Movies Books

This is a beautifully written book on the portrayal of New York City in the movies. The author is extremely knowledgeable about the architecture of NYC (in fact, he is a New York architect), about the geography and history of NYC, and about film, both in its historical and technical aspects. The writing is imaginative, lyrical, thoughtful, and intelligent--this is a labor of love that took 15 years to complete. If you have any interest at all in New York City or in film, do yourself a favor and buy this book. It made me want to go out and rent at least 60 of the films discussed in it, and it reminded me of many great films set in NYC that I've enjoyed in the past and will want to see again to note some of the characters, themes, landmarks, or stage sets that Sanders describes.

If there was ever a book that really needed to be written, and was then executed nearly flawlessly, this is it. Documenting the multi-threaded releationship of New York City and Hollywood (the movie biz began in NYC, and the studios' financial offices remained there; much of the writing/directing/acting talent came to Hollywood from NYC; Hollywood's backlot NYC was the setting of thousands of films; the ideas of the Hollywood versions eventually changed the real thing; etc.), this is a heckuva fun and interesting read.

Among its most fascinating parts are information on the techniques used to create believable NYC settings by the studios (e.g., the most detail I've ever seen on Hitchcock's enormous Rear Window set), examples of the vast amount of architectural and local-color detail contained in the studio's art department photographic files (more than in some of NYC's museums!), and its general architectural analysis of NYC's major iconic structures: skyscrapers, rowhouses, tenements, train stations, nightclubs, etc.

But of even greater interest are the detailed treatments of how NYC was SHOWN in films (both well-known classics and obscure titles) of different genres and eras, and how the IDEA of NYC affected the world audience, and eventually changed the city itself as new generations flocked to their city of dreams... A flip through the photographs alone is a total pleasure.

This is a great book for film buffs, fans of NYC, architecture students, and those interested in 20th century social history. (I'm all of those things, and I LOVED it!)

If you have an interest in films, architecture or New York City then the purchase of this film is a no-brainer. The book is packed with photographs of movies and film sets that feature the buildings of New York. Another reviewer mentioned the Alfred Hitchcock set shot from the film Rope. I would add the shots from Fountainhead and Week-end at the Waldorf as being special and stunning.

James Sanders said that he spent 15 years writing and researching this book and it shows. His points are well written and quite informative.

I would strongly suggest the hardcover edition for its slightly larger size and the quality of the Knopf binding.

First editions can be purchased used at a very attractive price. Like I said, no-brainer.

This fascinating exploration of the interrelationship between the city of New York as an urban center and its portrayal throughout the history of moviemaking is filled with perceptive insight and thoughtful analysis. Highly recommended.

How New York is seen (figuratively and literally) by the rest of the world has been influenced more by Hollywood than anything else. James Sanders brilliant "Celluloid Skyline: New York and the Movies" explores the relationship among Gotham, Hollywood, and the rest of the planet. There's a lot here, and a lot of material that has never been presented before.

Each section offers specific insights into the cinematic image of New York: its icons, its myths, its realities. What is also intriguing is how Hollywood's directors manipulated actual city locations to make it look "more like New York". One of my favorite essays has to do with the "domestic" look of New York: its mansions, row houses, and tenements. Also fascinating is the section called "Nighttown"--Hollywood loves the dangerous flavor of New York's streetlife.

This is a marvelous book with a marvelous look. Take one of the other reviewers' advice, however, and get the hardcover. The size makes a big difference.

The heroine of this story is bound and determined to make it on her own. She (unwillingly) accepts help from others. She doesn't know that the man she secretly likes but thinks she doesn't have a chance of ever having a relationship with is there in the background keeping an eye on her. Betty Neels knows how to write a real romance novel based on friendship and trust and not just hormones.

If you like Betty Neels and haven't read The Chain of Destiny yet then I strongly recommend that you get hold of a copy of this book and read all about Suzannah and Guy and hopefully you will find this book as captivating as I did. It's very truely a really good book!

