Movies Books

This is a great way to learn about Woody Allen, his craft, and his films. Organized thematically and chronologically, you see what films Allen really cares about and what he did just to fill the time. Some of his films were clearly throwaways for him. He made them because he's always working, but hardly remembers them and doesn't care to (Scoop, Small Time Crooks, Sleeper). Others are passions, like The Purple Rose of Cairo or Husbands and Wives. Allen is also, not surprisingly, self-depreciating, believing that his career is mostly self-indulgence that only a small audience appreciates. Of course, this underestimates himself and how impressive it is that he can have a regular output of one or two movies a year that, regardless of whether they are one of his best, are always well made, well acted, and interesting. The insights into how Allen works and how quickly, are interesting for fans. It also makes those of us who fancied ourselves writers realize what a true talent is. The best part of this book, there is no diversion into Allen's personal life which may be of interest to some, but not this reader. This is a great way to read about Allen's career, his collaborators, and his methods.

If you are a die hard Woody Allen fan you will love this book. It's a ringside seat to what goes on in his brain from writing to casting to directing to when the film is released. If you aren't a die hard fan, but simply like some of his movies you will appreciate him as a writer and a filmmaker. It's a really interesting book about Woody and his movies over a 30 year period!!

This is one of those rare books where we actually get a clear insight into the creative process of a great filmmaker. Techniques, style, philosophy and approach are covered in great detail. Gives awesome insight into the man and the movies he made. I really enjoyed it.

For sheer inventiveness and variety of films, the work of writer and director Woody Allen is unmatched. Their number, also, is impressive, almost forty movies since his first one, the hilarious fake documentary (it was made before anyone had coined the word "mockumentary") _Take the Money and Run_ in 1969. Not every one is a classic, but some certainly are, whether comedy (_Annie Hall_), comedy with a dramatic edge (_Manhattan_), fables (_The Purple Rose of Cairo_), comic intimations of the godlessness of our universe (_Crimes and Misdemeanors_), or drama (the recent _Match Point_). So if you are familiar with the movies, you will be fascinated with _Conversations With Woody Allen: His Films, the Movies, and Moviemaking_ (Knopf) by Eric Lax. Lax was a reporter in 1971 when he was assigned to check out the new director. The conversation didn't turn into an article, with Allen replying just "Yes" or "No" too often, but Lax tried again, this time for just a chat, which grew into more formal interviews, and as the years went by, discussions about his projects as Allen was working on them. Allen has participated in recent conversations with Lax just to make this book current, and has clarified and added to the text, so that the work is a unique look into the mind of one of America's great filmmakers. Because the conversations are with Woody Allen, too, they are funny and self-deprecating, but also generous in giving credit to others.

It is fun to learn where he gets his ideas. "When I go to sleep at night, put my head on the pillow, or walk down the street, I like to be thinking of story ideas. I'm always thinking about new plots. I would do anything to avoid that horrible moment of What do I do next?" It is a fruitful method; he knows he will have more story ideas than he can ever get done (he is now almost 72). It is part of his work, and it keeps the existential despair away: "To _practice_ the clarinet, to _get_ on the treadmill, to _get_ in the room and write - all that stuff helps. It helps militate against giving oneself over to the horrid gloom of reality." Allen has much to say about himself as an actor. He knows he has a narrow range: "I can play some versions of what I am, a New York character." He may be modest about his own acting talents, but over and over he praises the actors he has worked with. There have been many great ones, often repeatedly, and they must love working for him, since with his budgets (around $15 million a movie) they cannot expect star wages. "You hire Ian Holm and Gena Rowlands, what does it take to get superb performances out of them? Nothing. You just have to tell them what time to show up and provide the coffee and doughnuts." He praises his audiences, too, and frets about over-explaining: "You think the audience is not going to get it, so you explain it, clarify it, but the truth of the matter is, they're _always_ far ahead of you. [_He smiles._]"

