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Enjoyed reading about the life of Clayton Moore, The Lone Ranger. Since receiving it I am now in my 3rd reading of it. It seems everytime I find someting new and interesting.

I wish he was alive so I could personally talk with him about his adventure doing The Lone Ranger. May his spirit always remain in the hearts of all Americans...

You can find out more information about Clayton Moore and The Lone Ranger fan club at www.lonerangerfanclub.com/jr

Taylor Trade Publishing presents "I WAS THAT MASKED MAN" (Paperback) - by Clayton Moore and Frank Thompson --- Clayton Moore was an American actor best known for playing the fictional western character The Lone Ranger --- Moore was a circus acrobat as a boy, then later enjoyed a successful career as a John Robert Powers model. Moving to Hollywood in the late 1930s, he began working as a stunt man and bit player between modeling jobs --- He was an occasional player in B-Westerns and Republic Studio cliffhangers, ultimately starring in more such films than serial hero Buster Crabbe --- His big break came in 1949, when George Trendle spotted him in "Ghost of Zorro" --- As producer of the radio show and creator of "The Lone Ranger" character along with writer Fran Striker, Trendle was about to launch the masked man in the new medium of television --- Moore was cast on sight.

In keeping with the nature of the Ranger character, Moore chose to protect the Ranger's identity at all times and is perhaps the only actor whose full face is largely unknown to the public. It was never shown in the TV series, although occasionally he would don a disguise and affect an accent, revealing the upper half of his face in the process. However, there is no shortage of photos of Moore unmasked, including many in his autobiography. His many fans, however, could easily recognize him by his distinctive voice --- (From Wikipedia, the free encyclopedia)

TABLE OF CONTENTS: (Title and Page Numbers)
Foreword by Leonard Maltin - ix
Preface by Frank Thompson - xi
Introduction by Frank Thompson - 1
1. Birth of a Ranger - 13
2. A Cowboy Actor in the Big Apple- 35
3. Hollywood - 43
4. Republic Pictures - 61
5. In the Army Now - 71
6. King of the B's - 79
7. Hi Yo Silver, Awayy! - 111
8. Back to the Big Screen - 131
9. Jay Silverheels - 143
10.The Lone Ranger Rides Again! - 151
11.England and a New Daughter - 185
12.Adventures on Television - 195
13.You Don't Pull the Mask Off the Ol' Lone Ranger - 203
14.The Adventures of Clayton Moore - 221
15.Who is That Masked Man? - 231
appendix - 243
Index - 257

BIOS:
1. Clayton Moore
Date of Birth: 14 September 1914 - Chicago, Illinois
Date of Death: 28 December 1999 - Los Angeles, California

Moore often was quoted as saying he had "fallen in love with the Lone Ranger character" and strove in his personal life to take The Lone Ranger Creed to heart. This, coupled with his public fight to retain the right to wear the mask, ultimately elevated him in the public's eyes to an American folk icon --- In this regard, he was much like another cowboy star, William Boyd, who nurtured the Hopalong Cassidy character --- Moore was so identified with the masked man that he is the only person on the Hollywood Walk of Fame, as of 2006, to have his character's name along with his on the star, which reads, "Clayton Moore -- The Lone Ranger" --- He was inducted into the Stuntman's Hall of Fame in 1982 and in 1990 was inducted into the Western Performers Hall of Fame at the National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma.

THE LONE RANGER CREED - I Believe that to have a friend, a man must be one --- That all men are created equal and that everyone has within himself the power to make this a better world -- That God put the firewood there but that every man must gather and light it himself in being prepared physically, mentally and morally to fight when necessary for that which is right --- That a man should make the most of what equipment he has --- That `This government of the people, by the people and for the people' shall live always --- That men should live by the rule of what is best for the greatest number --- That sooner or later .. somewhere .. somehow .. we must settle with the world and make payment for what we have taken --- That all things change but truth, and that truth alone, lives on forever --- In my Creator, my country, my fellow man.

Check out a new book from Empire Publishing - "GENE AUTRY WESTERNS" (Hardcover) - by author Boyd Magers, like no other book on Gene Autry --- all of Gene's Mascot, Republic and Columbia westerns included, as well as his half-hour TV Episodes --- each segment contains the release date on each film ... major production credits ... complete cast (including character played) ... all songs included, songwriter and who performed them in the film ... running time of each film ... dates of the filming ... bios on the cast and major players (Smiley, Pat Buttram, Cass County Boys, Herbert J. Yates, directors, leading ladies, songwriters and various heavies, etc.) ... locations that were used ... budgets and negative cost ... stunt people involved ... analysis and synopsis on each film ... notes and comments (including film and cast background info, salaries paid, working titles, etc) ... comments from Gene and many other cast members on each film ... theater exhibitors comments at the time of the films release ...this tribute was written from the heart and it shows.

Hats off and thanks to Les Adams (collector/guideslines for character identification), Chuck Anderson (Webmaster: The Old Corral/B-Westerns.Com), Boyd Magers (Western Clippings), Bobby J. Copeland (author of "Trail Talk"), Rhonda Lemons (Empire Publishing Inc) and Bob Nareau (author of "The Real Bob Steele") as they have rekindled my interest once again for B-Westerns and Serials --- More than just a tribute to the role Clayton Moore made famous, this book is Moore's personal memoir, told with condor and sincerity -- the engaging story of the life he strove to live according to the ideals he represented to millions of Americans, please stand up and take a bow --- all my heroes have been cowboys!

Total Pages: 280 ~ Taylor Trade Publishing ~ (4/25/1998)

This man, Clayton Moore WAS the Lone Ranger. I can say no more.