Back Cover description: Alone in the world, without a job. That was Suzannah Lightfoot's unenviable position when Guy Bowers-Bentinck rescued her. She had to accept his help--though she didn't want to be beholden to such an infuriatingly arrogant man. "He's so tiresome and ill-tempered and impatient and he must hate the sight of me," Suzannah reflected as fate kept throwing them together. So it was just as well, she told herself, that she wasn't prepared to join the queue of females wanting to marry him...

Nice, pleasant Betty Neels story. The heroine and hero are typical, and likable. The story moves along, and all is well at the end. You can always count on Ms. Neels for a heart-warming story.

Book Description: Suzannah Lightfoot was alone in the world, without a job or the means to support herself. So when Guy Bowers-Bentinck came to the rescue, she had to accept his help. Guy was hardly a knight in shining armor. He was arrogant, infuriating and bad tempered! He was also difficult to avoid. Even worse, he seemed to have assumed that Suzannah was about to join the ranks of all those females wanting to marry him. What was a girl to do? Make a run for it?

A sweet, heart-warming tale any Neels fan will love with the usual handsome Doctor and plain non-nurse in this case. Included are the usual misconceptions, false impressions, pretty but evil other female.

Except for her cat, Suzannah Lightfoot is alone in the world and determined to make it on her own. Guy Bowers-Bentinck was always there, assisting when she needed help. As soon as Suzannah cleared one hurdle, another appeared; and whatever fate threw at her, Guy cushioned the blow, at times unknown to her. He realized that each occurrence was a link in the chain of destiny. Guy was patient, even more determined to have her share his life, and by taking one link at a time they would be each other's destiny.

Guy and Suzannah appear in "The Mistletoe Kiss"

... This is absolutely one of my very favorite Betty Neels books ! The heroine is absolutely charming and lovely and the hero is a great big Teddy Bear. This book will reach right into your chest and squeeze your heart as you read it. One of my very favorite parts of the book is when the heroine, who raced back into a burning nursery to save a child, is sitting patiently with her burned arm quietly waiting for medical attention with a death grip on the carrier in which her big cat resides, thinking that she cannot let anyone take the cat out of her hand because he was all she had left in the world. I actually enjoy sobbing through this part every time because I know that I will be crying tears of happiness by the end of the story. What a wonderful gift Ms. Neels gave us when she shared this story with us !
This story will thrill loyal Neels fans and will enchant new readers. I promise. :)

it came in good condition.havent had a chance 2 read it but i'm sure its good like the least of the books.

I love the show, love the book, love 'em all!!
I loved the detail of the book, made me feel like i was there.
for sure I'm ordering more books from charmed. love this!!!!!!

Leo can't find the Charned ones, he has Wyatt and newborn Chris. I read slow.

GREAT READ - IN TRADITION OF THE AWSOME SERIES THAT SADLY ENDED IN 2006. THIS IS A GREAT ADVENTURE AND KEEPS YOU INTERESTED. I DEFINATELY RECOMMEND TO ALL PIPER AND LEO FANS. WOULD HAVE LOVED TO SEE THIS AS ONE OF THE EPISODES IN SEASON 7 OF CHARMED.

I've read my fair share of spin-off novels in order to get an extra taste of a favorite movie or TV series. You take them with a grain of salt, knowing that they won't exactly be Shakespeare or even up to par with the original work. So, imagine my delight when I picked up this book (the first I've read of the Charmed series), and discovered a very well-written novel that is incredibly faithful to the canon (most delicate of all being the characters and the Charmed universe). Leo (my favorite character) is newly mortal and dealing with Piper's over-protection, when the sisters are kidnapped by a mad scientist. Leo summons his adult sons from the future to help him unravel the mystery and rescue the Charmed Ones. It's a story with enough character and mystery that it could easily have been a strong episode of the series. It could have used more drama and play between Leo, his sons, and Piper. But still, an excellent spin-off. Grade: A-

Growing up in Chicago in the late 70's I missed Bishop's Sven. I started out with the Ghoul and was hooked forever when Rich Koz opened his coffin on Ch 32. Since that time I've lost precious brain cells to the permanent memories of those classic parodies and skits. Mr. Robbers, 50 Ways to Blow Your Cover, and more.

