John Woo Books

Although published as a textbook for university students, this volume is an excellent read for anybody wishing to understand the course of evolution. The authors have assembled a wealth of material, organised it in an effective manner and presented it with outstanding prose skill. Lead author Craig Stanford, whose books on primate behaviour are well-known, is joined by neurologist and geneticist John Allen and anthropologist Susan Anton. The trio brings many years of experience to the task of explaining human origins.



After a brief introduction explaining what is meant by "Biological Anthropology", the authors provide a fine survey of the basic mechanisms of natural selection - DNA and genetics. Their depiction of how the genome is formed and how that structure builds the elements needed for natural selection to operate is an outstanding brief summary. Using available chemicals, DNA's mechanisms to build cells are explained, supplemented by vivid graphic images. From the process of cell building, the authors move on to show how the completed organism must deal with its environment, which includes other creatures, plant life and climate conditions through adaptation down succeeding generations. The authors describe the various factors leading to producing new species, isolation, elapsed time and new conditions. They also address the issue of how fossils and conditions are recorded in time and how researchers use a variety of techniques to determine age and place.



The species of concern, of course, are the primates. The sudden demise of the great reptiles that had ruled the Earth for over 150 million years opened new vistas for the life that survived the catastrophe. Little, fur-bearing creatures moved into niches that allowed rapid change. Many varieties emerged, but noteworthy among them were shrew-sized omnivores. Spreading over the land and forests, some of them developed new traits that would ultimately lead to us. The origin of the primates is lost in the mists of time, compounded by the paucity of fossils and lack of agreement on what typifies a "primate". The earliest proposed species bears the ungainly name of "Plesiadapiforms". The authors describe the traits suggesting these were our earliest ancestors, while explaining what is lacking to establish a firm identity. Each of the points they introduce is enhanced by the contending researchers' arguments over lineage.



Once past the vague beginnings, the team offers insights into how ape transformed into human. The physiological trends, such as jaw structure and teeth are outlined. Each of the fossil examples of pre-human hominids is examined critically with the important elements indicating its lineage in the human story assessed. From a lonely skull in a desert to remote caves, creatures that one day would lead to you and me are revealed. At some point, one or more of the ape-like animals stood upright. Demonstrating what a major step this was, with changes in spinal column, head position and posture, the new form proved to be even more adaptable than its predecessors. Not the least of the advantages gained, they note, is the ability to travel long distances with minimal energy expenditure. As much as we've learned, the authors remind us of the many questions remaining. The actual number of species, where and how they lived, and how many lineages did the ape ancestor lead to over the millennia?



Emerging "modern" forms bring new challenges in understanding. Although early apes sent offshoots out of Africa, it was the hominids that proved to be the most ambitious travellers. Homo erectus spent over a million years traversing Asia, leaving fossils in far-flung sites across the continent and in the islands southeast of the mainland. Their remains have been dated to as recently as 25 to 50 thousand years old. The recent find on the island of Flores suggest an even more recent descendant. A new species, Homo sapiens, and its own diaspora out of Africa follows. Its most significant aspect, the development of intelligence and language is thoroughly examined. A major change took place leading to the one species with the highest proportion of brain size to body weight. Coupled with changes in physiology, our species created a new form of intricate communication abilities. The brain also went through changes in organisation. Which factor made the greatest contribution to human behaviour patterns is the concluding segment of the book. It is that aspect of our history that remains most contentious and the authors examine the various views surrounding that issue. It's a fitting conclusion to this in-depth and comprehensive study. [stephen a. haines - Ottawa, Canada]

THIS IS ABSOLUTELY THE BEST HK MOVIE GUIDE OF ITS KIND!!!
THE BIBLE OF KUNG FU MOVIES!

Forget Christopher Heard's pathetic, hackneyed, dull mockery of a biography, Ten Thousand Bullets. John Woo: Interviews is the best book on John Woo currently on the market. Michael Bliss' Between the Bullets has some interesting insights, but it was a collection of film essays, which focus more on academic, sociological and ideological interpretations of Woo's films rather than an aim at biographical detailing.