There is so much here about the making of specific films and specific techniques. It is a revelation, for instance, that a climactic scene within _Manhattan_, in a classroom where he chastises a buddy over moral issues and makes references to mortality based on the display skeletons in the room, that the skeletons just happened to be there in the classroom for the filming. "I would not have thought to write them in." Here is his one-word explanation for why he so often uses long master shots: "Laziness". Shooting over and over again from different angles to be combined in the editing room is not (usually) for him: "We'll be here all day today and all day tomorrow doing this scene. I don't have the patience or concentration... I design a shot and will get all the information in and we'll finish it and move on." Long master shots are not from any artistic need, and he doesn't think of himself as any sort of artist. "I see myself as a working filmmaker who chose to go the route of working all the time rather than making my films into some special red carpet event every three years. I'm not cynical and I'm far from an artist. I'm a lucky working stiff." I don't agree, but I do think his audiences are lucky to have such a great body of work to enjoy and to think about, and that they are lucky to have this book as a guide to his own interpretation of a long and successful career.

Ok I don't like Mr. Allen...I simply thrive upon his presence in this universe.

I never just saw a Woody Allen movie, read a Woody Allen short story or listened to a Woody Allen monologue...I was a participant in them. No I don't think I am psycotic, maybe a semi-adjusted bipolar person, who is cynical and overly critical about most things in this life, however swimming in the wake of Mr. Allen I somehow manage to smile at the "awful grace" of this existance. I do feel guilty since he does the heavy lifting and I benefit from it.

Recalling his movies is like recalling my first kiss, scoring my first touchdown, pineing my first broken heart or noticing death for the first time.

I recall each flick; when, where, who I saw it with, and the state of mind I left the theater to pursue the endless nuances of the adventure.

To the book. I hesitated picking it up as it is four hundred pages and did I really want to be mesmerized by Mr. Alllen and Mr. Lax during this very busy time. I resisted for almost four days then I was seduced, trapped and on my way to an intellectual orgasm that seems to continue when I turn each page.

These two guys are like friends you wish you had who made you totally comfortable hearing them talk and thilled that you are allowed to just be in the room and honored to be listening.

If you are an educator you must study it, if you are a doctor you must examine it, if you are performing artist you must value it, if you are a writer you must consume it and if you are, like myself an everyday person you gotta love it.

Bravo guys you gave me a great holiday gift.

This is a wonderful book in the series with wonderful reproductions of the posters of the decade. Makes a wonderful gift for someone who loves movies as well as a great coffee table book. Highly recommended

Excellent... add it to your book collection! If you are a Star Wars fan check this out!

When I first looked at this book, it was like going back to my childhood, well, sort of, it was so neat to see posters of some of my favorite films from back then and a lot from movies that I never knew they made. The artwork on those posters is most certainly something to see and admire!!! If you love art and or movies this is THE book to get you won't be disappointed!

back in the day this was the best visual present.if the poster was cool then the movie would get Love.a picture can tell a thousand words.and the 70's had the coolest posters and arguable the best films in Movie History.before video tape you walk to the movie house and see the poster and the reaction you felt led you or back the other way.a solid must have book.

Like the other decade books in this series Film Posters of the 70's is a sensational buy. You could either keep it intact as a collection of posters in a book to show and discuss with friends, or cut the book up and actually have a vast number of posters up on your wall. This book is about a third the size of your standard film poster and most movies are full page colour. Any of them would look great up on the wall.

The 70's gave the world Star Wars, Grease, The Godfather, Mad Max, Alien, Taxi Driver, Texas Chainsaw Massacure, Halloween, Rocky and a very blood thirsty shark who changed human perception of sharks for decades to come named Jaws. These films along with other greats fill this book. Roger Moore also took over from Connery as James Bond and Clint Eastwood made a heap of Westerns. Find them here as well.

i bought this for my brother who started taking piano lessons a while back, and it's got a great selection of some the most beautiful music i've ever heard (i love john williams). good if you love jurassic park, etc. & many other timeless musical scores!