So, I had to get this book. It is a quick read (nearly half is just a list of b-grade movies) and tells the tale of how Svengoolie came to be and where the whole thing started. If you are a fan of Svengoolie you owe it to yourself to take this fun trip down memory lane, or elm street...whichever.

I bought this book on a whim for my boyfriend who grew up watching Svengoolie on Saturday nights. He absolutely loved learning more about the show he adored as a child.

I grew up in Detroit, so I missed out on most of the programs covered here, except for the maniacal Ghoul (Ron Sweed, a Motor City favorite) and the wacky and still active Svengoolie, played by the talented Rich Koz. In spite of this, however, I loved reading this book because it captures the fun and the essence of what every monster movie fan of my generation experienced, from the happily demented horror hosts to staying up late to watch those glorious (sometimes gloriously awful) films we cherished so much. Remember, this was mostly before home video came along. The book is loaded with nostalgic advertisements for these movies, the kind of ads that made you drool in anticipation.

Some folks might question why there's an entire appendix devoted to a "100 Monster Movies" rating guide, but to me it's one of the most enjoyable sections of the book because it goes hand-in-hand with the overall history of this subject. How can you discuss monster movie programming without discussing the monster movies themselves? If anything, I wish they'd gone a step further and covered even MORE titles. A few of my favorite films were overlooked. Am I the only one who has fond memories of CREATION OF THE HUMANOIDS? (Maybe I am.)

The book is well researched, fun to read, and has lots of wonderful photos and graphics. It makes me sorry that I missed out on all the fun. But then again, I didn't. No matter where you grew up, watching monster movies on television was a universal experience. This book captures that experience beautifully.

Let me start by saying I am from Chicago and I am a Chicago History buff.

As a child and into my teens watching Creature Features on Channel Nine (the opening as a six year old terrified me), and then the Son of Svengoolie on WFLD, I loved local tv. Why do I say this? Simply put - I had high expectations for this book. The good news is that Ted Okuda and Mark Yurkiw exceeded them.

Looking for Elvira - you won't find her - but "Dear" clearly was a feast for the eyes. Now I finally know what my dad was talking about.

"From Shock Theatre to Svengoolie" is a needed part of the history of Chicago TV and Lake Claremont Press respectfully published a book others might take a pass on and remains a respected leader in local publishing of Chicago history. Well edited, designed and expanded in part by a solid and varied reference section which includes a solid list of films shown (and reviews), a heartfelt "Collector's Corner" with additional reviews, and a resource guide on where to find your horror needs - that alone would stand to qualify the book as a great resource; but yes - there's more.

The book is factual and warm about the subjects themselves - with wonderful chapters on characters such as Marvin and the curvacious and faceless "Dear" of Shock Theatre to Jerry Bishops "Svengoolie" concluding with the story of how Rich Koz's "Son of Svengoolie" became "Svengoolie" in his own right.

The book doesnt mince words. The Ghoul from Cleveland gets a chapter - and in that chapters lies the great story of the loyality of Chicago to it's city and to its broadcasters. That chapter alone made me smile - unfortuantely at an outsiders expense.

The book covers some obscure local attempts to compete against established programs as well - which goes to the detail the authors provided.

And then there was Sven.

While you can watch Jerry Bishop and Rich Koz on YouTube as Sven as a resource; the chapters on Svengoolie are detailed and worth the read.

I grew up and continue to watch Rich Koz as Svengoolie now in Chicago - and through this book you realize Sven's program not only entertains through horror but is also the last of the real local efforts to fight to keep local television creative, relevant and accessible. Koz is an important throwback to Garaway and other early Chicago broadcasters and deserves the praise and critical rsearch the book compiled.