John Woo: Interviews succeeds very well at portraying the shy, serious director by meticulous editing, mostly letting Woo's own syntax and verbal mannerisms come through with minimal tampering, and the interviews themselves delve into Woo's troubled relationship with Tsui Hark, his work with both Hong Kong and American film crews, his childhood in Hong Kong, and of course his quartet of Hong Kong classics: A Better Tomorrow, The Killer, Bullet in the Head, and Hard-Boiled. My
favourite interviews are the ones with Hard Target director of photography Russell Carpenter, who goes into the nitty-gritties of working with such a visually meticulous director, and an extremely illuminating portion where Woo dissects the unique qualities of his various leading men -- Chow Yun-fat, John Travolta, Jean-Claude Van Damme, Nicolas Cage, and Tom Cruise.

The editing is smartly done, making the interviews flow into an easy read, and each interview is documented so that we have some context for interpretation. I've been reading up on Woo for quite awhile, but I'd say this is the single most comprehensive, multi-angled and absorbing source of John Woo material yet. A great read for fans of Asian cinema, and filmmakers will especially find this book an invaluable source of information for Woo's unique cinematic magic.

No, it doesn't have a flashy cover -- no dust jacket at all, actually. But what it does have -- in spades -- is some very good information on John Woo and his films. I have no idea why this book doesn't have a higher profile -- it is a fantastic resource. There are so many things to praise about this book, I don't know where to start -- one of the author's most interesting approaches is to trace John Woo's personal main themes (courage, loyalty, brotherhood, etc.) from even his earliest films through his later, more well-known films. In short, a definitive work on the man and his films. Sure, any loyal Woo fan could wish this book was 500 pages -- but it's the most complete I've seen. Buy this book!

A book in laymans lanquage which explains the complex relationships of what helps and hinders learning; what types of learning there are and what can be done to help young and old learn more effectively.

This textbook is super worth to buy it. If I bought it from school, it needed about $60. This one only costed about $20 including S&H. I supposed it was a used book but when I got it, it was brand new. What a great surprise! I would recommend this seller to you all. Also, the delievery service was super fast too. It just took couple days upon receipt my payment. GOOD DEAL!!

This book gave me a new insight into the thoughts and ideas of many of the great thinkers of my time. It let me read captivating speeches which contained the same words that once rallied thousands to march in protest,the same words that showed hundreds what their real drive in life should be, and it also showed me that their are more views to life than just my one.

The Presence of Others : Voices and Images That Call for Response
by Andrea A. Lunsford (Editor), John J. Ruszkiewicz was use in my freshman English course. In the beginning I was not too enthusiastic about the book. It took some time to get used to. Now it has become part of my growing home library. It has great essays ranging from John Henry Newman to Bell Hooks. I love the diversity.Lunsford and Ruszkiewicz did a great job putting this book together. There are subjects that everyone can relate to. Since using the book in my English class I have become a both critical reader and thinker that John Henry Newman had a vision of.

John Woo has captured those wild Party Animals! The public arts exhibition in Washington DC featuring 100 elephants and donkeys individually designed by local artists and displayed throughout the city ended far too early for us "locals". Many enjoyed touring the city to catch a glimpse of each statue. However, the vandals spoiled some of the fun and the "exhibit" has ended. But thanks to John Woo, we now have them all at our fingertips in this book of photographs! Each donkey and elephant are photographed with a caption including their title, their artist, and where they lived in the city. My only complaint is that no biographical information of the artists are given, or how to contact them. It would be tons of fun to find them all and have them autograph their work. A great book to have if you love DC or politics.

I was excited to download and read this comic, but to my disappointment, I can't even read some of the frames because the print is too small. When you try to zoom in, it just enhances the pixelation which makes it impossible to read. Even for 49 cents, I'm disappointed with this product.

New kid on the block Virgin Comics - I know; who that? - puts out this impressive graphic novel and, consequently, forces me to shell out my somewhat hard-earned cash. Until yesterday, I didn't even know this title existed and, if I hadn't peripherally glimpsed the arresting cover as I lurked in my local comic book store, I'd still be sadly unawares. John Woo's name was on the cover and, so, I just had to check it out. And, oboy. It turns out that John Woo's 7 BROTHERS, a trade paperback collecting the mini-series's gripping five issues, is spectacular. Suggested for mature readers (but I read it anyway), the story immerses you in the desperate doings of seven brothers (and one sister) as they contend against a seemingly omnipotent sorcerer. Conceptionalized by celebrated Chinese film director John Woo, scripted by Irishman Garth Ennis (PUNISHER, PREACHER, HITMAN), with interior art duties by Jeevan Kang (India), and covers rendered by Vampire Hunter D illustrator, Y. Amano (Japan), this is a comic book team of United Nations proportions, which nicely befits the theme of this series.

