Television Books

Peter Jennings was taken from us at the pinnacle of his
career. He shaped the news in many areas like the
ABC Nightly News. The book provides many specifics about
his life and career. There are memorable pictures
contained throughout the book. i.e.
o The Miss Canada Pageant of 1965
o various political conventions
o the Munich Olympics
o the Clinton Presidential Inaugural of 1997
o a meeting with Mikhail Gorbachev in 1991

The acquisition would be perfect for persons interested
in journalism, politics and government.

This book is purchased for our Book Club for next year's books. Several of our members had read it to be sure it was okay. It was difficult to purchase - first we had to wait till it was published (you know how THat goes!) and then the price was exhorbitant (that was overcome) and finally it joined the other books we purchased for the Club. Oh, and say, did I mention that this is a book for next year's selections? and that it will be much like "saving it for dessert?" I haven't read it yet either - just scanned through it, and therefore I know it to be the "icing on the cake."

I was never a regular viewer of Peter Jennings' news broadcast or any of his documentaries, but now I wish I was.

This book pointed out all the great time, effort and blood, sweat and tears that Peter Jennings put into all segments of his broadcast and documentaries. He did not take his anchor position lightly and wanted all viewers to share his same passion and understanding of the subjects he was speaking.

It also went into great depth to speak of the man that none of us saw on his nightly newscasts. One who was such a humanitarian and lover off people from all different walks of life.

This book kept my attention and made me feel sad that I did not pay closer attention to his newscast while he was still with us.

If you loved Peter Jennings you will love this book. It was written in an innovative style by way of an amalgam interviews with his colleagues. If you are looking for dirt on Peter skip this book, but if you want to relive the hundreds of wonderful hours you spent with him on your TV, this book does the trick. Your memory might also be jogged when you read the many adjectives describing him in the book: charming, distinctive, exuberant, thoughtful, reflective, gracious, caring, sincere, whimsical, questioning, authentic, direct, gentle of spirit, warm, great sense of humor, intelligent.

I loved the insight many of the contributors gave, as well as the quotes from Peter: "He connected with every person he met. He didn't use them." "He had this life force that seemed to surround him--his enthusiasms, his boundless energy and curiosity. He was one of those people that was just a great sense of nirvana to be around." "And when he was faced with the actual test, he instantly did the right thing." Peter: "Be spare, be precise, take your time, and don't say too much. Let each work carry the weight of the story....communicate in a concise way."

Peter would ask, "What are we going to do today what will distinguish us?" He despised predictability, mediocrity of any kind, laziness." "Listening to Peter was...riveting." Peter WAS riveting, and so is this book!

Bill Kizorek, CEO, Two Parrot Productions

When ABC newsman Peter Jennings died from lung cancer in 2005, he left a void in the industry that has yet to be filled. Along with the likes of Walter Cronkite, Chet Huntley and David Brinkley, Jennings helped revolutionize television news, sitting on both sides of the desk, transforming the genre from a 15-minute afterthought to a major component of network broadcasting.

The editors of PETER JENNINGS: A REPORTER'S LIFE, including his wife, have collected the thoughts and memories of scores of family, friends and colleagues who are universal in their praise and turned these stories into an oral biography. It seems as if Jennings was almost predisposed to the profession. As the son of one of Canada's most respected radio broadcasters, he got an early start, hosting his own children's show as a nine-year-old. Formal education held little interest for Jennings; these days he might have been diagnosed with ADD. His success, despite dropping out of high school, was truly remarkable.

Jennings was just 26 when he was handed the anchor assignment for ABC News in 1965, a job to which he admitted he was not suited at the time. He earned his stripes by going out into the field --- far, far afield to Europe and the Middle East where he thrived on the exotic surroundings and the action.

The entries in A REPORTER'S LIFE reveal a man in a hurry, ever curious and always willing to do whatever it took to get the job done, even when that meant putting himself in harm's way. Jennings was no "Scud-stud," a term used to describe reporters who made a name for themselves during the first war in Iraq; he didn't even like to fly. But he impressed everyone, from his sound men to heads of state, with his ability to soak up information and present it to his audience.

When he stepped down as an active reporter to once again take over the anchor desk for ABC News, he brought that same restlessness with him. He was a demanding boss, always expecting the reporters to do the same thorough job he did. But his humanity was always evident. During the coverage on 9/11, he wanted the audience to see the devastation of the World Trade Center rather than in-studio shots of him. And he was never afraid to defer to experts or admit he did not know every issue involved.

Many of those interviewed said that Jennings never wanted to be the center of attention, which made his on-air revelation of his illness all the more conflicting. For him, it served as an abject lesson, another chance to educate his viewers.