In this book you can see why Koz is important as a local celebrity - and is up there with dare I say Studs Terkel and Oprah as important local personalities - even though Koz would likely deny this endorsement. WCIU should be credited for keeping a great program such as Sven on the air when others might just put an episode of "Night Court" on instead...yeech.

I particularly enjoyed the attention to detail; with photos of the old newspaper and TV Guide advertisements of the programs. If you loved those programs as a child - before there were so many options on cable; those ads were critical in promoting the programs and the movies we grew to love.

The book is lavishly illustrated and well written and referenced, footnoted and resourced. Time, effort and true affection for the material went into this tome.

In a book like this - there is room to be melancholy - and the authors avoid that trap. Lamenting on the fact local television is in most cases just the news; and all of TV's creativity is left to the networks would be an easy place to go - but the book is upbeat and most importantly a joy to read.

You want Creature Features? The book has it. Marvin and Dear - yep; its here too. Screaming Yellow Theatre and all of Sven? Yep - that too.

Clearly highly recommended.

I would write more - but my family is ready, the popcorn is popped and Svengoolie awaits .....

I bought this book at a book signing at "Horrorbles". The authors are really nice guys. The book is a must for anyone even remotely interested in horror, it discusses in detail the various TV horror hosts broadcast from the Chicago area. Its covers the inception of TV horror hosts to the present. It also does a good job of showing the evolution of the TV horror show. The book is well written and offers so much insight, there is a not only a wealth of information but resources for any fan of horror. There are plenty of photos that will surely evoke pleasant memories of sitting in the dark watching "scary movies". Makes a good gift.

I LOVE THIS BOOK! IT'S COOL HOW THEY PUT THE SCRIPT IN THE BOOK.
I've seen the movie 5 times, and I can't wait until August 19th when it comes out! I'll be sure to be it.

It took 10 days for it to arrive, but it was worth the wait! I ordered used. But it was in perfect condition.

I've seen this movie 8 times, so it's just natural that I bought this book. The book cover was damaged, so I told amazon, and they sent me a new one, free of charge, within days! I love the pictures, they are amazing, and I love how the lyrics and script is included. This book tells the story of the movie with pictures. I also loved the behind the scenes information they had. This is a must-have for any die-hard Chicago fan.

If i could i would give this book more stars. This really captures the movie well. You need to buy, The Soundtrack & of course The Movie if you are a fan of the movie! Im only on page 37 and i just LOVE this book! To anyone who has not seen Chicago yet i say this to you "what the heck are you doing on your computer you chould be out going to see it"

I've been dying for this book to come out! Finally, I get it. I love it. I have to express my feelings for this great film, play and book. First of all...this is probably one of the most lavish musicals ever made. Second of all...if you have never seen the film, Do! Third of all...buy this book! It includes the complete screenplay (with some cuts from it) and an in-depth behind the scenes section with picutures of the 1975 Broadway play, the making of the film and real life "murderer's row."
If you love Chicago, buy this book! It rocks!

If you liked the movie (and, didn't we all?) you'll love this lavish, razzle-dazzle book. Some 183 eye-popping full color photos and illustrations are reminders of what a treat for the eyes this film is. It's hard to believe that pages can contain those glamorous larger than life screen figures - Renee Zellweger, Catherine Zeta-Jones, Richard Gere, Queen Latifah - but, they do with photographs that sizzle.

In his intriguing introduction Director Rob Marshall relates his fascination with Chicago: "I was fifteen when I first saw Chicago on the New York stage. After seeing the performance, I listened to the album over and over and loved this musical more than words can convey. For me, Chicago was Broadway. So it's a dream come true for me that I've come full circle, going from that little kid, the 15-year-old at the stage door, to directing this movie. Please forgive me for believing it's destiny."

Marshall goes on to explain both the difficulties and joys of adapting Chicago from stage to film.

