Television Books

IF YOU ARE TRYING TO BECOME A FILM DIRECTOR THIS IS ONE OF MANY BOOKS YOU SHOULD READ AND STUDY!!!

This puts the duties of a director into perspective. It emcompasses a lot of the tasks that amateaur directors neglect. It was an easy read and hit a lot of bases that film books miss.

Learn from the big picture to the nuances. I have a horrible memory and I find having the 'big picture' helps keep everything organized.

#1 - The first big plus;
I have been learning to write screenplays for several years. This book helped me understand what was wrong (and right) in my last two writings.
It turned them into a movie and showed 'where and why' they failed.

#2 - Secondly;
It demonstrated that writing and directing are much more integrated, than one would imagine. Learn them both and become better at each.

Start with the big picture, this book accomplishes that.

....the first book to make sense of it all...where to put the camera...how to stage the scene...how to help actors find the performance...it teaches these things as much as any book can, and will save you the cost of one third of film school

This book is filled with valuable and helpful information for budding directors. I'm currently in the process of putting everything in this book to good use. The thing I like about this book is that it's not just one of those books that says you need to storyboard everything, because unless you have good drawing skills that really isn't feasible. The book gives an in depth look on how to pre-plan your film shot by shot and the use of floor plans to illustrate camera set-up's. It's so simple, but this is the type of thing that will make you prepared when you come to shoot, instead of just winging it.

I collect books about TV writing, from way back in the '50s (Paddy Chayefsky, et al.) through today, and Masello's is the funniest, most informative, most well-written, most encouraging and most useful of them all. I hope he continues to revise and update A FRIEND IN THE BUSINESS as the years pass, in order to keep it current, because it really is an invaluable reference.

This is both a fun book, and also a very infomative book, about the screenwriting business. It is full of academic truths about screenwriting, and it also contains alot of street smart realities that the writer (and author) learned over time. It has alot of good stories about the authors trials and tribulations, and shows how he approached the business, and then made alot of necessary corrections. I would give it a 4.5 without any hesitation. Very fun and informative.

..and this book creates a brilliant, candid portrait of this madness. "Friend in the Business" was recommended to me by someone when I told them I was thinking about breaking into TV, and this book has told me everything I need to know to hold onto both my sanity and my soul while doing so.

I enjoyed reading this book, and found it interesting to hear the trench stories of one man's journey into Hollywood. However, there is something about the book that I didn't like, and I can't quite pinpoint it....there is a feel that the author was not as successful in Hollywood as he wanted to be, and decided to at least leverage his limited experiences by writing a book about them (versus some books out there that seem to be driven by a true desire to impart hard-earned wisdom), while settling some scores in the process. Kind of like, "I'll show them...." (more subtle, but still there).

I'll give one example, and perhaps it's not the best one. He mentions that he was always hip-pocketed by the agencies, not signed, and tells us that info as if that is a good thing, like phew, he beat the system. OK, yes, being hip-pocketed is better than nothing at all, especially at the beginning, but let's face it, if an agent never wants to sign you, you did not pull one over on them. It just felt like he was trying to justify a lot of this kind of stuff. There are so many books out there that after reading, I am dying to have lunch with the author to meet him in person....whereas here, I found myself not having that experience at all.

But, the book was funny and had some good intro-to-the-business info.

I work in a college career services office & bought this book for our resource center. It arrived last week and has not yet made it onto the shelf--because I can't put it down! Many career books are dry "how to" manuals which may have valuable information, but lose the readers' interest before it can be imparted. Not this book. Mr. Masello's engaging, witty writing keeps the reader riveted. And while being entertained, you also learn a good deal about succeeding in TV writing. (Which, granted, appears to be much like its cousins in radio/movies etc...somewhat dependent upon luck, timing and perseverence).

At any rate, if you are contemplating a career in TV writing or looking for a good book to add to your career library, this is a must have. Note: I see he has another coming out in April on getting books published...I plan to order it as well!