I was a bigger fan of the Lone Ranger on radio than TV, but only because I was away in school most of the years it was on the tube and missed a great deal. That is something I am trying to make up as I collect DVDs and is why I bought this book. I have also known personally two who worked with Clayton Moore in the past, serial queen Kay Aldridge and former rodeo star Beverly McDermott. Everything they said about this man is echoed in the book. A very honest upright straight shooter. I am also impressed by his arguments as to why a star should set an example. So different in Hollyweird today. We need actors and actresses today who have the high moral standards this man has shown. May God bless him always, here and in Heaven.

An in depth history of Clayton Moore. A very informative perpective of a bye-gone age in Hollywood. I really enjoyed this book. A must read for Lone Ranger and TV western fans.

Just a comment about the reviews of this great book. Without rehashing the accolades and criticisms: If you think the character portrayal was disrespectful to "the Few," you have obviously, never spent any time in a tactical aviation unit. The dynamics of the young pilots' relationships with each other was pretty close to reality.

This book is spot on if you want to know what squadron life is like! (minus the chateau of course)

I looked for this book after catching the end of the miniseries on TV. I guess the author broke a lot of "rules" about characters and probably other things, too, but I loved it. You might be introduced to a character, learn all about him, and find him dead two pages later. This gave me a sense for what it might have been like to live through those harrowing years. The readers, just like the aviators themselves, don't know who's going to make it through. An absolutely fascinating drama. Highly recommended!

Having grown up "over there" reading this book makes you wonder how indeed we did win the Battle of Britain. Great book.

This is one of my favourite books ever, perhaps rivalled only by Robinson's other masterpiece, "Goshawk Squadron", both of which I have read and re-read again and again over the years. The writing is simple, subtle and brilliant, the dialogue sparking and witty, the atmosphere vivid.

Was this what life in the RAF was really like at the start of the Second World War? The author's unemotional writing carries with it a gritty and entirely convincing sense of reality; you cannot help think that this is really how it was.

From the opening sentence to the final full stop, Robinson delivers a tense and entertaining story whose characters spring to life from the pages. If many of his personae are necessarily only lightly sketched and interchangeable, others are multi-dimensional portraits that remind me forcefully of the kind of people I went to school with or suffered under as a pupil. (I served my time in a British Public School. By the 1960s we were living in 1890).

We meet Ramsey, headstrong and impatient, but he is in such a hurry that we have little time to get to know him. Fanny Barton, an athletic but uncertain New Zealander suffers from social insecurity and a nervous introspection that drives him to hasty and poorly considered decisions. Lord Rex is confident and breezy, but his aristocratic charm disguises an unpleasant ruthless arrogance, and sometimes callous cruelty. Despite his experience as a pilot in the First World War, the much older adjutant Kellaway comes from an earlier epoch, and ideas of gallantry are not completely erased. Skull Skelton, the intelligence officer, by contrast, sees the folly of war for what it is - and gains few friends from his outspoken views. Moggy Cattermole is thoroughly unlikeable from the beginning. When we meet him he has just stolen a giant gollywog from someone by punching him in the eye. As the story progresses his unusually ugly character is slowly revealed to the reader. By contrast, Chris Hart III is an upright, cynical, war-weary American, viewed by some as an unwelcome colonial intrusion into a thoroughly British war.

On the ground, Robinson evokes the colours and scents of wartime France and England, and mercilessly - but without fuss - shows us the muddle, misconceptions and incompetence of the administrative machinery of 1939 and 1940. He lets the reader see the unthinking class snobbery of the young pilots, making us reassess these otherwise often likeable individuals and realise that by upbringing they must in many cases have been blinkered and insufferable, arrogant self-anointed masters of the universe. But you cannot dislike these pilots. They live intensely and with gusto, and the reader is swept up into their funny, unscrupulous, devil-take-the-hindmost world where a quick turn of phrase and disregard for personal safety are badges of honour.

By the outbreak of the air war in 1940 the Spanish Civil War had convincingly demonstrated that large formations of fighters were horribly vulnerable to attacks from an enemy using more flexible tactics. The RAF ignored the lesson that the Luftwaffe had taught the Spanish Republican Air Force and stuck to the outmoded air gymkhana for no reason but doctrine. Robinson shows in this book how the RAF gradually came to accept that doctrine does not win air battles.

In the air, Robinson immerses us in a vast and frightening arena of battle. His descriptions of flying a Hurricane are so well executed that the reader can almost feel the vibration of the airframe and smell the hot oil and hear the exhilarating roar from the Merlin engine. In some books you can predict which character will live and which die; in this book you get the feeling that you had better not get too attached to any of the jaunty, interesting individuals that inhabit its pages. Death is as unexpected and final here as it must have been to the young men and women who saw these events at first hand. Robinson delivers battle in the air with a mastery that leaves the reader shocked and shaken as death scythes in from below, from behind, from nowhere, in an abrupt shuddering blur from the empty sky.

I have read many war novels. "Piece of Cake" has few rivals.

The Battle of Britain. Dashing, fearless young patriots out of Shakespeare take to their machines to save Albion from Nazi bombers. Battling hopeless odds and a vastly superior enemy, these lions of the sky prevail against evil, save democracy, and land back at base in time for their tea.

Or not.

Derek Robinson's "Piece of Cake" has to be one of the most brutally cynical, myth-debunking pieces of historical fiction ever put to pen. In its 650+ pages it methodically, and at times gleefully, ravages the heroic sterotype of Britain's fighter pilots cemented by the hundreds of books, movies, and documentaries which have come out since the war. In the language of the book, it puts paid to all that bumf and tells the truth --or rather, Robinson's version of it.