An especially absorbing section of this volume is devoted to the genesis of Chicago which was originally based on a real murder which took place in the city of Chicago in the 1920s. A man was found shot to death in a car owned by Mrs. Belva Gaertner, a cabaret singer with two ex-husbands. At first the woman denied any knowledge of the crime but later admitted that the gun found in the auto was hers. To every question asked of her she replied, "I don't know. I was drunk."

It comes as no surprise that she was acquitted. Following this announcement she laughed, hugged her attorneys, and thanked the jury. You know what they say about truth being stranger than fiction!

Remember Ginger Rogers? She came on screen as Roxie Hart in 1942.

The book Chicago is filled with little known facts, such as for the film's closing number when Roxie and Velma shoot out lights to spell their names over 10,000 light bulbs were used to create the 20 by 30 foot wall of bulbs. And, find out how and where Rob Marshall auditioned Renee Zellweger.

There's no place like Chicago that toddlin' town, and there's no book like Chicago!

- Gail Cooke

What Else can be said. The book is awesome, you get to see not only the clay puppets but parts of the scenery, stroyboards, concept boards. I havent seen the movie yet, but cant wait to do so. For my students it has been a very interesting approach to Claynimation, now I just have to find the Wallace and Groomit videos to add it to my library.

Anyone who has the slightest interest in knowing how an animated movie is created will love "Chicken Run - Hatching the Movie." by Brian Sibley. Even the design of the book is whimsical in style and lush with color illustrations from the new movie as well as from other films from this animation house.

A lighthearted introduction written by Mel Gibson (who is the voice for Rocky in the movie) sets the overall tone for the book. In this overview there is a brief history of the animation process with some really slick photos of the British Aardman Studios that both Nick Parks and Peter Lord, the directors of "Chicken Run," help to put on the map with several Academy Award nominations for their past films.

Animation and story development is not just fun and games as one might think but envelops serious thinking and work. The book is sprinkled throughout with wonderful idea sketches, watercolor paintings, storyboards and outlines showing how script and plot ideas for "Chicken Run" were developed.

A wonderful chapter on the actual making of the physical characters gives an inside look into the art studio itself where molds, paint, and artists bring these figures made of a clay-like substance called plasticine into existence. In a chapter called "Making the Right Moves" Sibley details the various problems that animators had during production. Trying to give the human characteristics of anger, hate, love, fear, and happiness in front of the camera is a major feat in itself. The difficult task of lighting a scene along with making the miniscule movement of each figure to create the animated move almost sounds like torture. And when one realizes that the largest film shoot in one work way was a mere 26 seconds you wonder if it is. The animators say their work normally floats along on inspiration but at other times when they are tired, getting the job done becomes a matter of will. They are so involved with their work that it is only when the camera isn't running that they realize that they are only working with a lump of plasticine.

This book is definitely written for the connoisseur of animated films and filmmaking but children could also enjoy the "fun" illustrations from the movie, which are a large part of this publication.

The seriousness of this studio's filmmaking makes for some very interesting reading. A quote by one of the directors, Peter Lord, not only sums up the animation process but could be the kernel theme of this book. "We make films and by the way, they happen to be animated."

Ron Harmon rohar@msn.com

*

How did they do that?

"Chicken Run: Hatching the Movie" provides an engaging, behind the scenes examination of the workings at Aardman Studios, offering insight into the personalities and technologies that brought us Wallace and Grommit, as they work towards the completion of their first feature-length animated film.

There are plenty of photos from the final movie, but more importantly, the book is stuffed with the artifacts of the animation process- the sketches and drawings, storyboards and photographs that record the way the film was developed from idea to story to finished storyboard and characters.

The book stops short of offering specific timelines, technical details or recipes for plasticine, but the aspiring animator is given ample opportunity to read between the lines. There is a wealth of information and inspiration to be had; something to learn on every page.

Sibley's narrative follows Nick Park, Peter Lord and others as they discuss, revise, and rethink their ideas, meet with Hollywood moguls for the first time, hire and then change writers, and work their way through the transition from commercials and short films to producing a two-hour, animated movie.