Here start the plot SPOILERS.

Here's the rather melodramatic plot breakdown: In 1421 (before Columbus, Magellan, and Cortez), vast Chinese fleets were sent on the Emperor's mandate to explore and map the world. But this venture bankrupts the nation of China, which then turns to a state of isolationism. Thus, after two years of far flung voyaging, the fleets are summarily recalled and all vestiges of the mission wiped out from all historical records. But there's a hint of an echo of a rumor that has been bandied about for centuries - that the fleets were, in fact, denied their welcome - that they, to this very moment, yet sail the haunted seas.

Cut to the present, as seven disparate but opportunistic men are lured in to Los Angeles by the promise of money. There, they are met by an enigmatic Chinese woman (and, naturally, she's hot) named Rachel Kai. Rachel narrates a strange story involving the fabled Chinese fleets, a corrupt sorcerer who styles himself the Son of Hell, and that sorcerer's clever but infinitely less powerful apprentice, who, once upon a time, attempted to save the world and was successful, for a time. But that time's done.

Now, events are set into motion which eventually ushers in the return of the Son of Hell, who is still very much consumed by dreams of world domination. That clever apprentice? He's planned for this, too. These seven men, hailing from all corners of the earth (Australia, Argentina, India, Nigeria, the Middle East, and the U.S.) and each possessing peculiar abilities, were brought together to save humanity from eternal subjugation. Seems that, irregardless of their nationality, they all share the same bloodline, their powers bequeathed down thru the centuries by the long-range planning of one lowly but resourceful apprentice.

SPOILERS end (mostly).

Scribe Garth Ennis has always had a penchant for turning out hard boiled characters. No different here as the villains are uncompromisingly evil and brusquely vindictive and will instantly dole out the ultimate harsh measure to gain their objectives. The lush Chinese mythology and mysticism, bridging hundreds of years to infect the present, contribute a dark, unearthly presence to the goings-on, but Ennis is careful to offset that with keeping his lead characters flawed, down-to-earth, and cynical. The chosen men, even as they admit to their own hidden powers, still react to the unfolding of outlandish events as you and I would if put in the same fantastical position. And, when these guys finally, reluctantly decide to join forces, they remain a contentious lot.

Now, granted, Ennis has his hands full as it's a challenge to individually flesh out a large cast of characters in a limited span of time. There is some character study, though it isn't ample. He almost does enough, though, as, with admittedly broad strokes, he delivers a sense of what each character is like. But, ruefully, as I read on, several of the seven gradually blended into the background. Ennis does do justice to one character, in particular: Ronald Wipes, who skulks in the 'hood with the self-nickname of Double-Double (because he's "twice the trouble"). Ronald is a ridiculous, small-time, and shockingly profane "pimp" from South Central L.A. who once got beat up 13 times in one week. In fact, the first time we see Ronald, he's getting viciously trampled by hoes. While the other six fellas were already cognizant of their respective talents, Ronald just doesn't seem to display any. Nevertheless, Ronald ends up becoming the most interesting and most humorous character in this series, and when his latent ability does finally surface, well...it's a doozy.

Two of the other protagonists do stand out, in my eyes: the seven's guide, Rachel Kai, who herself is unusually gifted. She's a cutie and very persistent. She gets her you-know-what handed to her several times but still remains implacable and unswerving. The other is the stately Nigerian Robert Akimbe, who has "super-sight" but who is reluctant to lead. In the opposite corner, the Son of Hell makes for a daunting villain, but, more than him, I really dug his bodyguard Zheng, who specializes in "conflict resolution" and can effortlessly scoop out his target's eyeballs with chopsticks. Simply put, in the street parlance of Double-Double, this dude is a baaad mamajama.