"Cake" is the story of Hornet Squadron, a rather average collection of fighter pilots flying Hurricanes, between September 1939 and September 1940. It details their involvement in the "phoney war," the Battle of France and lastly, the Battle of Britain. From the very first chapter, when a number of the pilots wreck their car while driving home drunk from a pub, then steal a tractor, and finally horses, to get back to their base, the reader begins to realize that we few, we happy few, we band of brothers, is nowhere to be found here. With the occasional exception, Hornet Squadron is a collection of snobbish, selfish, sophomoric, not-too-terribly bright adrenaline junkies who joined the RAF in the hopes of blowing things up without legal consequences. It's a case of be careful what you wish for, times two.

For a story with so many characters -- the squadron has more than a dozen, and chaps are always getting knocked off and replaced -- Robinson does a terrific job of keeping them all fresh and distinct from each other. Each reader will have his own favorite "good" guy -- goodhearted flight leader Fanny Barton, the cold-blooded American volunteer Christopher Hart ("CH3"), the crazy as a loon Flash Gordon, or possibly the non-fighting duo of "Uncle" Kellaway (the squadron adj) and his sidekick, an Oxford don turned intelligence officer "Skull" Skellen, who spend a lot of time arguing about squirrels. There is no question about the squadron's biggest bastard -- not since "GoodFellas" Joe Pesci/Tommy DeVito did I hate somebody as much as Lance "Moggy" Cattermole, the big, smooth-talking sociopath who seems to enjoy tormenting and using his squadron mates even more than he likes to machine-gun German pilots as they hang helpless in their parachutes. Robinson takes positive delight in showing how how Hart's theory that "up there the world is divided into bastards and suckers" also applies on terra firma.

"Piece of Cake" was a contraversial book not only for its thoroughly unglamorous depiction of the RAF jocks but because it expands on the touchy and undiscussed issue of the RAF's kill claims. The pilots, who in fairness can hardly be blamed for making mistakes given the nature of air combat prior to the installation of the gun camera, claimed about 2.5 German aircraft destroyed for every one that actually was. The vastly overstated statistics issued by the RAF made their way into the postwar literature and contributed to the mythos surrounding the battle. In point of fact, the Germans had about 900 fighters to the Brits 600, and the Me 109 was badly hampered by its extremely short range and the necessity to try and protect the bombers. The odds were somewhat closer than the Brits care to believe.

"Piece of Cake" wasn't written to disparage the courage of the British pilots or denigrate their accomplishments, but to show them for what they were -- young, often immature officer-boys of varying character who sometimes died stupid and futile deaths. In other words, human beings at war. In this sense, Robinson does the RAF a favor, for heroism is much more impressive when it comes from real people rather than Hollywood cartoons. After all, peacetime flaws often make for wartime virtues. Or as Hart says to Fanny Barton about Moggy: "He really does like killing people. You don't know how lucky you are to have him."

My Aunt, who is now 86, read this book in England, when she was much younger. She mentioned it to me, as I use the Web, and I purchased it for her. She has told me that she very much enjoyed reading it again. She also said she had watched a BBC TV series on the same book, but I can't find it for her. Can you?
Yours sincerely,
Peter E Bradley

My friend Mary Sue sent me Precious Bane when I was very ill, hoping it would get me reading again. She was right.

The time of the tale is not clear. It was written in 1926 but has a Hardy-like tone which would place it in the mid-to-late 19th century. The location is Shropshire, England. You can reference a Shropshire word list on the Internet, but after a while I preferred to let the dialect flow over me and learn some of the meanngs the way we first learn a language.

The premise is that it is customary in Shropshire to hire a sin-eater, usually someone poor, when someone dies, who will take over the sins of the dead person. The Sarn family is too poor even to do this when the father dies, so the son, Gideon, offers to be the sin-eater in return for taking ownership of the family farm. He works the farm with his sister Prue.

The second plot is a love story. Prue is a woman with a hare lip, a beautiful body and character above reproach, who is struck by lightning with love when she first sees Kester, an itinerant weaver.

Other scenes of interest take place during market which introduce various characters, reveal through gossip the attitudes about them and explain customs.

I read that Precious Bane is tobacco, but it seemed rather to refer to foxglove, which takes an important turn in the plot.

The writing is excellent. The characters are true. Some readers compared this book to Cold Comfort Farm. I have read Cold Comfort Farm, and although I enjoyed it didn't find it to be similar, as the heroine is a flapper in the 20's.

The only thing that might have perfected the book would be to liken Gideon's sins specifically(he had many) to the sins of his father, which she didn't do. The lack of detail didn't seem to detract much, as the point was explained at the beginning.



Thank you, Mary Sue.

This is one of those rare stories that seeps into your soul and leaves a lasting impression. The language itself, while a bit difficult at first becomes a song you want to sing and long to hear it spoken. The story, sometimes achingly sad and violent is ultimately triumphantly romantic - with a sequence of events that leaves the reader breathless and yearning for more. Shortly after reading Precious Bane, I was lucky enough to discover a small theatre group in Chicago performing the stage version. My husband and I were in a packed theatre of about 30 people, where I sat front and center with the actors not more than two feet in front of me. Knowing the story line as I did, I made a spectacle of myself sobbing through the second half of the play. I'm sure the actors were gratified that they had such a strong effect on their audience. Suffice it to say, no one who picks up this book will be disappointed, nor will they ever forget it.

The story is this: A young woman, Prudence Sarn, is born with a harelip, which makes her subject to superstition and ridicule from the small-minded country folk who surround her in early 20th-centry Shropshire, England. Because of her deformity, Prue is told again and again that she will never marry; her brother, Gideon, more or less conscripts Prue into serving him on the family farm, telling her that if she follows his plan that she will at least have money and respectability someday. Prue follows along with this plan, envisioning the day that she will have enough money to make herself "beautiful as a fairy" - a dream that takes on concentrated exigency in Prue's mind when she falls in love with the handsome weaver Kester Woodseaves. Prue thinks that no man could ever love her as she is, "cursed and hare-shotten," and when one tragedy after another strikes the Sarns, she wonders if true happiness will ever touch her life.