The writing is open and lively, describing the time involved and the twists and turns in production as the storyline is developed and revised, characters and ideas introduced and then axed. This frank discussion of the creative process at work is perhaps the book's most valuable asset.

"Chicken Run - Hatching the Movie" is an ideal companion to Aardman's earlier book "Creating 3-D Animation".

One book gives a superb, do-it-yourself introduction the techniques and process of model animation, while the other provides an in depth study of the creative process in action during the production of a single feature.

Together, these books provide the most useful resources on claymation and model animation to date.

If you haven't seen Chicken Run you should go see it. It is a family movie in which their are chickens who try to escape from the farm where the live. They try to learn to fly, but they keep failing. If they don't escape soon they will become chicken pie. Can they learn how to fly or find a way to escape soon enough, or will they become chicken pie? Watch the movie and find out.

This is the most delightful book about the making of a movie I have ever read! The text is full of funny stories and interesting details about the process that went into hatching this chick flick!Being a published cartoonist myself, I found reading about the process the Ardman folks went through to be fascinating.Also good were the photos showing the different animators at work making the models of chickens and other assorted poultry items.This is a must for any fan of Ardman! Viva Wallace and Grommet! Viva Rocky the Rhode Island Red and his favorite chick, Ginger!You will not regret buying this book! Myke Feinman, publisher and cartoonist for Ink and Feathers Comics

Books by Mary MacCracken and Torey Haden inspired me to become a teacher of students with disabilities. I loved their toughness and tenacity, and vicariously celebrated their moments of reaching the children and helping them learn and grow. I read these books again and again, and enjoyed them more each time. They helped me when I became discouraged when going through school and when I had my own classroom. They inspired me to keep trying and to build on small successes until they became big steps of progress for my students. I have had several wonderful mentors in my life I've known personally, but these two women were my first mentors in teaching through books. You'll be uplifted by them, too.

This book is the reason I became a special education teacher. Mary MacCracken's innate ability to know what was good for her children and when she needed to do things is astounding. I learned from her not only what a teacher does, but how a teacher feels. Her poem "Teacher' sits on my desk and is a constant reminder of the reason I do what I do. I've lost count of how many times I've read this and know I will go back again.

Simply the best book I have ever read. It shows how children with mental disabilities SHOULD be taught and loved, with love, compassion and patience. Mary MacCracken has an insight others need!

Ever taught a kid that flaps his arms, talks gibberish, and has never eaten anything but saltines and chocolate milk his whole life? Mary has taught this kid, and many others with other abnormal conditions. This book is based on a true story about the life of Mary McCracken. Mary starts out as part of a League that went to visit a school for the emotionally disturbed. After an hour of visiting, Mary really wanted to work there. She started out as a volunteer under the supervision of a teacher named Helga. Mary moved up from being a volunteer to substituting for another teacher and eventually running her own class. Mary and another teacher Dan formed team teaching, which they took both classes into one big room and taught together. Each week they took kids to nearby attractions because these kids rarely get out. Mary and Dan were able to teach their students, such as, Brian to eat normal food, Jenny to talk, all the kids how to swim and working other miracles. The book ends with all the kids returning from winter vacation and Mary receiving a message that Dan would be stuck in Florida for awhile. A substitute, named Claude, is hired to teach in Dan's place.