Boook was in GREAT shape, super super super fast shipping. Wonderful seller. Buy from this person! Thank you so much! We used one of the songs as a joke in our wedding (Indianna Jones theme song... I'm an Archaeologist) and people LOVED it! Thanks for helping to make our special day even better!
A+++++

If you are looking for a book with various themes of John Williams, look no further. This book contains many of his great hits from, like the book says, 1969-1999. It includes the themes from Born of the Fourth of July, Jurassic Park, Star Wars, Jaws, JFK, Schindler's List, E.T., Close Encounters, and Superman. It also includes Duel of the Fates, The Imperial March, Luke and Leia (for all you Star Wars fans), Cadillac Of The Skies, Hymn to the Fallen, Seven Years In Tibet, Scherzo For Motorcycle and Orchestra, and many more. If you are a fan of John Williams and play the piano, this book is for you! P.S. Also look for the 2-CD set of the same name which includes all of the same songs.

This is the best piano book in the world.

This book has all of Williams's best. The songs sound really good on the piano and are easily reconizable. I recommend it to any John Williams fan.

The conceit of this book is to pair a prof of philosophy with a movie .The prof then tells us the underlying philosophy of the flick. Doesn't sound promising but it works. The profs selected to write---unlike most others---are clear and to the point. They are also fair---the one writing the chapter on Crimes and Misdemeanors talks about alternate interpretations. The one on American Beauty gives an interesting and convincing take on its Buddhist implications. Good chapter on Pulp Fiction. The book really enhances the experience of watching the movie. I also now give screenwriters even more credit for creating works of art.

Open Court's titles specialize in and emphasize philosophy and Movies And The Meaning Of Life: Philosophers Take On Hollywood keeps with the strong intent of linking philosophical concepts to everyday popular culture. The meaning of life is the most basic of questions, and many a movie director has examined such meaning in their films. Movies And The Meaning Of Life contrasts these modern films of recent years and tackles topics ranging from how films help define identity and reality to how they illustrate interpersonal interactions. An excellent achievement.

This book is accessible to students and armchair philosophers who love movies. At a time where common culture is dwindling, movies seem to be the only thing that links us together. It is also an art form that is vital in a time where novels, sadly, have become a near obsolete form of expression. This book takes ideas and movies seriously. and it also takes movies seriously. It inspired me to take a second look at some of the movies like Being John Malkovich and Memento. Reading Kimberely Blessing's lead piece in the book on Descartes and the movie The Truman Show reminded my how much that particular movie anticipated the rise of reality TV. Truman Show brings Nozick's experience machine thought experiment to life.

Movies and the Meaning of life is a great as a supplement for introductory philosophy classes. I hope it sells well so that an expanded volume may be published which include new movies like Adaptation (Identity) and Million Dollar Baby (Bio Ethics).

Movies and the Meaning of Life: Philosophers Take on Hollywood is a very funny and very thoughtful collection of essays by philosophers on the topics that mean the most to them. This book is not another juvenile and pretentious book about the philosophy/religion/metaphysics of Buffy/Star Trek/Matrix.

The contributors to this book don't take themselves too seriously, but neither do they dumb down the philosophical concepts they're writing about - - from Nietzsche's idea of eternal return (in Groundhog Day) to the problem of free will vs. determinism (in Minority Report).

The philosophers who are examined in this book often contradict each other, so Movies and the Meaning of Life doesn't simply confirm your prejudices (existentialism vs. theism, for example, with one side set up to win). If you let it, this book makes you think.

It's also clear that the writers love movies in general and the films they discuss in particular.

It probably shouldn't have surprised me that some of the most depressing philosophical ideas are illustrated by a Woody Allen film, Crimes and Misdemeanors. I still rely on another Woody Allen movie to make me feel better when I contemplate the expansion and eventual extinction of the universe.

"What is that your business? You live in Brooklyn. Brooklyn is not expanding."

Collaboratively organized and edited by Kimberly A. Blessing (Assistant Professor of Philosophy, Buffalo State College) and Paul J. Tudico (Philosophy Department, East Tennessee State University), Movies And The Meaning Of Life: Philosophers Take On Hollywood is an impressive collection of nineteen articles and essays on the impact popular films have had on the popular culture in terms of philosophical values. Organized into five sections, each contributor takes on a specific film ranging from "The Truman Show", to "Fight Club", to "Shadowlands", to "American Beauty", to "Groundhog Day", and more. Enhanced with a section providing descriptive credentials of the individual contributors and a thoroughly "user friendly" index, Movies And The Meaning Of Life is a welcome contribution to academic library "Philosophy" reference collections and highly recommended, accessible reading for film buffs as well.