It's rare that a book moves me to tears, but in the course of reading this novel I grew so attached to Prue that I felt as if she were speaking to me as a sister. The delicate, simple distinctions of this story ring true in every word; it was as though the secrets, disappointments, and beauties of the English country were visible in the spaces between words on the page. At first the language, written in vernacular of the time, was hard to read, but once I grew accustomed to it I was transported to a remote and seemingly miraculous place where Prue discovered and treasured profound beauty in unlikely places. The same can be said of discovering Prue herself, whose compassion, wit, love, and faithfulness shine in everything she does. I would recommend this book to anyone and everyone - it is undoubtedly a story about love, but not in the conventional rom-com or Harlequin-paperback way that's so prevalent nowadays. This is a story about strength of spirit, about unconditional goodness in the face of cruelty, mockery, and calamity. If that's not a real "love story," I don't know what is.

This is an amazing book which should be read by all those who enjoy British literature. It is a touching, romantic story. The writing is sensual in that there are sounds, smells, sights, tastes and textures to be experienced in its textual descriptions. The natural setting almost becomes a "character" in and of itself because you could not take the story out of the beautiful, natural, country setting Webb creates.
Look at other reviews to understand the plot. However, it truly doesn't make sense to try to recount it. Be patient when waiting for the "hook", when you won't be able to put the book down, it will come. Also, allow yourself a bit of time to learn to read and hear in your mind the syntax and sound of the words. Mary Webb takes you to a different place and time and you come to understand what it would be like for a young woman with intelligence, family devotion, character and longings who happened to be born with an external defect.
May this book become one of your favorites as it has become one of mine. (If anyone knows how I might obtain a video/DVD of the Masterpiece Theatre version with Janet McTeer and Clive Owen, please let me know.)

An interesting look at the life of an interesting personality. I don't understand the socialist attitude about money and investment. Mr. Hayden gives a good look at the attitude but doesn't clarify it.

I recommend his novel Voyage.

This book is as convoluted as its author. It maintains a flow of semi-stream-of-consciousness from start to finish, and what emerges are the memoirs of a man whose love of seafaring and considerable self-deprecation ("self-loathing" is a little too strong a term) has brought him to a sea voyage to Tahiti with a pick-up crew and his four children in violation of a court order. Hayden's story is it's own animal, going from the coasts of Massachusetts and Maine, to the forests of Yugoslavia, to courtrooms and congressional chambers and movie sets and finally to the high seas and South Pacific islands with a strain of fatalism and regret throughout. It should make for a downer of a read; instead, I found myself staying up and turning the pages to see what happened next. A great book.

I would like to add something to the excellent and perceptive reviews above. What came through so strongly is that life is messy, yet Hayden's remarkable self awareness didn't seem to help him. This is a fascinating look inside a big life. I found it valuable.

I believe it was 1959 and I had just returned from a month's cruise to the Tuamotus and Marquesas islands on the copra schooner Charlotte Donald. I was sitting at a table on the quay in front of the Hotel Le Grand when the schooner first appeared off Papeete. It sailed in smartly, picked up the Pilot, and docked stern first, as was the custom, at the concrete quay. The name "Wanderer" was nicely affixed to her transom. I lived in District Punavia, kilometer thirteen, next to Paul Gauguin's old home by the Thompsons. Several weeks later I would board the Wanderer after meeting her skipper at a party to buy some of the 16mm color film he had for sale. He was courteous, the children were well mannered, the library below was impressive, and his ship was clean and appeared to be able to sail on a minute's notice. We chatted for some time and he recounted some stories of his trip. We knew the same haunts in coastal California. We met a couple of more times at functions on the island. He seemed to be a cheerful and courteous person. He was a large man and deep voiced and I knew he was an actor, but that's about all I knew. Not long ago I had written my autobiography and had made a small mentioned of the encounter and the film. A friend who read my book asked if I had read Hayden's biography, which I hadn't. He suggested I do so, and last month I ordered it from Amazon. The book was disheartening for me to read. While he and I had many similarities in our lives (I wasn't an actor) and had been to many of the same places, we came away with massively different reactions. Mr. Hayden is a good writer and tells, especially about his life at sea, in an authentic style that kept me reading. I don't know if I would have finished if there weren't the similarity of our experiences. The sparse interjection of the third person voice over his normal narrative of first person was effectively used. The book and his life stand on their own merits and I make no judgment. He was first and foremost a seafaring man of unusual talents, and I wish I had visited him in the States in our later years. Mr. Hayden, you steered the course you wanted in recounting the voyages of your life. That's about all most of us could ask for. Rest in peace.

PS:
Spike Africa, his mate, came as a surprise, or else I had forgotten. Skip ahead twenty years and I chartered the "Spike Africa", a 70 foot schooner out of Newport Beach California somewhere around 1979 for a company off-site (the exact thing Hayden despised ... sorry). Bob Sloan built and then christened the boat "Spike Africa". The California yachting community all knew of Spike Africa the man, as a legend in the Pacific ocean, although I never knew any details of the legend.