The format of A REPORTER'S LIFE both works and doesn't work. Since it's not a straightforward biography, it appears choppy at times, a series of mini-monologues interspersed with Jennings's own words. It is also understandably biased; you won't find too many speaking ill of him. On the other hand, these are the people who knew Jennings best, and the book serves as their final chance to pay him tribute.

--- Reviewed by Ron Kaplan

The Red Balloon is a wonderful story with an adorable little boy as the star character. I bought both the book and the DVD to give as a present to younger children (4 yrs old). I think they will enjoy if only for the visuals. The film is produced in French language but there is so little dialogue that not understanding the script doesn't affect the enjoyment of watching the film. Overall, it is a fun story with a good feel to it. There were only a couple of situations in the story that I thought might be a little sensitive or a bit scary to younger kids .. one being a group of boys chasing the little boy trying to take the balloon away from him. The other a very quick scene where a school headmaster is upset with the chaos going on and he puts the little boy in a room and locks the door. These are minor to the overall upbeat feel of the story but parents may want to review first to consider their own fast forward editing or explanations. In my case, the quality of the DVD was not great. It's an old film so perhaps the age is showing a bit in the reproductions.

Great story....grew up watching the short film and checking this same book out from our local library. Now that I'm a mom, I have introduced this video and book to my kids, and they're infatuated with everything about it. Great, well-made books with lively photos and storyline that holds little ones' attentions.

this book was written some decades ago but the excellence of the writing and the very skilful, thoughtful & sensitive photography which integrates very successfully with the story, are such that I believe this book will be deservedly popular with very many generations of children in the future. I believe that it is a masterpiece of children's literature and I strongly recommend it as a gift to be given by any parent - or grandparent.

I must have checked this book out a hundred times when I was in Elementary school as it was such a favorite. What a joy it was to find it still in print and telling it's charming story to future generations. This is a classic, and a book that I would recommend to all children and adults that want to hold a piece of their treasured childhood memories. This story was told in film on the International Children's Film Festival, hosted by Kookla, Fran and Olie, and further helps to bring this story to life.
Treat yourself and your children to the story of a boy and his friend, the red balloon.

The photographs, the text and presentation are remarkable. A piece that makes a good complement of the movie.

I gleaned a lot of information from this book. There is not a ligting, electrical connection that is not explained to my satisfaction. Take the time to read all then keep this book handy as a reference. Just showing that you have the book, proves that you know what you are talking about.

Great book, lots of detail for any working Lighting tech, or aspiring tech. Great for a indi-film makers library.

A MUST HAVE for the inside scoop into the Industry.

If your planing a career in the motion picture or television business than this book will greatly advance your technical knowledge of the business. If your an old pro at the business the book is great for a quick reference to prepare you for a shoot.

This wonderful book, covering all the major areas in lighting, in enough detail to give a solid grounding. w

While it may appear a little too technical for the absolute beginner, it does offer a solid base in knowledge for those with a little experiance wanting to expand their knowledge, and take away plenty of ideas with which they can put to trial on future set's.

If your looking to become a cinematographer; but feel there are gaps in your knowledge, get this book. I believe it to be a must have.

Wonderful! Very insightful and informative. A great addition to anyone's bookshelf. I highly recommend it.

This is an excellent book to aid in the understanding of Shawshank Redemption, whether studying english or mass media.
I found the book to contain additional details on story boards and amended scenes, which indicate the way the script writer, Frank Darabont, adapted the story to film.
Thoroughly enjoyed the script, especially as I can read it in places I can't view the film, i.e. work.

As a rule, don't buy shooting scripts if you want to write a screenplay. Shooting scripts are finished products.

That said, screenwriters can learn from this exploration of the classic movie (yes, folks, it is a classic, it's been shown a billion times on TNT), by reading the deleted scenes (my personal favorite is one about the publicity of Warden Norton's prison-to-work scheme, in which Heywood, played in the movie by William Sadler, gets his best and sharpest lines for someone who's supposed to be the dunce of the movie), the storyboards, the explanations of which scenes were kept, etc.

And for people who just love the movie, it's a must-own.

This is a truly fantastic piece of work!!! If you really enjoyed the movie, and is fascinated by the art of filmaking, this book is for you. More than just the script of the film, the analysis by Frank Darabont takes to a totally different level and perspective. It actually makes you think like a Director. Other than this, just being in the production yourself... This is a true making-of The Shawshank Redemption, that is totally worth the price.