This book has clearly been dictated rather than written, but it makes for an engaging, fun, and interesting read. As if you were sitting in a room with Mr. Wesley while he told you tales of working for Ike Turner, James Brown, P-Funk and the like. He's brutally honest at times, but also fair, and makes an effort to praise as well as criticize. Most of all, it makes me realize the importance of his contribution to the artists above, particularly Brown, who is barely a musician, and without his crack bands to interpret, would certainly not be recognized as the innovator that he was.

Thanks to Mr. Wesley for sharing so candidly what the life of a working musician is actually like.

I've always wondered about the day-to-day lives of musicians, especially about those who are not regular members of a band. I now know that these musicians are called "sidemen." Fred Wesley is an extraordinary trombone player and a candid writer. I didn't know James Brown was such a jerk to work for. You can listen to (and watch) some of the performances Fred talks about on utube.

I am a 57 year old Washington, DC trombonist with many years of "chittlin circuit" experience. Reading Fred Wesley's account of his life as a sideman really hit home with me. So far, I have purchased (at last count) twelve copies of this fascinating book and distributed them to fellow musician friends who I know would also appreciate it. This really feels good and also therapeutic that our story is being told and documented. Older musicians always used to talk about paying dues. Well it seems that we never stop paying them, and Fred really spells it out in a clear, brutally honest, and what I find to be a very humorous and entertaining fashion. I would highly recommend this book to musicians young and old and to anyone else interested in learning what it is really like for the majority of us in this bizarre and crazy business.

Lincoln Ross
[...]

Fred wesley's book takes you on a Journey of the Music industry that you seldom every get on the whole un-cut real. this Man is responsible for some of the Baddest Jams known to the Human Ear Drum. He is a Multi Talented Instrumentalist, Producer&Arranger. He Grew up Down south&dealt with so much,but that was just the start upon entering the Army, then His Exposure to the Music Business under the Controls of Ike Turner. back when Ike&Tina Turner were together. then Fred going over to James Brown's camp which alone makes this Book a Must have. He doesn't pull no punches about JB's Camp&How He ran&did things. then fast forward to George Clinton and the Whole P-Funk Mob&operation. you move on to Count Basie. this Book deals with Inflated Ego, Sex,Drugs,Music, Race, Politics of the Industry&so many other details that you just can't even imagine sometimes that go on behind the curtains. very detailed&a Must read.

Fred Wesley is "THE MAN". Here is a musical funk legend who has really paid his dues. He was the glue that kept the Funk going strong despite of James's legendary self-righteous super-ego and his harsh tyranny ways that interferred with the creative freedom and progressive potential of the most talented musicians that God has ever put on earth. James invented Funk which I will give him the credit he rightfully and respectfully deserves, but he definitely didn't do it on his own (thanks to the talented musicians of Fred Wesley, Maceo Parker, Alfred 'Pee Wee" Ellis, St Clair Pinckney, Waymon Reed, Richard 'Kush' Griffin, Jimmy Nolen, Al 'Country' Kellum, Clyde Stubblefield, John 'Jabo' Starks, Melvin Parker, Fillyau Clayton, Bootsy and Phelp Collins, Bernard Odum, Sweet Charles Sherrell, Johnny Griggs; the talented singers of Marva Whitney, Vicki Anderson, and the late great Lyn Collins; last but definitely not the least, I can't forget Bobby Byrd because if not for him, James life would have taking a bleaker turn since Byrd and his family not only helped James get out of prison and on parole, but got James into his gospel group which James would later become the frontman of and, with his ambition and talent, would take the group further than they had ever imagine. There are other James Brown musicians names that I can't remember but had a major influential impact on builting the structural foundation on the sound we now know as 'Funk'. This book honestly puts everything on the table with his experiences as a professional musician as well as how shady the music industry really is.

I 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.

Best book I ever bought dealing with the industry, bar none! I can't believe it's under $20!