Hayden was one of those force of nature types who, sadly don't exist in sufficient quantities to make the world a really interesting place. In this book, he tells his life story, while telling the story of his last voyage on the 100 foot schooner, Wanderer. His prose is lovely and has the rythm of the sea; like other great works of sea literature (like Moby Dick). I'll give a high point of his prose before I complain:

"What does a man need ---really need? A few pounds of food each day, heat and shelter, six feet to lie down in --and some form of working activity that will yield a sense of accomplishment. That's all --in the material sense. And we know it. But we are brainwashed by our economic system until we end up in a tomb beneath a pyramid of time payments, mortgages, preposterous gadgetry, playthings that divert our attention from the sheer idiocy of the charade. The years thunder by. The dreams of youth grow dim where they lie caked in dust on the shelves of patience. Before we know it, the tomb is sealed. Where then lies the answer? In choice. Which shall it be, bankruptcy of purse of bankrutpcy of life?"

Hayden was a child of the depression who worked his way out of bad circumstances by a combination of stubbornness, physique and leadership skill. He is eventually given a job a an actor, after being spotted by the media during a sailboat race in Glocester. He abandons this due to a love affair with an actress who fancies herself concerned with serious social issues. He joins the war and does OSS/CIA type operations in maritime support of partisans in Yugoslavia. He returns to his acting. Makes many movies. Marries an evil shrew. Divorces. Gets the kids. Chucks it all for a trip to Tahiti in his 100 foot yacht. All this is well and good, but the man reveals too much about himself. His self loathing isn't interesting. It is certainly not edifying, and though he seems to abundantly pity himself, I cannot feel sorry for him. The man had many fine opportunities. He had fine charachter qualities; I admire the fact that he chucked it all, just because he didn't like it. But he was not a fine man: he was petty and ugly -he couldn't even treat his own widowed mother decently, and though his ex wife was probably no better, I rather doubt as being around such a tormented spirit was good for his kids. In that way, he is a tragic figure; all the more tragic because he doesn't seem to realize it himself. It is no suprise he never did much with himself after he wrote the book. I don't know this to be true, but I suspect he drown himself and his self-loathing in booze.

Still, it is a beautifully written book. In a way, the book is his triumph over it all. It is doubtless a finer thing than any of the movies he made, and his great "the heck with it all" dramatic gesture is probably better than any he made on camera. I know I will read the book again. Perhaps when I am older I will think differently of Captain Hayden. Amusingly, a visit to Sausalito revealed that I had known Hayden as the demented General Jack D. Ripper in "Dr. Strangelove."

This is an excellant book by an author who best describes the feelings of this amazing film.
The book has a great mixture of photoes I have never seen before and also, a lot of interesting stories about the cast and and the making of the film.
I would certainly recommend this book to anyone who loves the film( Its a wonderfull life) and my praise to the author in writing something that I know both my family and myself will read and read again.
A great buy

There are plenty of surprises in this book. You'll read what director Frank Capra and the players themselves have to say about making "It's a Wonderful Life," and you'll discover some interesting names among those who were almost cast. You'll also learn that some of the film's legends are true, while others are not. For example, while it is true that Carl Switzer (Alfalfa from the "Our Gang" comedies) was the rascal who opened the gym floor exposing the swimming pool beneath, it is NOT true that muppets Bert and Ernie were named as an homage to Bert the cop and Ernie the cab driver -- that's just a coincidence. In spite of the book's rather crowded layout and lackluster production, if you love "It's a Wonderful Life" and/or if you collect IAWL memorabilia, you'll want to have this book.

If you love "It's a Wonderful Life" (and who doesn't?), then you'll LOVE this book! I was stunned to learn about what happened to the cast and where the Bailey kids are today and what they look like in more recent years. No other book offers the pure nostalgia factor like this one. The author gives us some amazing details about deleted scenes, as well as photographs that have surfaced showing these rare behind-the-scenes glimpses into scenes that never made the final cut. I loved the photo of Henry Travers (Clarence the Angel) in full color, not long before he died. What a treat this book is!! And the special message from Jimmy Stewart at the beginning of the book is pure magic! If you are a fan of this film, you won't be disappointed! This book is the perfect gift for any friends who love the movie, too. I've already ordered several and am giving them out this holiday!

Cox's "It's a Wonderful Life: A Memory Book" is an excellent addition to the movie buff's collection, and to fans of this exceptional film. The book is packed with stunning photographs (many never seen before), interesting tid-bits about the making-of, backstory on not only the fine performances of James Stewart, Donna Reed and Lionel Barrymore, but the character actors that helped make Capra's touching film so memorable and the holiday favorite it has become--almost 60 years later. It is well-researched and richly-written. This is a perfect gift year-round for any reason. It is one of Cox's best!

I have to admit that I wasn't much of an "It's a Wonderful Life" fan....until now. I had the pleasure of meeting Karolyn Grimes (little ZuZu Bailey) recently. She is such a warm and lovely person and spoke of IAWL with such passion that I bought the DVD the next night and watched it with new eyes. Now I'm hooked.

I was so delighted to find this book, to learn even more about this classic movie. After reading the book, I had to watch the DVD again.

Even if you're just a casual viewer of the movie, you'll still love this book. It's incredibly well-researched and jam-packed with beautiful photographs. Stephen Cox has a way with words. You feel like you're sitting with an old friend. His books are like comfort-food for the mind!

First, a disclaimer: I'm not entirely impartial. I picked up this book after taking Jeff's workshop, where I had the good fortune not only to learn these tools in person but to see them tried out on my script, which was the example script for the weekend. So I came to "Writing a Great Movie" with a particular familiarity with the tools that it contains, and my experience may not be typical.