I really enjoyed this book from the beginning up towards the very end of the book. When all the Junior Leaguers went to the school to visit, they ended up leaving quickly because they were disgusted in the school. Mary could have left too but she said she really wanted to stay. Her friend Ellen thought she was nuts but Mary didn't care what anyone thought. This is what I really admire about Mary. Another thing I admire about Mary is how she got Helga to become friends with her. Mary, who was hated by Helga because she was a volunteer, was able to gain respect from Helga when she quit her job at this school. I was amazed how she could teach these kids lessons that no other teacher seemed to do. Mary had many great ideas that contributed to her success. One great idea was the deciding each week where to take the kids. These emotionally disturbed kids don't get out much and this was the only way to do so. Also team teaching was another great idea because it enabled Mary and Dan to give two different points of view in learning. There were only two things I didn't enjoy about the book. The first thing was when Mary spent a few chapters discussing about her husband Larry. The book didn't get into details about why they needed a divorce or why Mary went on several vacations to be away from him. When reading these chapters I felt lost because they never said the cause of all this, just simply that it was happening. Lastly I think the book fell apart at the end, when Dan didn't return. I expected the book to end just like a school year would end. Or it would have ended with Dan and Mary still working miracles through their team teaching. Instead, Dan is missing, Mary is upset and she gets a substitute that is new to the whole school system. The book leaves you guessing as to, will Dan Return? And if he does, when will that be? Can the new substitute allow Mary to teach the way she usually did? How will the kids react when they find out Dan isn't around? Overall I was really addicted to this book.

This book has changed my opinions on how tough it is to be a teacher. It teaches you that goals can happen if you work hard enough and don't give up. Even some of the meanest teachers can be the ones that help you learn the most. I recommend this book to anyone who is considering teaching whether they are majoring in special education or not. If you love kids you would really enjoy this book. Even if you are a kid, you would enjoy this book because often you don't get to experience what it is like to be with the emotionally disturbed.

I read this book in high school over 10 years ago, and I still feel that it is the best book to really teach you what autistic and behaviorally disturbed children are really like. This is the book that made me choose to become a teacher. I recently recommended it to a friend who just married a man with a 7 year-old autistic daughter.

As a Southern historian I liked the book very much. However, I was and am confused about the hospital where the book began. It seemed to be Chimborazzo in Richmond as he was wounded at Petersburg. However, I thought later that it may have been in central North Carolina as he was traveling west toward the mountains. That was never explained and the map inside the cover helped very little. I felt the book dragged somewhat at times, but overall was excellent.

I also saw the movie and was pleasantly surprised that it was very good and stayed close to the book. I always have problems with movies and found two glaring errors and one significant omission. Nicole Kidman was dressed as a cross between a Gibson Girl of the 1890's and Miss Kitty of Gunsmoke. I never understand why they can't do the ladies' clothing correctly for the 1860's. Renee' Zelwiger was miscast as Ruby. She needed to be much bigger, fatter, and more country. Renee' comes off as a city girl trying to pass for a country woman. They should have had Jude Law go back and kill the guy with the women after he got loose from the chain gang, as happened in the book. Finally, the band was playing "Sittin' On Top Of The World". That song was not written until 1930. So much for historical research.

Avid fans of Charles Frazier's classic novel "Cold Mountain" novel who have followed its translation from book to film now have a keepsake coffee table edition celebrating the move, which is much more than a collection of movie photos. The novel "Cold Mountain" is the story of a pilgrimage, and in the same tone compliments Cold Mountain: The Journey From Book To Film, tracing the odyssey of the movie created by an English directory and his international team of filmmakers: a six-year odyssey. Yes, there are over 185 photos by a number of photographers - but there are also extensive references on pre-production, post-production, and analyses of how the film was created, adding a depth and dimension which elevates Cold Mountain: The Journey From Book To Film far beyond the status of mere coffee table embellishment.

I am a Cold MOuntain fan! I love the book! When I saw the movie, I was somewhat disappointed. Don't get me wrong; it is a great film, but it is so different from the book. When I rated the screenplay, I gave it three stars (out of five), because I felt it "violated" the book in so many ways. This book (Journey from Book to Film), however "redeems" the screenplay, because it explains and illustrates the process of adapting a book to film, and helps the reader understand why the movie "must" be different from the book. This is an absolutely beautiful and essential book for anyone who cares aqbout how the book became a film, and the end result. It is a lovely and well-done book. Highly recommended. By the way, you will want to read the novel again after seeing the movie and reading this book!