As Frank Darabont says in the introduction of the book, who else would buy the screenplay unless they really want to know more about the film? Sticking to that idea, Darabont has given the film student/buff, and those who simply love the movie, a real treat with this book. Not only does it contain the screenplay, it's the screenplay (I emphasize) AS IT WAS WRITTEN BEFORE FILMING. He's published it exactly as he wrote it when he adapted it from King's novella. I point this out because, as Darabont himself points out in the intro, so many screenplays that are thrown out by merchandise wizards are nothing but the finished movie transcribed. And really, what good is that to someone who wants a deeper knowledge of the film?
Not only does he give us the original screenplay, he gives us a scene-by-scene comparison of the screenplay vs. the finished film, and why things got changed/added/left out. This, in particular, says a lot about Darabont to me. This is a man who wants to use his work not only to be what it is (a GREAT film), but to educate as well. This book inspires. He includes storyboards, as well (including a storyboard for a deleted scene- oh, goody, goody!) and introductions by both himself and Stephen King, and a summarizing bit of advice to budding filmmakers and screenwriters. I devoured this book in short time (one night), lol, and found myself going back to the film to compare and analyze- if you don't do the same after reading it, I'll eat my foot.. okay, maybe not. But something drastic, I warrant you. If you are at all inclined to learn about filmmaking, writing, or even if you just love "The Shawshank Redemption" (which is what lead me to the book in the first place), this is a real must-have. It's worth the price alone just to read what he had to say about filming Freeman's scene walking through the field after discovering Andy's message. Trust me. By the way, fellow "Shawshank..." lovers are welcome to ...discuss it. Enjoy this book, everyone. It's a real find. And I'm SO glad I chose to buy it. The ONLY reason I give it four stars as opposed to five is because, personally, I would have liked to have seen more storyboards.

Posted by Roger Hitts on Jul 22, 2007 - 7:19:00 PM

At a time when the attention span of a celebrity-infatuated America lasts about as long as a ride on a bucking bronco, and snarkiness gets passed off as literary enlightenment, it can seem downright amazing that writers even bother crafting a loving, thoroughly researched and sweat-from-the-keyboard tome about the machinations of the Hollywood star system and the secrets behind the people who made our country swoon decades before Brad Pitt ever graced the cover of a tabloid.

Then again, there's not many Tommy Garretts in the world. A self-described chicken farmer who lives in the hinterlands of deep rural Virginia, Garrett has fashioned an incredibly successful career as a Hollywood publicist, radio and TV personality and foremost, an author, all from the relative comfort of the sticks and some 3,000 miles from Tinseltown. Yet he also returns to Los Angeles long enough to pick up new clients, find new writing material and for awards shows. It just shows to remind one that Hollywood is a state of mind - and in my mind, steering a wide berth around the day-to-day meetings at the Creative Artists Agency and hours-long lunches at the Polo Lounge keeps a romanticism toward the magic of movies alive without getting bogged down in the details.

Take Garrett's latest literary offering, So You Want to Be in Pictures - an exhaustingly researched, meticulously crafted book featuring insights and sidenotes, anecdotes and yes, dishy details on the lives of 55 Hollywood haymakers and what made them tick. The cast populating the book range from Golden Era legends such as John Wayne and Bette Davis, to the likes of Darlene Conley, an actress who didn't cross into big screen fame but maintained a rabid following among daytime soap lovers.

In many ways, Garrett may have crafted the perfect book for these times. Garrett is so obviously a student of the bygone era of Hollywood he likely could have fashioned 55 books from the ranks of thespians detailed in So You Want To Be In Pictures. Instead, the readers are given quick hits and peeks into the lives of stars from the inimitable Lena Horne to the 1950s icon and later John Waters pet Tab Hunter. Even those with the shortest attention span won't have to comb back a few pages to figure out what they had just read! But even more than sparing readers from having to learn what Ann Blyth's favorite color was, Garrett offers up something else that gives today's blogging generation something to sink their teeth into - real dish!

For example, in his own straightforward manner, Garrett offers up this about the marriage of Prince Rainier and Grace Kelly:

``What many don't know was that Rainier's first choice for a wife was the blonde bombshell, Marilyn Monroe. What man in the 1950s was not lusting after Monroe -- or that other doomed blonde sexpot, Jayne Mansfield? But between discussions with royal advisors and the Vatican, Rainier figured that Grace Kelly was his best choice. He did, however, fall madly in love with Kelly and probably didn't know that she spent many of the years of her marriage being a serial adulterer. For example, she continued an affair with David Niven until the time of her death."

In the hands of another writer, that paragraph would seem to be provocative for its own sake - but with Garrett, the reader gets the feeling he offers up the marital infidelity in the interest of full disclosure, not simply to be the schoolyard gossip. To be sure, Garrett - whose publicity firm specializes in managing the public lives of the more senior members of the Hollywood community like Clint Walker of TV's Cheyenne fame - has heard and seen more in his life than most, and is uniquely shaped to pass along the lessons he learned and the insights provided from his own, storied career.