All that being said, I give this book my highest recommendation. Jeff's background is in playwriting and dramaturgy, and the meat and potatoes of these tools come from Aristotle and Price. Aristotle's unequalled analysis of Dilemma, Crisis, Decision/Action, and Resolution is presented here in a contemporary and eminently practical style. But the real treasure here is the stuff from William Thompson Price, a former lawyer who applied the principle of legal argument to the problem of dramatic construction about a hundred years ago and came up with the Central Dramatic Question and its extension, Sequence-Proposition-Plot. This tool is just an absolute workhorse. Whether you use it on the whole script or just a scene, whether you're at the crude outline stage or on your twelfth draft, it will give you a quick X-ray of your script in dramaturgical terms and help you jack it up.

There are also some great brainstorming tools for character and situation, and a particularly incisive analysis of theme. Jeff lays all the tools out in the first half of the book, then walks through the process of assembling a script from scratch using the tools. It's a very practical approach, though you may have to hunker down with it, and naturally you won't properly understand the tools until you start using them.

If you are a beginning writer, "Writing a Great Script" will not teach you how to write. It doesn't replace basic stuff like Syd Field, Lew Hunter, or Richard Walter's superb "The Whole Picture". I would say Jeff's book is a palette of extremely robust and versatile tools for the journeyman writer. You can use it like a roadmap if you want and use the tools to methodically assemble your script, but more likely you will mix these tools with whatever your preferred methods of working already are. I can guarantee that if you're sitting down to write and your intuition is on vacation and the muse left without leaving a forwarding address and you can't figure out just what the hell to do with your second act, reaching into this book for your tool of choice will get your car back on the highway. Not to mix too many metaphors in there, but you get the point.

In my experience, these are not tidy tools. These are practical tools, the sorts of things that can get you through a garage full of disassembled engine parts or a kitchen full of unfamiliar ingredients. You'll find yourself using several of them in parallel as you work back and forth from the level of the whole script to the beats of individual scenes.

As far as I can recall, all of the information in Jeff's class has been recreated in the book. The transmission of ideas is always more effective in person, but it's all here. I haven't seen any of his DVDs but I suspect the DVD/book combo would be a great way to get started with these tools. They certainly worked for me: I gave my script a total overhaul using these principles and the resulting draft was a quarterfinalist or better in four out of the six competitions I submitted it to.

I also see that Jeff has written "Script Analysis: The Godfather, Tootsie, Blade Runner" which breaks down the three scripts using the tools here. I have not read it but he uses these scripts as very helpful examples in "Writing a Great Movie" so I imagine that a more in-depth approach combined with re-watching the films would also be a great supplement.

I enjoyed reading the book, though I haven't put it to test, yet. It's clear, passionate, well-structured, and interesting to read. Its shortcoming, for me, was that the author concentrated primarily on action movies. Yes, "Tootsie" was included, but most of the examples, including the "tutorial" at the end, focused on quick action movies. I think the principles do apply to a broader range of movies, and I wish the author had reviewed also some more reflective movies in the vein of "Searching for Bobby Fischer," for example.

I'm a novice screenwriter and found myself completely encapsulated in this book. I wish I had it a year ago when I started my journey into screenwriting. The book in itself is the best classroom for getting at the core of your story and characters. I followed all the strategies and worked them through my script. What happened in the process were all my neurons firing with new ideas and twists. I was coming up with many versions of my script. It was exciting!

Far to technical to be useful for the beginning writer (im sure there are the exceptions out there). This seems to be broken down for the experienced writes struggling with their current projects. It has dozens of schemes to create characters and their scenes. In depth but lacks the simple straight forward inspiring tips and goals to send the new writer a' writing instead, it sends them scratching their head...or hiding under the cover depressed about themes and persona's.

His books and DVD's dwelve deep into his writing tools. I, like many, have read most of the books, and this is one of the top three I return to review. Mckee, Truby, Seger, Wright, and Tobin are all worth reading. Jeff's book is the most important, because it's crucial to find the spine of a story, and Jeff's tools are the best for finding it. All mention it, but Jeff's tools allow one to touch the heart of the story, so you write from the inside-out instead of the outside -- the most important, and the most difficult part of learning to write.

Christina Hamlett is a respected and well-known script consultant who has taken her knowledge of the industry and turned it into a thought-provoking look at the process of writing a script. While most how-to books on screenwriting give a reader the nuts and bolts of what makes a good screenplay, Ms. Hamlett does one better and walks her readers through HOW to make a good screenplay. Could It Be A Movie? is conversational and encouraging the whole way through and I especially like the hands on exercises that can be found in each chapter. They truly provide insight on what works for a story and what doesn't.

Ms. Hamlett begins by guiding her readers through deciding which format - movie, book, or stage play - best suits their particular story. She includes interviews and inside stories from some of the industries leading professionals who help explain what writing, and writing for Hollywood, is all about. She touches on everything a writer ever wanted to know about the screenwriting process - three-act story and it's proper structure, character and dialogue, adapting material from other mediums, rewrites, script consulting, more rewrites, and all about the business side of screenwriting - like protecting your work and querying an agent.

This book is one of the best on the market - as an aspiring screenwriter I've read many - and definitely belongs on the desk shelf right next to the likes of Syd Field, Linda Seger, and Dave Trottier. Ms. Hamlett's wonderful insights and straightforward writing style make it clear that she enjoys writing and helping other writers achieve their full potential. I can't say enough good things about this book, but I will say that Ms. Hamlett is a master at providing guidance to aspiring writers and she is a wonderful inspiration to us all!

Could it be a Movie gives great, detailed advice to aspiring screenwriters trying to come up with ideas and inspiration. But the book delivers so much more. This is a seriously good resource and I would highly recommend adding this book to your collection. From soup to nuts, Christina Hamlett keeps it real and discusses dialogue, agents, what producers do once they have your script and more. This is one of the best, most inclusive, humorous and spot-on books on screenwriting I have seen in some time. I just love Christina's voice. Reading her book is like having coffee with a dear friend.