This is a beatiful book on the making of my second favorite film of the year, the first being The Return of the King. The book expolres the novel's journey fromm book to srcipt to screen and has over 180 lavish pictures and illstrations. I have not bought any other of these books from Newsmarket becasuse it did not really not what to expect. What i got was a grand expolarartion of what it takes to make a grand film like this. The Music was great in the movie and there is extenisve pages on the making of the soundtrack as well as 32 pages of beatuiful black and white photos taken on the set. If you love movies buy this book, it doesn't even really matter if you have seen the movie or not the book well just make you want to see it a lot more.

Anthony Minghella has become today's poet of images. His films are lyrical and very emotional. They are beautiful, always thoughtful and very touching. That's why I counted my lucky stars when I learned that Minghella would next adapt one of the best and most beautiful books I've ever read, Charles Frazier's Cold Mountain.

Could Mountain: The Journey from Book to Film takes you on the road that everyone involved with this film walked down. First, we meet Minghella and Frazier, as they both discuss the writing of the book and of the script. Then, we meet the producers, the set desingers, the cinematographer, the costume desingers, the actors, the editor... Everyone who played a major role in the making of this film is presented in this book.

I haven't yet see the film and cannot say if the greatness of the book translated well when it was taken to the silver screen. But judging from the interviews and the pictures in this film, I have to say that I don't think I'll be disappointed. The pictures in this book are beautiful and very attractive; you can already tell that this will be one heck of a film to look at (the pictures alone are the kind of visual candy you can't pry yourself away from). And then, the book also reprinted parts of Minghella's screenplay. And like we saw in his other films, The English Patient and The Talented Mr Ripley, Minghella really has a knack for writing engaging and touching dialogue.

Reading this book only made me want to see the film even more. It's rare that you are allowed to partake in this kind of journey, following a film's progress from point A to point Z. But this book brings you right into the heart of the film's production, discussing all the problems the crew faced, and telling us little annecdotes about the making of this film. Cold Mountain might not end up being the greatest film ever made (although I do wish it is), but I can tell, judging by this book, that it will be a great and very important film.

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.

My 3 year old loves the Backyardigans and really likes this book. The story is about a good and bad switch on the robots. The flaps are fun for him to open. The show is successful because of the music but this book works well. At the end I always make sure to flip the good switch on on my son, it cracks him up!

Our two year old grandson LOVES "Cops and Robots". Not only does he share it with anyone who will read it to him again, but, he will also just sit by himself for long periods of time going through the pages and lifting all the little windows.

What a wonderful book to have for my grandaughter age 16 months. She loves the colors, she recognizes the t.v. characters & the pages are easy for her to flip.

My grandson loved this book. It is nice and colorful.

The other day we were in a large chain bookstore and my son kept saying he wanted the Backyardigans book with "bad robots". I couldn't figure out what he was talking about! He must have seen it elsewhere before...

So I asked an employee, and she helped me track down the book on the computer. As soon as my son saw the cover, he exclaimed "That's it! That's it!" Fortunately for me, they had a copy in stock!

I haven't seen my son this enthused about a book since I can't tell you when. Normally, board books are for babies and toddlers--so I thought he might be disappointed. However, once we flipped through it, I realize that it was not only age appropriate, but that he'd likely love Cops and Robots--especially with the cool foil and holographic flaps!

Although Cops and Robots has only 14 pages (7 actual "board" pages), there's quite a bit of text in this book...so it's great for beginner readers. The story is that Tasha and Pablo are "Bad Bots" because their robot switches are set to BAD..and they formulate an evil plot to turn all the robots in the factory into Bad Bots.

The neat thing is that the factory is in outer space! Of course, Sergeant Tyrone and Officer Uniqua can't allow those Bad Bots to infiltrate the factory--so they set off in hot pursuit after Tasha and Pablo.

There are 20 flaps in this book, as well as shiny foil accents--many which are colored and look almost holographic. The presentation is very engaging, as is the story. My son LOVES it!

Cops and Robots is a unique, well-made addition to the Backyardigans book. Quite frankly, I've not seen anything like it in children's books (and we own dozens!)