Good but I liked the lingo section in the book Twelve Step Plan To Becoming an actor in LA but it was definetly helpfulGood Read

Josh Simon CAlifornia

This is a great resource for dealmaking, but most actors and writers that I know aren't negotiating their own deals. The trick is to get your agent to work harder at creating opportunities, so that they actually have deals to make. Yes, your agent should read this book ... but for myself, as an actor/writer the book HOW TO AGENT YOUR AGENT...is my bible. It helps me kick my agents in the butt ( without them knowing)and I get results...they're working harder and I'm getting work. Also I liked that book with all the casting directors pictures...just in case you see them in Starbucks and want to say hello.

THIS IS THE MOST USEFUL BOOK I HAVE SEEN ON THE ENTERTAINMENT INDUSTRY. BEST DEAL-MAKING BOOK ON THE MARKET. 5 STARS!

I haven't tried to get my script published yet, so I can't honestly say if this book "works" or not. Also, it's the first book on script writing/selling that I've read. So that said, while I don't have any comparisons to other books that I can make, I can say that this books was a good introduction to a world I was pretty unfamiliar with.

I liked the easy to follow format and structure of the book, as well as the authors' realistic but optimistic approach. I was pleased that the authors' presented varying points of view regarding various topics (i.e. sending scripts vs. query letters). Also, the resource list in the back, and glossary at the beginning, are wonderful for someone (like myself) who doesn't know where to start.

An interesting and fun read, and a seemingly practical approach. I felt like I learned something!

It is a ggod book, but in the entertainment word it is not what you know, but who you know.

Writing a screenplay for the movies or for television is only the beginning of the process. Once the script is written it must be pitched (sold) to a studio executive or a production company producer. Expertly co-authored by veteran script writers Lydia and Joan Wilen, "How To Sell Your Screenplay: A Realistic Guide To Getting A Television Or Film Deal" provides an informed and informative introduction to how the script writing business works, what the components of a professional-looking screenplay are, and how to format a script to make the best impression. "How To Sell Your Screenplay" then goes on to explain the role and importance of agent and managers, producers, lawyers, directors, and actors. Enhanced with the example of an effective query letter, "How To Sell Your Screenplay" also features the 'Square One System' for submitting scripts with a minimum of time, cost and effort, while achieving a maximum of success. Of special value is the up-to-date listing of resources, the advice for improving pitching skills, and avoiding common mistakes in pitching a script. Simply stated, "How To Sell Your Screenplay" should be considered 'must reading' for all aspiring script writers seeking to establish themselves professionally.

There are endless how-to volumes that skirt the necessary information needed to break down the vaulted door to Hollywood. Between the covers of such books are topics ranging from the author's personal brilliance to trivial and irrelevant sidebars. If you like that sort of thing, good news! There's plenty to choose from.

However, Lydia and Joan Wilen have written the authoritative book for beginning scripters. The Wilens have actually had their material produced. That in itself is a feat most screenwriting "experts" can't boast of. So, when they have a suggestion, I pay attention. And what they have to say has led me to a legitimate producer who has requested my script. In fact, favorable suggestions were offered, which I've incorporated into a revised draft that's being read even as this is being written.

The point is, none of this would have occured had I not purchased How to Sell Your Screenplay. My dog-eared copy has helped open a door for me not previously accessible. Buy this book, read it, then read it again before embarking on a journey as treacherous as writing a script - selling it!

Despite the authors' distance from Hollywood and lack of produced experience as screenwriters, they've done a fabulous job--partly because of the excellent rubrics of the SquareOne Writers Guide series--of putting together a solid overview of what's involved in making a screenplay sale. The book contains invaluable sidebars--from sample collaboration agreement to sample query letters--that alone makes it worth the cover price. The systematic approach to marketing, glossary of industry terms, along with advice on containing your ego and controlling your emotions-all add up to making this a must in the Hollywood storyteller's library.

This book is the bomb! The art is amazing and facinates the imagination, the quality of the book is perfect, The cross-sections are the best and are getting bigger... and better than the last book and I can expect the next one to be the best of them all. Excellent job, Curtis J. Saxton. I am most pleased. Star Wars rules and may the force be with you!