Movies to Manage By uses film in the right way. Clemens and Wolff are wonderful writers, and their approach to film and leadership is insightful, meaningful, and entertaining. I have a small business and so am dealing with a lot of the dilemmas that the authors raise, and their observations are right on key. The subject matter seemed kind of light when I first saw the book, but reading it I see that it really is a book of substance with helpful information for people like me. Thank you.

What a terrific concept! Select a number of movies and then analyze what they reveal about "lessons in leadership." Specifically, here are the themes:

"Following Your Hunch" (The Hunt for Red October)

The Importance of Improvisation (Apollo 13)

The Failed Promise of Heroic Leadership (Dead Poets Society)

Turning Around a Faltering Team (Hoosiers)

Socratic Leadership (12 Angry Men)

Turning Around a Troubled Organization (Twelve O'Clock High)

When Leadership Fails (Citizen Kane)

Morality and Leadership (Wall Street)

This is a book which I wish I had written. The authors are to be commended, first for thinking about writing such a book and then for doing it. The result is a brilliant piece of work. The writing style has snap, crackle, and pop. The insights are of great value as we are helped to correlate the circumstances in each movie with the daily circumstances in which most of us are obliged to function each day.

After you read this book, you will perhaps think of other movies which also could have been discussed by the authors. For me (what great fun!), I would nominate Paths of Glory, Zulu, Executive Suite, Command Decision, Tunes of Glory, Braveheart, Jeremiah Johnson, Pork Chop Hill, Pale Rider, and Patton.

If you are a movie buff, if you are looking for a great read, and if you agree with me that much of value can be learned about leadership from the movies, obtain a copy of this book ASAP.

What a fun read this is! Business books tend to be so boring, so it was great to read something original and different. And the link of movies to management is not a stretch at all. Just good sensible advice presented in a really engaging writing style. I liked this very much.

A useful guide for business management courses, offering students creative insight into basic leadership principles. In "Movies to Manage By" John Clemens and Melora Wolf creatively utilize film as an instructive tool to convey leadership in a unique approach. A great book to be used in any graduate or college business program

In preparing for an annual management seminar that I was leading, someone suggested this book. It was a great help in being able to illustrate easily some useful take away management points for my group. Showing film clips as part of the day's events was a great way to break up the monotony and I found the participants sat up and listened to each segment, obviously interested. I would recommend this book for those who don't work for large companies who are always sending you outside for training. The book gives you all the items for you to do it yourself!

The best Musical Movie Poster book available today! This book has it all. Beautifully photographed and reproduced in great color this book reveals the outstanding artists, designers and photographers that created movie poster "Works of Art" from the early days of movie musicals to the current. A"must have" for the movie memorabilia collector and movie musical fan. Superb!

Want to add an excellent reference to your collection of books dealing with the Hollywood Musicals? Then this book is it. Just like those musicals from the golden age of Hollywood, this book has it all. Beautiful photographed images, lots of (techni) colours, stars in their greatest moments. Truly an Oscar winning performance! The book is printed in good quality paper and images are very clear and of good size on each page. Of course it's impossible to include a poster from every musicals in any given year, but the selections Bruce Hershenson made are excellent. A page may contain an average of 5 images while some are giving the full page treatment (e.g. Grease, Singin' In the Rain). Definitely an excellent addition to your library of movie books.

Eye-catching poster art reflects changing styles throughout the history of movie musicals. This gorgeous collection is another highlight in Bruce Hershenson's delightful collection of poster books, every one of which is a great value and a treasure to own.