What's more, neophyte celeb-watchers will be shocked to learn the exposes of the Hollywood scandal didn't start with Paris Hilton dancing on a tabletop in a Manhattan nightclub. By the very nature of the acting profession, Hollywood has always been a repository for some of the most colorful - and sometimes least judicious - people America has to offer. But many of the stories Garrett offers up in So You Want To Be In Pictures may have been lost to history if Garrett hadn't put in the time and effort to chronicle them.

While dish is plentiful in the book, it never seems ham-handed on Garrett's part - indeed, he throws more bouquets than spitballs at his subjects. Obviously, knowing Garrett's background in show business, he's emotionally invested in the people on which he writes, and it's evident in his turn of the phrase.

It's obvious in this day and age, Garrett could have made a killing knocking out a quickie book rehashing the recent misadventures of Lindsay Lohan. That he decided to take on a meatier subject matter - giving readers a real look inside the people who helped build the film and television industry on the backs of their labor, is certainly to Garrett's credit, even with a lower commercial potential.

After my wife read through an advance copy of So You Want To Be In Pictures, she commented to me, ``Why the heck would anyone want to be involved in that industry? Dumb luck supercedes talent, petty jealousies swallow people whole?" Certainly, the carrot of stardom and adulation looms large on the stick. Even Garrett cautions, ``after you read this book and still have yearning for stardom, you'll gain a great respect for me."

Garrett gained my respect for writing it.


Roger Hitts, two-time United Press International columnist of the year, is a veteran celebrity journalist whose by-lines appear in numerous magazines and newspapers in the U.S. and around the world.

Tommy Lightfoot Garrett- "So You Want To Be in Pictures". This book is a must for anybody who wants to be in pictures, or is just fascinated by the whole 'celebrity' culture. The knowledge and first hand account that Tommy has of the celebrities is amazing. Tommy gives very objective and honest accounts of the stars, and with such integity. One really feels like they are stepping into the celebities lives just for a moment. Tommy gives the book an even personlised feel, by displayed autographed pictures of the Stars.
This boot is particularly insightful for the 'younger' person who isn't too familiar with the 'greats' of yesteryear. The book is very easy to read, and a must for anyone interseted in Hollywood.

Esteemed Hollywood publicist and historian par excellence Tommy Garrett has crafted a brilliant and wonderfully balanced look at nearly 60 industry performers, past and present -- from the biggest superstars (Bette Davis, Bob Hope and Joan Crawford) to its slightly lesser-known, but no less talented, or accomplished, artists (Ruta Lee, Rex Reason, Simone Simon, et al). With a benevolent and even-handed approach that mirrors his own gracious and straightforward personality, Tommy relates several rare (and sometimes, heretofore unknown) tales about these people in a highly ethical and non-exploitive way that makes you feel you know both them, and him, personally. Fair and balanced journalism abounds in this project, and yet it is at all times a fun, and sometimes even boisterous, read!

The approach Tommy has taken to dispense the book's fascinating material is unique. He begins each chapter in a traditional, linear fashion -- telling these people's stories more or less in a straight-line, from their births to their deaths -- but then he backtracks and delves into earlier aspects of their lives to take an even closer look. It is a particularly incisive technique that is all Tommy's and it really holds your attention (much like the man himself)!

The book is liberally peppered with photos and the selections run the gamut from scene stills and portraits to obscure and hard-to-find candids. All are gorgeously rendered and captioned on high-quality paper stock. Wasteland Press has done a fine job with the superb material (both textual and photographic) that Tommy has given them, and their continued alliance is one that every true classic movie fan should pray for!

Despite his youth, Tommy Garrett has accomplished a great deal in the entertainment industry and will continue to reap a healthy harvest of accolades and respect. Tommy's lighthearted public persona belies a serious knowledge of all aspects of show business and it is to his credit that the formidable writing skills he displays in this book are commensurate with his talents as one of the industry's most beloved agents and publicists.

Well done, Mr. Garrett! A superb work, and here's to looking forward to many more books from a TRUE "Hollywood Insider"!!