P.S. This book is DEFINITLY WORTH The money! Bye!

Ep 2's turn to have it's spaceships and other craft pulled apart and exposed in all their glory. Once again the foldout format is still the best and great for childern and grownups alike.

This Star Wars Cross-sections book is a must-have for Star Wars fans. The detailed renderings of all the main vehicles in AOTC is as impressive as the companion for The Phantom Menace. The writer, Curtis Saxon, has obviously done a great deal of investigation for everything, with so many detailed drawings and fascinating notes. For curios of the inner workings of all the speeders and starships, this is indespensible. Great stuff.

I just recently received this book and all I can say is that it's the bomb! The pages are full of intricate details about both the vehicles and story of Episode II. The foldout of the Republic Dropship is definitely a highlight of the series. If you like Star Wars and want to know more than you can possibly imagine about Star Wars engineering, pick this book up right away.

really ignites a kid's imagination. i got this for my nephew and he loves it!

Do get this book. And you'll be swept-away into another world where a crazy-girl named Francis, aka Judy Garland, got away with all kinds of mischief and adventure. Somewhere in her kooky, chaotic, vaudeville life, she surely got the idea that it was all a show about nothing.

Judy was a passionate person, and Gerold Frank captures her spirit, her sense of humor, her highs, her dark-side and the range of her anger and inspirations. "If you ever want to know who I was, listen to my songs," she said. What does one do with all that talent and energy? Frank gets into it. I think Gerold Frank does a fabulous job of filling-out the life of a human being. We sometimes forget that Judy was more than a performer. It is stunning to watch her films, knowing what was going on behind the scenes, how she was consistently exploited. She was young. People never had psychological terms for boundaries in those days, so she continued to remain a somewhat open and exploited person, "performing" right up to her death. And she was damn-angry in the end.

Judy had no outlet for her anger, except to strike out at things, objects and people. She was at a loss to know how to care, because she was never taught or given models of respect. So she stopped caring and began to take advantage of situations and people as a method of personal survival. This was the thing that alienated her from her children. Deep down, she didn't want to be this. So she let them go, and consequentially, a little bit of her self, as well. Bipolar disease is very difficult to manage without these psychological skills.

Judy never really had much of a chance to be anything than what she was. This happens to actors and people who need to showcase themselves in public: they get stuck. She learned how to play the victim. She just reached a point where she quit defending herself about it, that's all. Was Judy a bitch and a diva? Those were roles she took on, in the victim-mode. Women in those days were acculturated to be subservient, and therefore victims and blamers. If one is physically and mentally challenged, one needs help. Judy never got the right help and couldn't find it. Yet she always reserved a soft spot in her heart. She held on to her theme song, Over the Rainbow, and cherished it. So we have to look to someone like Gerold Frank, who is able to dig down under all this, and finds her; a woman who had a heart, and who was aching to share it with us, in spite of everything.

Gerold Frank's biography is probably the single most comprehensive book written concerning Judy Garland: meticulously researched, debunking many myths, and richly detailed, it is certainly a standard for any one seriously interested in Garland. Even so, I have several issues with the book.

My single greatest complaint about the book is that Frank often seems to include detail for the sake of detail, and at times these details don't seem to make any cohesive statement. That aside, while Frank places Garland under a microscope, he never really quite delivers any sense of the world in which she moved; consequently, we never really have any background against which we may judge her. There is no context.

These are serious flaws, and while the book is certainly readable and enjoyable, I do not think it is one to which the average reader would return, nor would I particularly recommend it to any but the toughest of hard-core Garland fans.