With the notable exceptions of Oliver! (1968), Cabaret (1972), Jesus Christ Superstar (1973), Tommy (1975) and Evita (1996), Hollywood has essentially turned its back on a genre that this book re-captures in all its glory. The images are superb, the color and quality are sublime. Though the book is straightforward, a thread of sadness runs subconsciously from its first to its last pages, as one ruminates about what this genre was all about, what it could have been and why it is, for all intents and purposes, dead except on the New York, London and Toronto stages. From Astaire and Rogers to Gene Kelly, Streisand and even the Beatles, it's all covered here. Though it seems awkward to most of today's audiences to see a person in the middle of a scene break out into a song with no band playing behind him on screen, this was the accepted norm and was often the the portion of a film that had an audience soaring in their seats. That such a feeling has all but disappeared makes this book all the more precious, preventing this genre from fading into the wisps of memory. The beautiful thing about this book is the unexpected. Rather than delve into the expected great musicals with the standard American images (which are included in great detail nevertheless), this book includes artwork from other countries, art that is more "in your face" and thought provoking. Who can forget the image used for the Polish version of the 1972 release of "Cabaret?" (Joel Grey's face in the center of four stocking legs bent into the shape of a swastika?) This is the kind of thing that you would never have seen printed or distributed in the U.S., works of art that can only be bought for thousands of dollars today at many of America's biggest auction houses. If you are the least bit interested in the jaw-dropping beauty of what has become a lost art -- the exercise of drawing images associated with the advertising of a Hollywood film -- this is the book to have. This book is part of movie poster maven Bruce Hershenson's exhaustive multi-volume series of books highlighting the history and beauty of what much of mainstream America has only in the last ten years begun to recognize. And that is movie posters are a "popular art" form that can stand proudly next to all other styles of art from gothic to modern, from expressionist to impressionist. Great film art borrows from all of these styles and this volume, which focuses only on posters associated with musicals, illustrates innumerable examples whereby despite the restrictive nature of the genre (musicals), not all posters went in the same direction in terms of style and presentation. From Shall We Dance to A Star is Born, from 42nd Street to Yellow Submarine, Hershenson and Allen have built an incredible archive (and legacy) of images in all of their books, capturing a period (when all posters were drawn by hand and then printed, as opposed to today's method of using photographic stock and manipulating them digitally and printing them by the thousands) that would otherwise be lost forever. A fine book for any collector (get the hardcover edition if you can, it's harder to find; if Amazon doesn't have it, it's available from Mr. Hershenson directly at mail@brucehershenson.com).

For lovers of film, film history, and specifically, poster art, Bruce Hershenson's series of full-color books is the cream of the crop! And, the quality of printing and photography is superb, with razor sharp images and vibrant colors.

Colin Mcginn puts the great majority of film theorists to shame with this book. For at least three decades serious film studies have been largely (not entirely) under the hegemonic thumb of poststructuralist, and especially psychoanalytic, theory. Here, we have an extremely thoughtful consideration of film in relation, not to an already-institutionalized theory, but to human beings as creatures with certain kinds of cognitive faculties. Film appeals, Mcginn argues, because of the ways our eyes attend to the world and to the eyes of other people, and because we dream when we sleep. And Mcginn's explanations always show a very clear concern for the non-academic reader. Unlike, in my opinion, most scholars of film, Mcginn understands his own key ideas so well that he can explain them in ways that any reasonably educated person can comprehend. This does not mean his ideas are simple, only that he has mastered their complexity. We may not agree with him, but we can be clear about what he is saying. This has not typically been the case with film studies. Really a good read.

What a marvelous guy is Colin McGinn. He recently appeared with Bill Moyers on the 'Faith & Reason' series and is ever more apparently the closest thing we have in our culture to a modern-day rennaisance man. In 'The Power of Movies' we come to understand how it is that movies are capable of affecting us and what is unique about the movie-viewing experience - as opposed to perceiving other forms of art such as painting, live theater, etc. Personally, I am a huge fan of the way Colin McGinn thinks, what he thinks about, and the lucid, cogent way his thoughts are regurgitated which makes for easy ingestion and assimilation.

Fans of movies and movie history will appreciate this college-level discussion by a philosophy professor who takes a different look at the entertainment industry and its appeal. His analysis considers how movies affect the mind, fire the imagination, and cause viewers to relate to events on screen. Considerations of how screen images pair with emotional reactions and how dreams and narrative work together to create atmosphere create an intriguing blend of philosophical and psychological reflection.

