocky to The Terminator to Silence of the Lambs you will be amazed at the stars and movies that Medavoy worked with. To further this study of movie history, after UA Medavoy worked at Tri-star pictures shortly after it was purchased by Sony working with Peter Guber and Jon Peters. This first-hand account of the Japanese invasion in Hollywood is interesting in and of itself.
Medavoy does a great job of focusing this book on the movies, the personalities involved, and the business side of the industry. He does not burden the reader with unwanted history of his childhood. But he does give great insight into the cultural influences of his job, the intellectual environment he functioned in, and his political involvement with Gary Hart and Bill Clinton. I strongly recommend this book if you like movies, stories of the business side of making movies, or American cultural influences of the last 30 years.
While on vacation a year ago, I played tennis for a couple of days with Medavoy and his business associate Arnie Weems. In my brief encounter with him, it's obvious he is an extremely intelligent man. A somewhat reserved man, who showed no real interest in intellectual discussion but only in relaxing and enjoying his tennis. His associate who was mentioned in the book was much more outgoing and friendly. I believe Medavoy's reserved nature is due to the many people who want to know him to somehow break into the movie business so his reserved nature is understandable.You're Only as Good as Your Next One: 100 Great Films, 100 Good Films, and 100 for Which I Should Be Shot Overview

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Close Encounters of the Third Kind: The Making of Steven Spielberg's Classic Film Review

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Close Encounters of the Third Kind: The Making of Steven Spielberg's Classic Film ReviewI literally grew up on Spielberg's early films and was lucky enough to enjoy in my youth such classics as JAWS (an all-time fave), E.T. and CLOSE ENCOUNTERS. I can't put into words how amazing it was to see these films in a theatre with a fresh audience. Most prominent in my mind is CLOSE ENCOUNTERS for the simple fact that I got to see it at one of the best movie houses in L.A. -- The Cinerama Dome in Hollywood which featured a massive, arched screen (this was decades before IMAX) and incredible sound system.
Ray Morton has been able to bring back such fond moviegoing memories with his well detailed book on CLOSE ENCOUNTERS OF THE THIRD KIND that explores virtually every aspect of this movie's genesis. I felt like a kid again as I found myself reliving an incredible movie that has stood the test of time. And now there is a book to stand proudly at its side.
I should also mention that Mister Morton has another book called KING KONG: THE HISTORY OF AN ICON that I also found very entertaining and taught me pretty much every thing there is to know about the furry icon.
Close Encounters of the Third Kind: The Making of Steven Spielberg's Classic Film Overview"Morton has written the definitive book on this innovative movie by Steven Spielberg...Meticulous research of this caliber is not found in other books on Close Encounters. Fans will find Morton's take informative and fascinating." - Library Journal. Steven Spielberg's 1977 masterpiece used all of the power and magic of cinema to tell a story of man's first meeting with extraterrestrial beings. Renouncing the fear and pessimism of the day, writer/director Spielberg boldly envisioned this as a peaceful, spiritual event full of hope and possibility. This awe-inspiring message made a powerful impact on audiences desperate for something to believe in. The film was a massive box-office hit and revolutionized the movie industry; along with Star Wars, it helped to create the modern blockbuster and ushered in a new era of hi-tech effects. Based on in-depth research and the recollections of many of the film's principal creators, Close Encounters is the first book to chronicle the making of this classic film from its inception through its tumultuous production to its many releases in "special" editions. The book features new interviews with star Teri Garr, producer Michael Phillips, photographic effects supervisor Douglas Trumbull, production designer Joe Alves, and several cinematographers, screenwriters, and special-effects legends. John Hill, Jerry Belson, Hal Barwood, and Matthew Robbins; and special effects legends Richard Yuricich, Robert Swarthe, Dennis Muren, Scott Squires, Greg Jein, and Rocco Gioffre.

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Archival Storytelling: A Filmmaker's Guide to Finding, Using, and Licensing Third-Party Visuals and Music Review

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Archival Storytelling: A Filmmaker's Guide to Finding, Using, and Licensing Third-Party Visuals and Music ReviewThis book is an essential edition to any filmmaker's library. It is both a guide and a reference work. It offers listings of many archival sources that allow for access to and affordable use of all kinds of images and music. It offers a primer on copyright, covering relevant issues related to archival use such as public domain content, internet licensing, moral rights, most-favored-nations clauses, music synchronization and master use licenses, and fair use. It also covers frustrating and sticky issues that arise when acquiring materials such as inability to gain access to public domain content.
It engages the reader in an exploration that works for any of the creative arts--a discussion of ethical issues related to the use of other's content in a manner that is true to its original meaning, mission, context, and purpose.
And the book presents an inside/out perspective of the business of filmmaking and the complexities of its intellectual property issues. The authors accomplish this perspective through the use of interviews and roundtable discussions with well-established filmmakers, archivists, film researchers, insurance executives, and supervisors and managers of rights in the music industry. The work also contains a thought-provoking commentary on what copyright has become and of what it should be and why. This discussion impels filmmakers to actively engage in the current dialogue about a concept of copyright that would both protect their own and others' creations, secure current access to archival materials, and increase the amount of archival content that is accessible in the future.
Archival Storytelling: A Filmmaker's Guide to Finding, Using, and Licensing Third-Party Visuals and Music Overview
Archival Storytelling is an essential, pragmatic guide to one of the most challenging issues facing filmmakers today: the use of images and music that belong to someone else. Where do producers go for affordable stills and footage? How do filmmakers evaluate the historical value of archival materials? What do verite' producers need to know when documenting a world filled with rights-protected images and sounds? How do filmmakers protect their own creative efforts from infringement?