This is an "early" review since I haven't finished this very long book yet, but I will say that I don't like very long books (I find them daunting and time-consuming) but this one is good and holds your interest despite its detail and depth. However, I know that it leaves out certain parts already about her early life. For example, various sources (such as Marcella Rabwin, who is featured in the book prominently, and a family friend of Garland for many years) said on the E! True Hollywood Story TV program, that Judy and her sisters, mother, and father left Grand Rapids because Judy's father, Frank, had an affair with "a young man" and in those days that was "scandalous" and they "had to" move away. This story is nowhere in the book. This book also supposedly had the cooperation and the blessing of Liza and Lorna (not sure about Joe), Judy's children, so you know that despite the book's detail and depth, it's going to be "safe" with nothing too controversial that the children didn't want published. That's too bad, because for a biography to be truly inspirational (let alone just plain "accurate"), you have to include the skeletons in the closet (sorry for the pun, there, Frank). I haven't read Gerald Clarke's "Get Happy", which might include more scandalous stories. It's funny how there are 2 major Judy biographies that are very very long with authors named "Gerald"; easy to confuse the two, as I did at first. What a remarkable life; what a remarkable book. I still recommend book this highly, for Judy fans and also because I recommend biographies in general as a way for people to put their troubles in perspective, to gain inspiration from people we all "know", and as a parable to learn what to do, and not to do, to be happy in life. This would also be a great "primer" for young people to understand the history of Hollywood, or if you want a case study of a great American if you're patriotic, a great woman if you're a feminist, an unfortunate addict if you have an interest in drug and alcohol abuse issues, and a great musician/actress if you're an artist.

Gerold Frank has taken a subject of innumerable facets, a larger-than-life personality, and an almost indescribable talent and has put the history of her life to words as no writer before or since has been able to accomplish. Judy Garland, one of the silver screen's most beloved stars, is accurately and honestly conveyed in this biography. Frank's style is unique: when he tells of the tradgedies or failures of the star, he is not incriminating against the subject. Frank's book is one as written by an observer, sometimes voyueristically so. His thorough research bring Garland through in all her glory: as the vaudeville headliner, the little girl on the rise to stardom, the MGM superstar, loving wife and mother, and the sometimes self-destructive woman, taken from this earth too soon by the disease brought on by a lifetime of pills, but most of all, the woman trying to find her place in the world and the love she always craved and needed. Judy Garland is a human being, not a media figure, in this book. Gerold Frank is to be well commended for his excellent portrayal of Judy Garland, and readers will also be delighted or surprised by the informative tidbits along this Yellow Brick Road into the life of the great Judy Garland.

Never mind other books on the subject, icluding Lorna Luft`s "Me and My Shadows - living with the legacy of Judy Garland"...

THIS IS IT! This is the definitive biography. The detail is amazing and Gerald Frank is by far the only one who has captured Judy the woman and not ONLY the star. John Fricke`s "The World`s Greatest Entertainer" is good, but a tribute to a star, up there somewhere..... It`s written by a fan and good as it is, it sadly looks perspective.

This must NEVER be out of print and belongs to every library in the world. Indeed, I thought I knew evrything about Judy(I`ve been a fan since 1977), but THIS book is filling in holes I NEVER KNEW EXCISTED!

Thanks a LOT, Gerald Frank:-) This book i s of Pulitzer Prize calibre, although I realise a biography will never be given that honour...

This is a very detailed book about the life of Kay Francis. The authors present a chronology of Kay Francis' life based on her diaries and other extensive research. Kear & Rossman provide intimate details of her life in an unbiased and thoughtful manner. The authors were able to convey their love of Kay thru the book. We receive a glimpse into the life of a Hollywood actress in the 20s & 30s. This book will appeal to people interested in Kay Francis and Hollywood. I enjoyed it because it shows the individuality of Kay Francis. Her charity work, midwestern values, sexual encounters, and career are all presented in the book. The pictures were great and interesting.
The book left me wanting to know more about Kay Francis and the movies she starred in. I highly recommend this book.

This is one of the best biographies I have ever read. You can tell the authors put a lot of time and effort into this work - it's a true labor of love. Filled with beautiful photos and extensive bibliographical notes, this one is a keeper. Who knew Miss Francis was such a "wild child"? Whether you're a film scholar or a movie buff, Lynn Kear's book deserves a special spot in your bookcase.