If you enjoyed the musical, Sunset Boulevard by Andrew Lloyd Webber', and liked the song "New Ways to Dream", you will love this book. McGinn takes us on a journey of analytic philosophy as he tries to understand why movies have become cultural icons in our western world. He does this with the skill of a journalist without making this a tutorial on Descartes, Strawson, Barthes, Freud, Wittgenstein or the many other philosophers and psychologists whom he has extensive knowledge as a professor of philosophy at the University of Miami, Florida. His favorite metaphor is that movies are like dreams. He describes movies as synthetic reality, wish fulfillment and propaganda sharing the attribute of being able to seduce our minds. Although he includes recorded music, theater, art and literature as tools to understand the ambiguous relation between mind and the external world, he ranks movies as the most important.

This book of 210 pages is the result of a great modern thinker sharing his thoughts about modern media and the movies. This book will be a favorite for film students and film buffs alike.

I'll get straight to the point: this book changed the way I look at movies. And what's more important, it changed the way I look at the mind. I've read a number of books on philosophy of mind, and they are pretty much dry, abstract, and repetitious; but this book is great because it examines how the mind works, but in an oblique way--by looking at an externalized analogy of mental processes.
This book is highly recommended because it deals with important and complex topics in a way that is simple and very enoyable. A very rare combination. What more could you ask for?

Well-written and great fun. You can read it from start to finish, or jump around. I started by reading about movies I'd seen (to see if the author agreed with my opinion of them, and she did), then moved on to the ones I wanted to see.
You don't have to be "dating" to enjoy this book -- you can just like romantic movies. Definitely a "keeper." This also makes a great gift.

Reel Romance is a very helpful reference book that is also great fun to read. It provides reviews, behind-the-scenes information, and romantic suggestions from the movies to try at home. It gave me lots of new ideas for movies to buy or rent and watch with my wife in our home theater. It's wonderful for lovers of all ages!

Reel Romance is a fabulous book with lots of great information on new and old movies. I was thrilled to find many of my favorites, while discovering countless others that I haven't had the opportunity to see yet - and now want to. Thanks to Ms. Halpern's friendly and well-written guidance, I can make future selections based on special criteria for different occasions. This book really makes you think more about the movies you have already seen or plan to watch in the future by providing entertaining trivia and interesting summaries. So grab the book, pour yourself a glass of wine or cup of hot chocolate, and settle back for a "reel" enjoyable read.

Charlene Davis, co-author of "Make BIG Profits on eBay" and "How to Start a Senior Service Business" (both published by Entrepreneur Media, 2005). Also contributing author for "God Answers Moms Prayers" (Harvest House, 2005).

Leslie Halpern's Reel Romance is the most enjoyable "reference" book I've ever read. As a movie buff who loves romances, I was delighted to see some of my favorites listed here. In addition, I'm so pleased to finally have criteria on which to base movie rentals, since my husband and I often stand in the middle of the video store, each holding a different type of film. Now we can discuss the pros and cons based on the film's appeal to both women and men. Reel Romance is a "must have" reference book for all movie lovers.

Want some reel stimulation? Read this book!
Not only is there a thorough analysis and categorization of each Romantic movie, the movie star trivia and 'Do Try This at Home' leave the reader with some challenging mental exercises. This is not a boring reiteration of what you already know. After finishing each chapter, you'll find yourself looking at each movie in a different way.

Be sure to mark the movies you wish to see for future stimulation. Each rendition has a set of tools to help your decision. Whether your significant other needs a little prompting and encouragement or you just want to relax to a happy ending, the descriptions help pick the perfect movie. Use the 'Make-Out Meter' to pick a movie that gets your partner in the mood. Decide which movie might be better with the 'Just for Her' and 'Just for Him' blurbs. For him it's a car chase, fight scene or for her it's a sentimental kiss, steamy shower scene.

Even after finished reading through the book, I'm saving it as a reference for which movie to get from Blockbusters. As I watch each selection with my S.O. cuddled up on the couch, by the fire, drinking my favorite beverage, I look for moments of opportunity to steal a kiss or two. This is what makes it ALL WORTH WHILE! So sit back and enjoy the book and the movie!