John O'Dowd

"So You Want To Be In Pictures", by Tommy Lightfoot Garrett, is a book every classic movie buff should own! I never read a book the second time, but this is one book I will! I have the pleasure of living in the same small town he mentions in the book, and the pleasure of having him as a dear friend. In knowing him, I can tell you, that reading his book is like talking to him, and having him share his experiences with these stars. He writes like he talks, and what you come away with after you read this book, is an understanding of the lives of the stars, and an understanding of how much this author cares about what he writes! From his late night e-mails, I know the hours and hard work he put into this book and his newly released book, "The Making of Hollywood Stars". Tommy loves what he does, and it's apparent in every aspect of his books. He wanted this book to be as "timeless" as the stars themselves. Twenty, thirty years from now, this book will be just as interesting to people who love classic movies and the stars that made them, as it is today, because it's movie history. I listen to Tommy's Australian Radio Show every week. By listening, I have learned so many things about the old stars and their movies, that makes their "larger than life" images on the screen, come to life on a human level. This is a writer who really cares about the stars as people, and who really cares about the things he writes about them! You will treasure this book, as much as I treasure the Author....

Tommy Garrett did an outstanding job when he wrote this book. Unfortunately, his publishing company apparently has no one on their staff who is capable of editing anything that is written in the English language.

There are many redundancies, many misspelled words and paragraphs that seem to be transposed making it difficult to read some chapters. I'm not certain that Mr. Garrett had/has the ability to take issue with the publisher with regard to this egregious practice but I think if I were him, I would look for another publisher.

I had the pleasure of going to high school with Eddie in Pittsburgh. He could always make everyone laugh. His book is the same classic Eddie humor. I took the book with me on a long flight and found myself laughing and smiling as I reading the book. The people sitting around me must have thought I was a little crazy-so I showed them the book. It is a great easy read. His honesty about his career and personal life struggles is what makes the book. Humor helps with healing. This book is great to share with anyone that is overcoming an addiction.
Thanks Eddie for once again making me laugh and may you keep making people laugh with your wonderful humor.

This book was addictive reading about how Ed got his start in comedy and how he dealt with his drinking and insecurity to come out on top. He pulls no punches as he details his relationship with the bottle and his troubles with the opposite sex.

He tells great stories about other comedians, most notably a day he spent with the great Henny Youngman.

It takes a lot to get me to laugh aloud but this book had me chuckling several times throughout. I especially enjoyed Ed's return visit to the jewelry store.

I hope you have another book in you Ed.

Reviewed by Lorraine Robins for Reader Views (5/06)

The author's purpose in writing this book was to inform and entertain readers. Ed Driscoll hit the mark on both counts. The book is about his life, including personal details of his feelings of failure in romantic relationships. This could not have been easy for him to be so open about. Yet, he is open about these feelings. Readers can relate to this, I'm sure, whether they are single, married or divorced. Driscoll touches on the complexity of romantic relationships. However, he does so in an interesting and humorous way.

Humorous may be putting it mildly. There were parts of this book that were so funny, I was laughing out loud. I literally had to put the book down and compose myself. This is a very funny man. He writes about his career and how he became a successful comedy writer. When reading this book, there is no doubt that this is a talented and funny man. Reading this book convinced me that he is a very talented writer.

Driscoll spends much of the book comparing how successful his career is, versus how unsuccessful his love life is. You find yourself rooting for him all the way. You feel the pain of his break-up with his fianc?. You can't help but laugh at his internet dating experience. In my case, laughing hysterically.

The author sees humor in everything. This makes the book light and enjoyable to read. Although there are a few sad realities in the book, they are coupled with humor. The book even has a happy ending. I would recommend this book to anyone who likes a good memoir, romance and some laughs.

I've been lucky enough to see Ed Driscoll perform stand-up comedy and he wasn't just funny -- he was incredibly hilarious and HONEST. When I found out that he wrote a book about his experiences with addiction and recovery, I bought a copy and was delighted to find out that he is as brilliant on the page as he is in person. The greatest thing about the book is that Ed is able to take an unflinching look at himself and his struggle with alcohol, and make you enjoy the ride to the very bottom and back. His sense of humor is both the way he sees the world and the source of his salvation. Brilliant.

Never has a descent into alcoholism, a tortured psyche and a shattered heart been so hilarious. Ed Driscoll has a genuinely twisted voice, as is evident on every page of this unflichingly honest memoir. Finally, a survivor who retained his sense of humor, and an unparalled one at that. I highly recommend this book as an inspriation to those who share a similar struggle with Ed, and to those who don't drink enough but are looking to laugh their heads off.