I must admit, I didn't know a lot about Kay Francis going into this book but I had seen her in a couple of films and I went the extra mile to delve deeper into her life and career. I was glad I did! Oh, what a life! Oh, what a career!

This book is the definitive reference to Kay's life, both on and off the screen. Her exciting career, her steamy sex life and the best part...much of this book is based on Kay's own personal diary entries. You can't get better than that!

If you know nothing about Kay and you're intrigued with her life, the way I was, you'll learn everything you want and need to know by reading "Kay Francis: A Passionate Life and Career." If you know everything about Kay Francis, you're wrong. You only THINK you do! Without a doubt you'll learn something new here with the turn of every page!

Great book!

This year movie buffs are extremely fortunate because out on the market is not one but two wonderful new biographies of the actress who "couldn't wait to be forgotten"--Kay Francis. Lynn Kear and John Rossman have done a superb job of detailing Kay's life with an especially rich section about her early life--prior to Hollywood stardom. The book also captures the essence of the jazz age of the 1920's when women were coming out of their shells and becoming less uninhibited. In many ways Kay Francis was the epitomization of the free spirited women of the jazz age. The book, as usual for a McFarland product, is lovely to look at and the picture quality is superb. Both books quote from Kay's diaries which were long forgotten at a University archives. The diaries provide much of the dynamic revelations in the narrative--Kay's candid thoughts about her life and (many) lovers. Kay Francis certainly did, as the title says, have a passionate life--and a career which movie buffs and fans can easily appreciate. We are fortunate to have this wonderful book as a reminder of that life and career.

This book had such a slow, uneven start that I almost gave up on it. Kay had a very interesting life, but it was hard to determine that from the way the early chapters of her story were written. Lots of childish exclamation points, and chronological lists that read like "the begats." I adore Kay Francis, and wanted to find out about her life. The authors had the access to her diaries that other biographers were lacking, and her private life was definitely a wild one. That she escaped public, career-ruining scandal is nothing short of a miracle. Once the authors reach her apex year of 1932, and then her war work, the style of the writing really picks up and the story becomes a veritable page-turner. It's definitely worth getting through the first third of the book in order to enjoy the best parts. I respectfully disagree with the reviewer who thinks Kay would have loved this book - she would have hated anyone delving into her private life (she didn't even want anything done with her ashes, she was so private), but speaking as an avid fan of Miss Francis, I'm very glad it was written.

A very moving book. I knew Joel from a distance, all we would say is "Hi" to each other. Nothing more. Reading this book should be a school requirement. It does not get any better. What a fascinating man he was. He will be MISSED!

Who ever suspected Joel Siegel led such an interesting life? I couldn't believe all of the experiences he wrote about and the funny insights into his family. He included a chapter on Yiddish words which was informative and amusing. Of course throughout the book was the touching message to his son.

A man, approaching fatherhood late in life finds that he has cancer. What can he give his very young son that would impact the child's life. This book is Joel Siegel's legacy to his young son.

It could have been overly-sentimmental or morbid. Instead it is funny, profound, and deeply moving. Those of us who have faced the same eventuality that Joel Siegel has faced, will find great wisdom here, and solace.

The only quibble I have with the book, is that there are a few chapters that seem to have been added to flesh out the size of the book. A chapter on Yiddish phrases, for example, seems a bit "fluffy," though quite funny.

In all, a wonderful legacy for Dylan... and us all.

This book is a treasure in the fact that a man who has a young son (who should have been his grandson) at that age realizes that he may not be around to share all of these stories and this valuable insight to Dylan in person, and he put in print the things he would have told him (maybe) had he been a young father. The last twenty-five (27) years were a trial for him, as they were for me, as a divorced woman with a son the same age at the time of the divorce. You feel that you've just got to be there to see that son grown, then get on with your life.