What a great, great book! As soon as it arrived, I quickly glanced through it and knew I would want to savor it for later. It's really difficult to put down. It's *very* easy to use; extremely well organized. The movies are grouped into headings from "Angels (and Other Messengers) in Our Midst" to "Have Yourself a Supernatural Christmas." I especially liked reading the author's reviews of movies I'd seen such as Edward Scissorhands, Mulan, Powder and my favorite, Resurrection. This book takes the guesswork out of what movie to see tonight!

Reel Spirit recognizes spirituality and clarifies why so many movies appeal to so many of us the way they do. The insights are meaningful, and the writing is as engaging as an on-going dialog, conveying the delightful experience of going to the movies with a connoisseur who happens to be your best friend.

Have you ever read one of those parenting magazines that says you should watch movies with your kids and then talk about what you've seen? If you're like me, you may be perfectly willing to do this, but don't know what to say. Reel Spirit provides some great conversation starters so that you and your family or friends can make moviegoing a shared experience. And if all those titles at the video store overwhelm you, use the book to identify good movies ahead of time!

I so enjoy finding spiritual elements in films, and this book helps immensely in alerting one to points in many films that one might miss. I question the spiritual value in some of the films discussed, but that's all to the good. I use this guide weekly chaeck;ing out the movies on TV, as well as, like other reviewers, taking it with me to the video store or library where I often check out videos.

I believe that this book will do loads in enhancing your enjoyment of many films, and may change your mind about some which you consdidered valueless until spiritual elements are brought out.

Reel Spirit is a terrific guide to film! Buy it quickly and pop a copy into the car--you'll want to have with you every time you visit the video store! A must have for anyone who enjoys films that lift both heart and spirit.

That's the eye catching sub-head for Mr. Cohen's very candid essay on the making of the movie "Bounce." It is not even a movie I saw and yet, I couldn't get myself to put down the book (and get back to work) until I finished this painfully insightful memoir by writer/director Don Roos.

In fact, the entire book is a little tough to put down because each story gets your foot inside the door of what writers had to endure to get their stories on the big screen. In some cases, you get the impression that the stories glided between the cracks. But in most cases, you wonder how anyone could ever have the tenacity to see a script to the end. And in many cases they don't. A recurring theme in these pages is how often the script changes hands, as old writers are fired, new one's hired, and the first one re-hired. Ugh. Makes me glad that I'm a Graphic Designer...something I thought I'd never say.

Surprisingly, the best story is found right smack dab at the beginning from Mr. Cohen himself. I'm talking about the Introduction, which most people skip. Don't do that. Read the introduction. All of it. It's honest. It's brave. And it's even more tell-all than the stories that come after it. Oh, and it's so funny at times that I embarrassed myself when laughing at the bookstore. I wrote the author an email, giving him a little wink about his story. He wrote back. That was enough for me to buy the book.

One more great thing about this book. I've always felt that writers are the last vestige of the world's wisemen. They have an insight about people, places and situations that when I read books like these I begin to wonder if I'm really reading a psychological self-help book. I've underlined quite a few snippets, as so much of what is shared resonated with my own experiences as a creative person. It's very difficult to stand by and watch someone "bend" your idea until it breaks (that's me paraphrasing Mr. Cohen in his Introduction).

So the point is, Get this book. If misery indeed loves company, you'll have plenty of it.

I've been a working writer for 30 years, so David Cohen's book is deliciously like listening in on the personal conversations of compatriots in the craft--but the more I read, the more relieved I was that I'd never been attracted to screenwriting. Cohen's fresh, entertaining and whip-smart insights help to lace these in-depth interviews with meaning and pathos, even when the writers themselves border on the vapid--and those with the most to say shine through, thanks to the author's careful balance between commentary and reportage. We may cringe when we read of a writer's summary dismissal from the movie script he's slaved over for years, but there are enough delightful stories in this book to make the chilling ones a bit more bearable. One way or another, we've all been there.

We get to know the inner Cohen as well, from his own foray into writing for Star Trek to his early naivete at the junket buffet table. Overall, this book is a great read.

Cohen's genius is giving us the real story of how things happen, by letting us drop in (sometimes mercifully briefly) on the minds and tormented, heartbroken lives of actual screenwriters and their actual screenplays. I work with book authors who often want to make the leap to screen, so I bought this to see what they might be up against. Normally I have to force myself to read writerly books like this (parceling out a chapter every few days, dutifully, 'cause it's so much a part of my day job), but I took this one to bed and read it like a novel. The stories are so wonderfully f$%!d up... you find yourself overwhelmed with pity, schadenfreude, horror, amusement you name it. It must have been hell to make some of these movies.