This is without doubt the best of all Star Trek stories, both in film and in print. It touches on many grand philosophical, scientific, and technological themes: machine intelligence (both in Commander Data and in the Borg), space-time engineering (the first time humanity has done this, via the efforts of Zefram Cochrane), the first contact from an alien civilization (the arrival of the Vulcans), the confrontation with true history (meeting Cochrane and finding out just who the man really was), and the ethics of highly advanced civilizations (the contrast between the Borg and humanity). This book and the film will without a doubt inspire many a young reader to take up the practice of science, and thus it will do the best job of all. Science fiction has the habit of coming true sometimes, but it also has the fault of underestimating. The future of humanity, as exemplified by the Star Trek crew of the year 2367, is a grand one to contemplate, but the true future will be much better: a world populated by humans and machines striving to be the best they can be; a future that is never static, for stagnation to intelligent life is an abomination. We will do genetic engineering of humans, to be the best we can be; we will do space-time engineering, to travel beyond any immediate confines; we will create intelligent machines, to be our friends and allies. All of these things we will do, and much more. Humans and all other lifeforms, organic or not, will be very different in the time frame set in this novel. But they will be restless, ambitious, and always yearning for more understanding, for more insight, for more knowledge: these traits will characterize the beings of the 24th century...and beyond.

"And you people...you're all astronauts on some kind of...star trek?"

That line, uttered by Dr. Zephram Cochrane in both movie and novelization, has to be my all time favorite from the Trek film series. The most interesting difference between movie and book, as far I am concerned, is that despite James Cromwell's fine performance I found the film's Zephram Cochrane incredibly annoying. I never developed a shred of sympathy for him, because the background the film gave me - the Third World War and its chaotic aftermath - wasn't sufficient to make me understand him. I don't know, not having seen the script from which J.M. Dillard worked, whether she added "Zef" Cochrane's tragic battle with bipolar disorder (a disease that before the War had an effective treatment), or if it was among the elements that inevitably got cut as the film took shape. But I do know that for me, it made all the difference in being able to care about this character and root for him.

The book follows the film with little filler added except for background on Lily Sloane and Zephram Cochrane, which gives it a similar pace. They complement each other well.

As usual, J.M. Dillard does a fine job of remaining true to the source material, while still elaborating on it. The story is an excellent one, with plenty of action and plenty of interesting science-fiction concepts for the more thoughtful to consider. It gives us a bit more insight into the "future history" between the near-collapse of civilization and the beginning of the Federation that has been hinted at but rarely detailed in various episodes of Star Trek, in various generations of series.

The plot and characterization are both excellent and the writing is fluid and professional. The book is a pleasure to read.

This is, of course, the novelization of the highly successful Star Trek: The Next Generation film of the same name. First Contact refers not to first contact with the Borg, for, six years later, Picard still bears the mental scars of his assimilation in the form of Locutus, but to Earth's first contact with an alien civilization. It is a story that had yet to be told, although Captain Kirk and his crew had met the extraordinarily old Zefram Cochrane, inventor of the warp drive, in an episode of the original series; additionally, there had been hints that this pivotal event in human history took place some time after a terrible Third World War on Earth.

As the story begins, the Borg have attacked the Federation, with one of their massive cube ships making a bee-line for Earth herself. Picard and the new Enterprise-E starship defy Starfleet orders and rush to the battle, after which they follow a small Borg ship through a time portal which takes them back to 21st-century Earth. The Borg plan is to destroy the Phoenix, the spacecraft which Zefram Cochrane launches and, by way of its successful warp drive test, captures the attention of a Federation scout ship. If that pivotal event does not happen, the Federation we all know and love will never come to be. While half of the senior staff is planet-side trying to make sure the Phoenix launch happens on schedule, the rest of the crew find themselves battling a Borg infestation onboard the Enterprise herself. Data is captured, Picard is in danger of letting his hatred of the Borg overrule logic and reason, and we get to meet the Borg Queen. Personally, I've always felt that the introduction of the Borg Queen was a disservice to the greatest Star Trek villains of them all. The Borg Queen is a complete contradiction that introduced a level of individual vulnerability into a collective that was, up until this time, faceless and seemingly invulnerable.

This is an impressive novelization of the film, making it a worthwhile read to those of us who are already familiar with the onscreen story. In particular, it provides a great deal of insight into the erratic nature of Zefram Cochrane himself; in the movie, he came across as basically a drunk, but the novelization does a much better job of explaining his behavior. That alone makes this novel a natural and extremely beneficial corollary to the movie.

Star Trek First Contact by J.M. Dillard was an excellent book. it showed emotion, fear, dispair, and anger. IT was a well written book considering it was made after the movie. I encourage all Star Trek fans to read this book and watch the movie.

I have a number of Voice over books, and this one is hands down my favorite. Even though I've worked in the voice industry for years, there are so many proven voice techniques in this book that I keep it handy in my studio. I strongly recommend it to beginning students as well as veterans.

My favorite aspects of this book are:

- outstanding presentation of the fundamentals of voice over. When you read each technique, it's absolutely clear how to use it AND how it improves the result.
- great advice for revising my demos (or creating them if you don't have one)
- interviews with copy writers and agents, to give a real-world view of the industry

I've seen proven results in my own work, and I highly recommend this book to anyone serious about a career in voice over.