Julie Gray
Founder, The Script Department
www.thescriptdepartment.com

"Could it Be a Movie?" tackles the title question with wit and a great sense of the craft and business of storytelling. Beyond that, it explores the fundamental question: Could I Be the Movie Writer? If that is a career you are considering, read this book first. Not only does it give solid information to help you make that decision, but it clues you in on the fundamental principles of the craft and business of writing for the movies. This remarkable book is loaded with resources from the library and from the internet. Could your idea be a movie? Just maybe, yes, with the aid of this invaluable resource.

There is only one reason a person writes - because they have to. And no one ever has to read what you write. But if you wish, pass copies out to your family and friends. I promise you they will gush and fawn. And you will realize the money you dropped on that script writing software was well spent. Then buy Christina's book. You'll find out that developing a script is not done by just sitting at a computer. Christina's too much of a lady to tell you in the book to do this, but here's what I did after reading COULD IT BE A MOVIE- I grabbed a couple note books, a bunch of sharp pencils, a bottle of scotch, found an empty table, and slashed my way into my soul. Christina helped me find places there I was proud to write about.

Just like Christina Hamlett's other reads, Could It Be a Movie? get's two pens up! This How-To book is your first step in determining whether or not your newly written script is fit for the big screen. Maybe it would be better as a book or maybe a stage play. Now, with this book as your guide, you will be able to make that determination on your own.
This book is chock full of great knowledge dug up from the wonderful mind of a successful theater director, script consultant and former actress. But what is great about the book is its easy to understand voice. Christina writes in a very conversational tone and combined with her wit and great sense of humor, it seems as though you are learning all this priceless information from across a table in a coffee shop. It's amazing how easily the information flows from the book to the brain. I even catch myself (who has no experience in this field) saying to myself, "Oh yeah! That totally makes sense!"
The book also relays great advice such as, "if you can strip away all the glitz and gizmos and your story still has something substantive to say to an audience, you've probably got yourself a solid plot." She instructs you to be familiar with the medium you are trying to emulate. "Don't be a playwright who has never seen a play, a novelist who has never read a book or an aspiring scriptwriter who never goes to the movies." And another brilliant point she makes is: "there are no short cuts in this business so you might as well start at square one."
Like Christina Hamlett's other book, Screenwriting for Teens, this book also has great mind-stimulating exercises to give a try. For instance, she asks the reader to list movies that are written in "bookend format" or what she aptly named the "maypole format." How about turning a commercial you are familiar with into a movie? All the while, she continues to drive home the importance of your story having a solid message. What does your script say to the audience?
There are so many important topics this book touches on that first timers may not already know. For example, she explains how to shorten a script by taking out lengthy stage directions. She advises leaving that to the directors. Or maybe you have never left Wisconsin but you want to write a believable book about a character in Los Angeles. With the invaluable resources she has included such as websites written to help novelist's research different kinds of people, jobs, cities and customs for anywhere in the world or anything you may be writing about, it's now possible. She delves into the legalities of copyrights and how to stay away from shady websites that promise you the world. Worried about how to find an agent? Could It Be a Movie? to the rescue! Yes, even that information is in there.
So start writing that first script because like in her waffle analogy, the first one always gets thrown out.

EXCELLENT!!! I love this book. I've been waching GH for years now but this book gave me the backstory to alot of plots. The pictures are great and seeing all the old charachters from years back is the best. I love it, love it,love it!

A wonderful compilation of memories from a once-great soap opera. It's a necessary memory tool for Classic GH fans to remember the show before it turned into the poorly produced, poorly written mockery it is today, courtesy of current misproducer Jill Farren Phelps (better known as Dull Darren Delps) and hack writer Bob Guza Jr. (a.k.a. Mob Luza Junior Writer).
It's a fine written tribute to the late, great producer Gloria Monty, who guided GH out of the doldrums in the late 1970s. Monty's best are on parade in the scrapbook --
The love triangle of Luke, Laura and Scott.
The love triangle of Alan, Monica and Rick.
The spy adventures of Luke teamed with Robert Scorpio opposite the wicked and domineering Cassadines.
The expansion of the WSB/spy stories through the characters of Sean Donely, Anna Devane and Frisco and Felicia Jones.
The enduring loving couples that put your faith back in human nature -- Drs. Rick and Lesley Webber, Lee and Gail Baldwin, Steve and Audrey Hardy, Edward and Lila Quartermaine -- are well presented.
The great villains -- Helena Cassadine, Cesar Faison, Grant Putnam, and Heather Webber -- are in the house.
There's also a neat section of GH vets who went on to bigger and better - singer Rick Springfield (GH's Dr. Noah Drake) and Demi Moore (the soap's erstwhile newspaper reporter Jackie Templeton).
Only thing that's needed is an update of the book. The current book only goes as far as 1995. Warner should bring it up to 2002, the year GH began its rapid decline.

Sincerely,
J. Mosher.
(a.k.a. doneleywannabe of ABC's GH Internet message board).

This is especially great for old time fans like myself, because it reminds us of some great old scenes. It's too bad a lot of the newer actors are not in this, but it's a few years old. I love seeing this on my book shelf, proclaiming my love for GH. A great gift for the fan.

Okay, this book goes back, way back, to the beginning. LOTS of great photos and it explains the storyline as well! So if you wonder what Jason used to be like or who's related to whom...this will explain it all!

I bought this book as a gift for a friend so I can't comment on the contents but she LOVED it and is a big GH fan so I'm assuming I did well! My experience was exceptional. Got my book within a few days in mint condition as promised!