The most interesting surprises for me were the backstories on two directors whose films normally do little for me personally: Todd Solondz and John Waters. I've always considered them overrated in a hipster-annoying kind of way (ditto the Cohens and the Sedarises, zzzz), but both men came off as brilliant personally, and so much more in control of what happens with their films. They make you wonder why anyone would want to get involved with the studio system at all... both seem so sane by comparison to some of the studio writers in the other stories.

The best thing this book did for me is make screenwriting seem do-able, by actual humans, rather than something demigods accomplish for little reconition and erratic pay. It's a job, like plumbing, and people have this job and make it work for them. I'm going to buy several copies and give them out to would-be screenwriter clients. Great work: author, author!

Have you ever loved a book and then been devastated by how it was butchered in the movie? Or, thought a book was nothing more than a movie script, and then be enchanted at how it came alive on screen?

This fascinating book traces the stories of how 25 movies made that transition, and I enjoyed every step of the way. Cohen interviews the "writer and explores the sometimes torturous path from idea to finished film from its very root the transformations.

Writers are sometimes blamed for the failures. But Cohen credits the complaint that changes in the scripts by directors, actors, and studio executives sometimes ruined the movie. On the other hand, Alan Ball believes changes to American Beauty he had strongly resisted significantly improved the film.

I found several of the interviews especially instructive: Charlie Kaufman (Eternal Sunshine Of The Spotless Mind), Sofia Coppola (Lost in Translation), Alan Ball (American Beauty), and John Logan (The Aviator).

Don Roos (Bounce) argues that writers ought to direct their own work. Readers and buyers want everything spelled out in the dialog but Roos feels few of them really grasp the power of film. "There are very few film enthusiasts in Hollywood, really, at those levels. Very few people who have favorite films, who are moved by films or understand remotely what film does. It's difficult talking to idiots, it really is."

Cohen's quotes from his intereview with Michael Cunningham, who wrote The Hours and has written for the screen, taught me something fundamental about movies (and novels and short stories for that matter):

"A novel can include a sort of panorama of characters, a little like the Breughel painting with Icarus going down in the lower right-hand corner of the canvas. That's one of the reasons there are novels. That's one of the reasons we need novels and we need movies. A novel can account for randomness and can include a wide range of people whose fates just barely impinge on one another. I can't think of a way to tell a story like that in a movie that I would want to see.

"I think movies are more closely related to short stories than to novels. A short story actually involves the compression you need for a movie, whereas a novel is another category of thing entirely. Was it Henry James who called a novel a big, baggy monster? That's what it is. That's why we love them. I think a short story, very much like a movie, has no room in it for extra baggage. It needs to move, it doesn't need to move directly, but it needs to move swiftly. It needs to be lithe and light and nimble, and though that forty-page digression to the Crimean War and how it resembles what's happening at the family dinner may be interesting, there's no room in a short story for it. Nor is there room in a screenplay for it."

I'm sure that aspiring screenwriters would learn a great deal by reading about the successes and failures described in this book. It will certainly inform and enrich my own movie viewing in the future.

Robert C. Ross, 2008

David S. Cohen gives us the back story on 25 movies (from the sublime, like The Hours, to the incredibly bad, like Random Hearts): how they evolved from screenplay to screen.
Although it's not a how-to book, I suspect budding and aspiring screenwriters everywhere will receive Screen Plays like a man stranded in the desert welcomes water.

Following these films from the birth of the idea until the films came into the theaters and left as classics, embarrassing flops, or somewhere in between, Cohen is smart enough not to offer glib answers about why the result was what it was. Writing, for example, about the very talented people who were behind Random Hearts (which I suspect will always be in the list of worst movies I've seen in my life), he ends quoting Harrison Ford, who instead of trying to explain the process of making the film, simply said: "You sort of had to be there." Regular film lovers can't be there for the journey, but Cohen does a really good job showing you photos of the trip.