I'm at the beginning of my career in voice-over and I've read a good handful of books on the topic and taken tons of classes...but rarely has anyone "broken down" the essentials of technique quite as clearly and succinctly as Elaine Clark does in this book. For the first time, I felt like I had some practical tools I could refer to when approaching copy, which not only gave me a promising ground to start from, but also helped build my confidence and desire to "stick-to-it." Rather than give you hollow, abstract phrases about the need to connect emotionally to the copy, she shows you "how" to make it "yours." Obviously she's a great teacher with a lot of experience, as she leaves no stone unturned in this book with regards to what to expect in every aspect of this career and how to be best prepared so that you can succeed.

Elaine Clark is my guru. I have read this book a number of times since purchasing it in 2001, and I return to a number of specific passages when I need a refresher. Having worked steadily in this business for 20+ years, and having purchased many books on voice acting, I 've found "There's Money Where Your Mouth Is" to be my absolute favorite. The reader is taken from the basics to the multitude of details involved in running your own successful voice-over business.
Thanks to Elaine Clark, I have grown professionally as a voice actor, and enhanced my voice acting and copy interpretation skills.

If you are at all interested in VO, get this book. I read it cover to cover a year ago, and I've been cherry picking those areas that I've needed to focus on ever since. Now that I've marked up my copy at least three times and pages are starting to break loose of their binding, I'm ready to get an agent and start working. If your an actor or improvisor this book will help all areas of your artistic endeavors. The nuances & subtleties of speech are examined in great detail. The bottom line throughout this book is how to stop "acting" and be real. The market is hungry for every day real people. There's a pot of gold at the end of this rainbow, pick it up.

This book is very helpful for those new to the industry. It contains information about putting your demo together, about getting an agent, and has sample copy to practice with, and tips for exercising your voice. I definitely reccomend this for anyone who is interested in trying this line of work for the first time.

This was both informative and useful. Cynthia's use of examples are few, but powerful and relevant. I have read both this book and Michael Chase Walker's Power Screenwriting: The 12 Stages of Story Development, and if you have to choose one, buy this one.

I'd like to say more, but I'd be repeating myself. Highly recommended.

This book is practical, easy, and very encouraging. Cynthia knows you can do it, and she wants you to try. She gives really solid advice, along with some insightful anecdotes. I've read a lot of screenwriting books and I highly recommend this one. It'll get you going!

I'm writing my first screenplay and found this book to be invaluable. Worth its weight in gold.

I've read other screenplay books, watched videos and this book is the best! Not just telling you what to do but with real world suggestions. She rewrites movie endings for you so you can see how a good movie could have been a great movie. She shows you mediocre dialogue and rewrites it so it's great movie dialogue.
It's a great book for novelists too. Creating crisp believable dialogue, creating conflicted characters, pacing. It's all here.
She is direct and like a great movie, gets to the real issues fast.

Top of the line. Easy to read and pleasant-toned in layman's terms. Organized and simple. Demonstrates the usefulness of 3x5 index cards for story-plotting. Tells you how to make good characters, scenes, dialogue, plot, etc. by demonstrating good and bad examples in movies that we are very familiar with. Simplifies the Three Act Movie formula by telling you how many minutes in the movie you should be starting your act and the significance of each act.

Additionally, the book demonstrates correct formatting for a screenplay, explains screenwriting terminology, explains the "& vs and" in writing credits. Explains certain dos and dont's with your script when presenting to a agent/producer. Whitcomb also tells how she started off as a preacher's daughter who was not allowed to watch TV and ended up becoming a successful screenwriter. She's a prime example of starting from square zero and proves you don't need to know someone in hollywood in order to make it big.

For all beginners--read this book first!

So much has already been said & written about this amazingly talented man that although his talents have always been savored like fine wine....talking about his painstaking incredible stop-motion animation abilities almost seems to be redundant. Suffice it to say that so many of us monster kids sat in awe of Ray's work as we watched " The 7th Voyage of Sinbad " circa 1958.Harryhausen has always accomplished more on the movie screen with his special effects techniques than computers will ever be able to do. This book lovingly details all of the richness of Ray Harryhausen----Thanks for a great book, Ray !