Filled with advice and insight from filmmakers, archivists, film researchers, music supervisors, intellectual property experts, insurance executives and others, Archival Storytelling defines key terms-copyright, fair use, public domain, orphan works and more-and challenges filmmakers to become not only archival users but also archival and copyright activists, ensuring their ongoing ability as creators to draw on the cultural materials that surround them.

Features conversations with industry leaders including Patricia Aufderheide, Hubert Best, Peter Jaszi, Jan Krawitz, Lawrence Lessig, Stanley Nelson, Rick Prelinger, Geoffrey C. Ward and many others.

Additional praise for Archival Storytelling: "I've been making historical documentaries for many years, yet I learned new things from this book. This is the definitive guide for archival research for documentary filmmakers. An invaluable resource." -Mark Jonathan Harris, Distinguished Professor, School of Cinematic Arts, University of Southern California, and writer/director, The Long Way Home and Into the Arms of Strangers

"One of the best-and most needed-[books] I have seen in a while..The challenge is to keep what is a fairly technical aspect of filmmaking interesting without compromising the quality and depth of information. The authors have done an exceptional job in this regard by the careful interweaving of interviews with researchers, filmmakers and legal experts through the factual material.There is the strong sense of being in the presence of experienced filmmakers and researchers who accept that while there are standard practices, archival use and intellectual property laws etc. are contingent fields in which each case must be assessed and dealt with on its merits." -Bruce Sheridan, Chair, Film & Video Department, Columbia College

"It's hard to imagine a more organized, comprehensive dissection of Byzantine material. The authors have produced a tremendous guide for all who use archival resources. Best of all, because of their effort, I believe more individuals will be able to access and properly utilize such material. This book will serve filmmakers and, in turn, the public for years to come." -Thomas Speicher, Producer, Pennsylvania College of Technology

"Not simply a 'how-to' manual, it is also a discussion of ideas, issues and history that creates an enjoyable text even when the subject matter becomes complicated.The real world examples, the roundtable discussions, and the exploration of ideas and issues surrounding the technical aspects are very welcome and well done." -Dustin Ogdin, Filmmaker, Spoke Digital Films

"The book properly advances the notion that 'films matter,' but this is countered by discussants with 'films cost money too.' Filmmakers may take decades to recoup, and licensing helps. It's an ongoing volley, the chapter engenders a road map through the split, the tension makes a good read...This authorative book belongs on every producer's shelf." -Loren S. Miller, Freelance Documentary and Dramatic Editor, Emerson College


* Nearly all filmmakers, at some point in their careers, will want to use third-party materials, or will be asked to license their own work to someone else. This book will show you how to do it (and stay on-time and within budget)* This book, by clarifying and defining such terms as fair use, copyright, intellectual property, and Creative Commons, can better prepare media makers to not only protect their own creative rights but to understand and respect those of others.* Additional resources are available on the authors' website: http://www.archivalstorytelling.com

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Designer Drafting for the Entertainment World Review

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Designer Drafting for the Entertainment World ReviewThis is the most complete and practical drafting text book that I have ever read. Not only does it illustrate excellent drafting styles and techniques, it also provides step-by-step instruction on how to create each kind of projection. I believe it raises the bar to all other books exploring this same topic. In my opinion, this book will eventually be included in all classes that prepare students for a professional technical performing arts career.Designer Drafting for the Entertainment World OverviewDesigner Drafting for the Entertainment World provides essential information for designers, covering traditional hand drafting techniques as well as computer-based drawing programs.This new text begins with the basic tools and comprehensive coverage of the principles of scenic drafting and goes on to cover professional applications for the stage, motion pictures, television, trade shows, and amusement park scenery.It also includes a chapter on virtual scenery and lighting.The principles of drafting are explained with simple drawings from the world of scenery as well as many examples of more complex draftings from some of the finest scenic designers working professionally.Patricia Woodbridge has worked professionally in theatre, film and television, and uses examples from all industries throughout the book.Since the examples of drafting are taken from a wide variety of different scenic applications, it gives the young designer a survey of scenic career possibilities. A comprehensive drafting text designed for all areas of the entertainment world - films, theatre, television, and many othersCovers traditional hand drafting techniques as well as computer-based drawing programs

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Practical Art of Motion Picture Sound, Second Edition Review

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Practical Art of Motion Picture Sound, Second Edition ReviewI found the book very entertaining to read, Yewdall tells many personal stories which he uses to illustrate points. In fact, I read it more like a novel. He passes his knowledge, and experience to the reader through stories of things he's done, and has seen in his many years recording, producing and creating sound for motion pictures. Some is fact, some is opinion, but his opinions are clear and are backed-up with his own unique style of logic.
There are also more technical areas of the book that cover topics like mic placement, how to record cars/explosions/dialogue, how to catalogue your own sound effects libary, etc. This book would also be useful to directors and producers who want better sound in their films. There's definately lots to learn about sound, and the author has done a good job giving the reader an idea about what motion picture sound is all about.Practical Art of Motion Picture Sound, Second Edition OverviewPractical Art of Motion Picture Sound embraces the subject of sound for films. Based on the experience of the author and other top sound craftspeople and firmly grounded in practical techniques, this book provides numerous real-life examples and relevant technical data, as well as an appreciation of all the processes involved in creating motion picture sound.This edition is completely revised, with all-new chapters on 5.1, the Nagra IV-S, and the Nagra V. The ProTools content is expanded, and there are new sections on how to record Foley in Pro Tools and the concept of ADR/looping. The accompanying audio CD presents demonstration material as well as a large library of sound effects, while numerous charts, illustrations, and photographs help to demonstrate techniques and common industry practices. Learn about best practices and pitfalls from a Hollywood veteranAudio CD with demos and sound effectsExperience-based advice on a wide range of topics

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