John Woo's idea is based on the classic folktale of the ten Chinese brothers, each of whom was gifted with an otherworldy trait. He embellished on this mythology and then handed the reins over to Garth Ennis. Now, Garth Ennis's blunt storytelling is historically marked with acute violence and hard-bit profanity, which proves to be ideal for this epic yet gritty mini-series. His pacing here, initially, does let up enough to fill in the reader with necessary exposition and for certain forces in the story to become aligned, but then it gains piledriver momentum as the seven become active participants, culminating in an all-out, no-holds-barred battle for the sake of humanity. Given, Ennis's concepts aren't necessarily trailblazing, but they're delivered with such in-your-face brazenness and visceral panache that you can't help but get sucked into the story. I still shake my head at what happens when the seven first meet up with the fearsome Zheng.

I don't know much about artist Jeevan Kang, other than he drew SPIDER-MAN: INDIA, which I haven't yet checked out. His art here is messily fabulous and often murkily rendered in shadows. It isn't exactly sexy but it's full of vitality, and his style does superbly convey the storyline's dark moods and tones, doing right by the grim fantastical structure set in a contemporary, urban background. Kang does well enough with the mundane stuff (ie: people in conversation or supping at meals) but he really excels in depicting the very brutal, highly graphic action sequences. As well, more credit goes to Kang who is partially responsible for the colors in the artwork. Mostly set in earthy tones, they help to lay down the brooding and gritty atmosphere. Overall, I like to think that both writer and artist manage to capture John Woo's stylish and poetic vision in violence, which seems to be a key essence of his craftsmanship.

This TPB also comes with added treats: a Frank Miller foreword; an informal biographical summation of the seven brothers; Artist's Commentary - Jeevan Kang talks about some of his favorite pages and why he likes them; the evolution of two scenes as they go from panel description to layout to pencils to final colors; variant covers; an afterword; and a 4-paged deleted sequence (Jack Donald returns to L.A.), shown here in pencil work.

*Sigh* I guess it's too much to ask that they do a movie version of this series, huh? Oh, well. Now, I'm not exactly sure if John Woo's SEVEN BROTHERS is a stand-alone mini-series or if a sequel is forthcoming. I would love for there to be one, and, certainly, the story's ending doesn't slam the door on that possibility. But, if this is all there is to the exploits of the seven brothers, well, color me content...No, wait, I take it back, dammit! I actually do want to read more about these guys and their cool powers (especially Ronald), and the brave Rachel Kai, and, of course, the ever ambitious but bald Son of Hell. Now, that guy, he *ahem* gets under my skin.

A bit confusing and it lacks Garth Ennis' punch ( see volume 1). Nevertheless it is enjoyable and it is worth the money and the time.

This book, though very informative, is taken from so many other already available sources that it reads more like some student's book report. The most inaccurate passage being that Jeff in "The Killer" wears white gloves like Jeff in "Le Samourai". I own "The Killer" and do not remember seeing him wearing gloves. Also, Christopher Heard claims that some scenes from "The Killer" match "Le Samourai" shot for shot. That is completely untrue. Obviously Mr. Heard has not done his homework and thoroughly researched his subject matter. All in all, it is an interesting read if you are unfamiliar from where some of the material is plagerized.

And for the author to come onto this site to defend his malodorous slapped together quickie bio is contemptible. Heard, the author, "takes offense" and makes claims of having spoken extensively with mssrs. Woo and Chow, and yet these "talks" are not included in the book. All we get are the same story beats featured in mainstream magazines such as People and Time. Anyone who buys this odious ripoff will, in fact, receive nothing but quotes featured in articles posted on www.chowyunfat.com, or www.johnwoo.com, or bullet in the web or any number of other sites available by typing the words 'John Woo' into any search engine. Available for free, mind you. Christopher Heard, unfortunately, is a hack who did not put in the necessary legwork, and who now feels the need to attack his critics and defend his own deficiencies as a writer and "reporter." For all the "authoritative posturing," where is the interview with Kenneth Tsang, who has starred in almost every post ABT Woo work (including Chow's American debut The Replacement Killers)? the detailed examination of Woo's work (how the two-gun stance was swiped specifically from The Shootist and Taxi Driver)? details about his gun-happy works before 1986's A Better Tomorrow? Why didn't Ti Lung become Woo's leading man? why Chow? and who is Ti Lung anyway? and what about the many other projects Woo was supposed to do once he got to America? Band of Assassins? Full Circle? Tears of the Sun? Metal Machine? the sequel to Hard Boiled? Who wrote these? How did they come to Woo's attention? Christoper Heard doesn't know any of this because he didn't know what questions to ask Woo (or Chow). He focused solely on the well known movies, as opposed to the person behind the typewriter and camera. Where was the discussion about how Woo (and later Chow's) work suffered once they reached America? Why is this happening? These answers are not in this "book." This slapped together quickie's contents can be found, free of charge, on the aforementioned sites, where ironically, amateur webmasters offer more answers than this so-called biography. Don't bother with Heard's hackwork. He didn't bother trying to write a real book; he slapped other peoples' quotes together and called it his own work.