He is funny. The Jewish jokes were okay, and the one he had Bobby Kennedy tell about the price of meat was okay, but this whole book is written in the joking way he thinks. Serious times about lowering the flag to half-mast on the UCLA campus the day JFK was assassinated. He was there when brother Bobby died and heard the shots. He and Dylan's mother lived in an area of New York where they were able to watch the Twin Towers burn on 9-11. This is history he passes down to his son in intimate terms.

He writes fondly "some of my best memories of my father are of him laughing while he and I watched TV. We didn't go to movies much; most families didn't in the early '50s." My sister Evelyn took me to my first movie about that time (before she ran off and eloped, ending up spending the rest of her life up North) and I marveled at the beauty and splendor of Tennessee Theater. I don't remember the movie, but I will never forget how I felt looking up at the mural on the interior dome. In the middle and later Fifties, I went to many movies there and even sang in a local talent show on that stage. It was no big deal.

As a film critic, he explains that movies are a fraud and goes into detail about how they are made. But, those he chose for viewing with Dylan were a varied and motlely group, not my choices at all. He tells how old he was when he saw them and how he felt. He dishes the dirt about some of the big movie stars. The index is full of big names. You think of one, he has met him or her and has a funny anecdote to share. TO KILL A MOCKINGBIRD, I can understand why he would want to explain to his son what is happening and why. Since he is such a funny man, I guess he would choose the Marx brothers' films. I did enjoy Groucho on the t.v. game show!

Of course, he wants 'I Love Lucy' and 'The Honeymooners' to be available for Dylan to enjoy and share a few laughs. His remembrance of live t.v. in Los Angeles, 'Time for Beanie,' brought back memories of 'Your Startime' hosted by Bob Lobertini for me as I was one of his regulars, and later he had a 'Popeye' show in Nashville where I took my sons. He told them on the air that he and I had appeared on t.v. together in Knoxville; that was stretching it -- he was the star, I the adorer.

During the 1958 Winter/Spring, one of my best friends was the young Jewish usher, Joe Feldman, at the Tennessee Theater. I had moved to the YWCA to finish high school and, that Easter, he took me to eat Easter dinner at the S&W Cafeteria on Gay Street. I still have his senior picture from Young High School.

Dylan is a darling child and so much like Ken Young when he was younger. I sincerely hope they will share many good times as he grows up -- and away. That time will come before you know it.

There are no athiests in foxholes or in an oncologist's office. Siegel, an entertainment critic for ABC's GMA, faced a terminal illness, and created this story of his first 58 years of life. (He passed away on June 29, 2007 at the age of 63).

At the age of 54, Siegel became a father for the first time and learned that he had cancer. In "Lessons for Dylan," Siegel shares all the things he wants his son to know, in case he is not around to tell him, things about his family history and Jewish heritage, life's pleasures and disappointments, the challenges of growing up (at any age), and, most important, who his father is and what Joel values. As Joel and Rabbi Larry Rafael discussed, Joel wants his son to be normal (but not average).

Siegel was born in East Los Angeles in 1943. His Romanian Jewish grandmother survived the Triangle Shirtwaist Factory fire in March 1911. (Her father banned her from going that day.) His father, a Levite, was an electrician, and he got the first African American and the first Mexican American into his local IBEW union. In 1965, Joel delivered a bag containing $800 in cash to a minister named Martin Luther King at a UCLA luncheon. ("Dr. King, I've come with dessert.") He ended up spending the Summer working for King. Siegel says he invented the names of several Baskin Robbins flavors, including German Chocolate Cake (my favorite) and Pralines and Cream. Siegel was nominated for a Tony Award for his work on a musical about Jackie Robinson. Siegel was a joke writer Senator Robert F. Kennedy in 1968, and witnessed Kennedy's assassination in the Ambassador Hotel in Los Angeles. He is co-founder (with Gene Wilder) and president of Gilda's Club, a non-profit support facility for cancer patients.