This book I will cherish for all my life. I love looking back at the old GH to the present. It just shows you how awesome General hospital is. It has such great stories. Love stories like Brenda and Sonny, Robin and Stone, to break through stories like Allen drug addiction to Stone's AIDS Story. God this book will make you scream in glee or shead a few tears. To All- ENJOY!

My three-year old grandson loved the book. The story is good and the art is exceptional.

As an artist I tip my hat to William Joyce! I read in an earlier review someone saying it is done in simple watercolor but thats not watercolor unless its watercolor pencils. Such meticulous detailed work even as George ventures down the railing of the stairs he passes a depiction of "Sunday afternoon on the Island of Le Grande Jatte"! This book is a prize the story line is so cute the text is perfect for age 2-6 and the adventure and art are unforgettable. No wonder PBS made it into a show!

I loved this book. It was so cute. I thoughtit was good for every one. It was about a kid who wonders about how it would be if he was shrunken and when he was sleeping he actully shrunk. But he had to do some chores and they were the simplest things like watering the plants or feeding the goldfish turn into the biggest adventure.

I gave this book a five because a little kid name George has a dream of him being small like a "teddy bear". When he had the dream he was in his bed sleeping, his mom left a note of chores and he was doing the chores. The "scary" part in the book was when the cat sees George and thinks his is a toy and the cat tries to put his claw on him ,but George runs and hides from the cat. This book is great and I think William took a long time doing the cover and pictures and I say the book cover and pictures are really beautiful. I love this book because he had a dream that was weird that he was small and that he had to do big chores. I would recommend this book because it is a cute book for a 1st and 2nd graders I think they will love it because all of the cute pictures and the funny pictures they would love to read this book a lot of times and I would like to some day read it again because it would be so nice to read it over and over.

I will give this book George Shrinks 5 stars. I do like this book because it is action pack and it is kind of funny because a boy that small can do all his chores.I do recomend the book to people that have a sense of humor.I think this book is for all ages.

In 1991, I had the privilege of being a student at the School of Advanced Military Studies at Fort Leavenworth under the direction of then Col James McDonough. A man of deep reflection, he was also passionate about soldiers and ensured that everything we did as students in teh study of warfare and campaign design kept them in mind.

Now I am a university professor offering courses in US military history. Part of what I do is to expose my students to leadership and battle at the small unit level. There is no better book for that purpose concerning Vietnam than McDonough.

Every student takes something different away from this book because, unlike many assigned books, they read it. The book captures you right from the beginning. You really can't put it down. And, it contains more lessons about life and leadership than I can express here.

Knowing the author personally in 1991-1992 is special, for I saw in him then the character that had developed from his time in Vietnam. He tells it like it is, he means what he says, and he stands by his word. His book is more than just a memoir, it is therapy for a man who must live with the past, both for better and for worse.

James McDonough provides an in-depth look at infantry platoon operations in Vietnam. This is a must read for anyone who intends to pursue a military career. The book is very graphic, but also very succint and to the point. McDonough doesn't waste time with superfluous details, every word is well chosen and critical to the telling of the story. Once you begin reading, you will not want to stop. It is a quick read, and well worth the time it takes.

Platoon Leader was an excellent read, and one I would recommend for all those enjoy military reading. I would especially suggest it to all junior military leaders. Entertaining and well written, the author discusses at length his role as a leader, and what he views as good and bad leaders. The aspect of the book I enjoyed the most was it allowed the reader to see leadership, on a small-unit level, working in real-world combat conditions. Unlike many books leaders read for professional development, it shows how leadership works when employed and doesn't just philosophize about leadership principles.

"Platoon Leader: A Memoir of Command in Combat," by James R. McDonough, chronicles the author's experiences as an officer in the Vietnam War from 1970-71. His platoon is charged with manning an outpost next to the village of Truong Lam.

This is a fascinating, well-written account. McDonough fills his narrative with vivid details that really made his story come alive in my mind. He doesn't flinch at describing the goriest and most horrific images of war. There are also moments of irony and bitter humor. Also noteworthy is the informative material about tactics used in Vietnam. And the author humanizes the story by touching on such "down-and-dirty" issues as the latrine his platoon used.

McDonough's story is populated with a compelling cast of characters. Particularly intriguing is his exploration of relationships among the various groups he encountered in the war zone--U.S. enlisted men, his fellow Army officers, Vietnamese military allies, enemy forces, and the many civilians caught up in the conflict.

While rich in scenes of combat, "Platoon Leader" goes beyond being just an action-packed war yarn. The book explores the ethics and morals of war. McDonough deals directly with the danger a soldier faces in becoming dehumanized by the brutality of war. He vividly portrays the struggle of a leader to remain wise and humane, yet also tough and resolute, under the most trying of circumstances. This book is both a profound meditation on wartime leadership and a powerful work of American literature.

As a junior officer I have an entire list of professional reading that I am trudging my way through, but so far McDonough has been by far the most enjoyable and has made the biggest impact on my own leadership style. Both Platoon Leader and Defense of Hill 781 are great books, but Platoon Leader is so far the best military memoir I have read. It has been over a year since I read this book, but the three things that have stuck with me are:
1. Do the right thing, at the right time, for the right reason.
2. Death in a combat zone is more about just being in the wrong place at the wrong time. Sooner or later your luck runs out, but you have the duty to your fellow soldiers to do everything in your power to protect them.
3. The stealing of a bottle of soda from a grandmother leads slowly but inevitable to the rape of her granddaughter. If you let your soldiers steal at all you are setting the stage for what atrocities they will commit later. You must always be vigilant in your discipline.

While I do not have combat experience, I am currently serving in Iraq and know second handedly that these concepts still hold true.

Other than the leadership aspect of the book, Mcdonough is just a great story teller and is able to make the book engaging and addicting.