Think of this book as a really extensive magazine article. If you're looking for some behind-the-scenes information on the second half of John Woo's career, look no further. However, if you're a film student looking for a complete in-depth critique of John Woo as an artist and director from both a technical and biographical perspective, this book will leave you a little hungry.

For weeks I have heard about this book from friends, publications, as well as the internet. Being a John Woo fan, I planned to purchase the title from the first time I heard it was coming out. So when I recently saw it sitting on a shelf of a book store, I immediately purchased it. It was read and completed within a few hours. Not because the book is very short, but because it was so interesting to read for me.
For John Woo fans, this is a book that definately should be looked into. From the monent I started chapter one I did not want to put the book down. To see how my favorite director came to be the man he is was very interesting, and though I had already known much of the information contained in the book from previous visits to the internet, I did not mind reading about them again.
I, like the author of the book, started my admiration of John Woo after first viewing a Better Tomorrow movie (the first film, in my case). I was browsing a store, looking for an action film to watch for the evening when I saw the Better Tomorrow DVD, sitting there, with Chow Yun Fat smiling on the cover. I bought it, went home, and watched it. Within that week I had the Better Tommorrow trilogy all on DVD, as well as a half dozen other films by John Woo and/or Tsui Hark. That is how I became a fan. So when I started this John Woo book, and learned that the author became a fan in a similiar fashion, I think it made the book a little more enjoyable to read and relate to.
For those who are more of the "casual fan" or John Woo, who have simply viewed a few of his movies and don't know much about him, this is a good book to begin learning. The writing is clear, easy to read, and really seems to be written by a real big John Woo fan. Though I would have appreciated some pictures and the asian names included in the filmography section, this book is good enough such that you won't care about those details as you read through the chapters discussing the times of one of the greatest action directors ever.

And for the author to come onto this site to defend his malodorous slapped together quickie bio is contemptible. Heard, the author, "takes offense" and makes claims of having spoken extensively with mssrs. Woo and Chow, and yet these "talks" are not included in the book. All we get are the same story beats featured in mainstream magazines such as People and Time. Anyone who buys this odious ripoff will, in fact, receive nothing but quotes featured in articles posted on www.chowyunfat.com, or www.johnwoo.com, or bullet in the web or any number of other sites available by typing the words 'John Woo' into any search engine. Available for free, mind you. Christopher Heard, unfortunately, is a hack who did not put in the necessary legwork, and who now feels the need to attack his critics and defend his own deficiencies as a writer and "reporter." For all the "authoritative posturing," where is the interview with Kenneth Tsang, who has starred in almost every post ABT Woo work (including Chow's American debut The Replacement Killers)? the detailed examination of Woo's work (how the two-gun stance was swiped specifically from The Shootist and Taxi Driver)? details about his gun-happy works before 1986's A Better Tomorrow? Why didn't Ti Lung become Woo's leading man? why Chow? and who is Ti Lung anyway? and what about the many other projects Woo was supposed to do once he got to America? Band of Assassins? Full Circle? Tears of the Sun? Metal Machine? the sequel to Hard Boiled? Who wrote these? How did they come to Woo's attention? Christoper Heard doesn't know any of this because he didn't know what questions to ask Woo (or Chow). He focused solely on the well known movies, as opposed to the person behind the typewriter and camera. Where was the discussion about how Woo (and later Chow's) work suffered once they reached America? Why is this happening? These answers are not in this "book." This slapped together quickie's contents can be found, free of charge, on the aforementioned sites, where ironically, amateur webmasters offer more answers than this so-called biography. Don't bother with Heard's hackwork. He didn't bother trying to write a real book; he slapped other peoples' quotes together and called it his own work. Don't bother buying it. A better book has yet to be written on John Woo.