Only Siegel can make the story of his chemo sessions and a colostomy funny. Siegel candidly writes about the end of his marriage (his third) to Dylan's mother and the experience of having cancer. The famous ad man and partier Jerry Della Femina bought pot for Siegel during his chemotherapy. Siegel also shares great stories from show biz (featuring Orson Welles, Marlene Dietrich, Paul Newman, Brad Pitt, Stevie Wonder, all four Beatles, and more); lays out the History of the Jewish People in Four Jokes ("Why make trouble?"); and offers fatherly advice on sex ("ask your mother"), work, what to cook for Rosh Hashanah (recipes included), and a list of movies he would like to see with his son.

One of his letters:
Dear Dylan,
One day you might remember--maybe triggered by a photograph, or a sense memory of a texture or a color--the soft, grey cashmere sweater I bought for you for your second birthday. As an adult you may wonder, "What kind of schmuck buys a cashmere sweater for a two year-old boy?"

The answer is: A schmuck who tempts fate.

This book is as beautiful as the background watercolors of the original movie The book takes a personal look at the stories behind the movie. Not necessarily linear in presentation, the chapters are broken into narrations by different creators of the film and either how they came to be involved or how they added to the film. The art that is scattered throughout each chapter is often beautiful.

I personally have two favorite images from the film, one a watercolor of a drainage in Hawaii, overgrown with native plants and the second is drawings of how the alien creature, experiment 626, would work showing his skeleton and structure.

This book is listed as for ages 4-8, total mistake. this is not a kids book but would be appropriate for early teens through adult. It is an excellent book for those interested in animation, or as myself, a fan of Lilo and Stitch.

I could not put this book down...I read it all in one sitting. If you're a fan of the movie this is the book for you...strong recommended!

this is a must have for any fan of the "art of" series books. it is as beautiful as the movie itself. it is splashed with all the beautiful rough drawings and amazing watercolor paintings that take your breath away. i wouldnt have asked for any more!!!!!!!!

A charming, lovely book, a great compliment to the movie, and the perfect gift for any fan of Lilo & Stitch. If you count this gem among your favorite films (as I do), this book is a must-have for you, as it's filled with gorgeous sketches and watercolors, showcasing the development of the characters and setting. (I'm gushing, yes, but I can't help it.) And it's filled with little stories from all the key members who worked behind the scenes, reminding you of how very human animated films are. Personally, I think this is the best of the Disney "Art of..." books, but I'm biased, as Lilo & Stitch is my favorite Disney film. It's not hardcover, but it hardly matters. The book is unique, just like the film.

"Lilo and Stitch" was the perfect summer family film. Lighthearted and heart warming, it contained all the elements of the best Disney has to offer. The great thing about this film is that it did this without all the fanfare and majesty that, as of recently, has been dragging down the Disney films. This pseudo-making-of book offers the same unpretentious vision. As most fans of Disney animation know, this type of book is released for every feature. While quite a few have been really nicely done, most have been bogged down in the technical aspects of animation. While it is an awe-inspiring and often misunderstood process, hearing and re-hearing about the animation process gets a bit stale. These publications began to feel like the same book with different pictures. Thank goodness the creators of this book have taken a refreshingly different approach to telling the story behind the story of Lilo and Stitch. Personal accounts and artistic insights prove to be just as entertaining and engaging as the sketches and watercolors that fill this slim addition to the Disney Making Of Library. Like the film, the book doesn't feel the need to show off the technical merrits of the production. Too often authors of animation books come across defensive about the medium, forcing comparrisons with other more respected mediums (film, fine art, literature) as if there is a need to defend animation. In a way they are preaching to the choir. Most people who purchase these books already respect the process, the amazing artists, and the mountains of work that goes into each production. Lilo and Stitch the book finally offers some insight into the creative minds and, more importantly, hearts of the creative forces behind the magic. Let's just hope that Disney, particularly their Florida unit, continues to produce animated features with this simple charm and storytelling. With more films and books like Lilo and Stitch it would make it easier to overlook the occasional "Atlantis" or "Treasure Planet".