Computer generated effects are standard in movies now, and any big-budget action film can be expected to have plenty. We didn't always have computers, so the effects such as putting fantasy creatures on the screen, like King Kong, had to be done with meticulous stop-motion filming, whereby a movie frame picture would be made of a model Kong, then the model's arm would be slightly raised, one more frame of the movie shot, and the process repeated until a smooth arm movement could be seen when the entire strip of film ran. It was Willis O'Brien who animated Kong and many other creatures in early movies. It was Kong who inspired Ray Harryhausen to start making stop-motion films. In _Ray Harryhausen: An Animated Life_ (Billboard Books), Harryhausen and Timothy Dalton tell the story of Harryhausen's entire career, including his humble beginnings. He was crazy about dinosaurs as a kid, and at the age of thirteen, he was taken by his mother and aunt to see _King Kong_. He studied up on the movie's techniques afterwards, and started making his own movies, first using a home camera that he could merely hope took only one frame at a time when he tapped it, and then purchasing his own 16 mm camera with a one-frame shift. He was one of those lucky kids who knew early what he wanted to do in life, and was able to do it; Harryhausen was the special effects wizard behind _Earth vs. The Flying Saucers_, _Jason and the Argonauts_, and _Clash of the Titans_, among many more. This beautiful book, filled with photographs and drawings to show how the models and effects were made for each of Harryhausen's films (and pictures of the artist's work as a thirteen-year-old as well), is a fascinating record of a career that could only have taken place in a restricted window of time.

To start with a clearing of the record: Harryhausen's first model, a cave bear, was covered with fur cut from an old black fur coat hanging in his mother's closet, but despite reports to the contrary, his mother _did_ know all about it and _did_ give her permission beforehand. This reflects the support his parents gave him toward his youthful enthusiasm, and he is certainly grateful. Most of the book describes his work for the studios; it devotes pages and pictures to all his films, and he gives detailed descriptions of just how he managed particular shots. Harryhausen isn't boasting; throughout the book he lets us know what he thought worked and what didn't, what he is proud of and what he winces at. If stop-motion is no longer going to be an art form, it is good that we have this documentation of what he actually accomplished, for the complexity of his creations and the way they were shot is astonishing. For instance, the Hydra in _Jason_ not only had a serpentine body and a double tail requiring their own movements, but also seven heads. In every frame, the model's movements might be only a millimeter, but there were sometimes more than thirty movements to do. He would have to remember for each head whether it was in the process of going up, down, right, or left, if the mouth was opening or closing, if the neck was flexing, and so on. Astonishingly, he was so in tune with his creation that he did not keep notes on what each head was doing, except if he were taking a break at the end of a work period.

Harryhausen has real affection for his creations. He has used real animals in some films, like an iguana made to look like a giant lizard in _One Million Years BC_. The trainer in charge of the iguanas was ready to use an electric prod to rouse the usually torpid lizards, but Harryhausen would not allow any cruelty, so action could only be obtained by a little prodding. Nonetheless, it was a lot harder to get the iguanas to move in just the way he needed compared to his obedient stop-motion models; he says that using models would have been more cost-effective and more realistic, too. He refuses to call his creations monsters; they are mostly creatures who are simply out of place. Of the tyrannosaurus in _The Valley of Gwangi_, he writes that he felt sorry for him, "... because all he wanted to do was live his life and eat a few people along the way." When he had to dismantle one creature to use its armature for another in a succeeding feature, he confesses, "It always breaks my heart to have to cannibalize my models. It's like losing a close friend." Gentle, self-deprecating humor is a hallmark of all the chapters here, no matter how technical the descriptions become at times. This is a handsome, large format book suitable for the coffee table; however, along with the beautiful illustrations, the written record of work here to show how creature features were made before the computers took over will be enjoyed by any fantasy film fan.

This is a top-notch compilation of genius on the cutting edge of our cultural history.

Die-hard fans of special effects master Ray Harryhausen may recall Jeff Rovin's book "From the Land Beyond Beyond", which arrived in 1977. It was a welcome addition to the Harryhausen legacy, but was too subjective and fan-based for some tastes. Hard to believe it took almost thirty years for this definitive, color version of the Harryhausen story to arrive on the scene. Some will feel it is merely an extension of Ray's previous work, the Film Fantasy Scrapbook, and in many ways, it is, but there's so much detail here that this deluxe volume is worth picking up. Though of course modern special effects have become almost ridiculously complex, it's wonderful to hear Ray describe in great technical detail the processes and techniques he used to bring his animals and fantasy creatures to life in films like "7th Voyage of Sinbad" and "Jason and the Argonauts". He's also candid about which films worked for him (and audiences) and which somehow missed the mark. Even readers who prefer modern spectacles to Harryhausen's classical, stately epics should find something of value here, and there is plenty to inspire any animator, filmmaker, or budding cinematographer. This book isn't just a special effects guide, it's a valuable and integral part of the history of film: Harryhausen's career spanned five decades, and he worked with some of the greats in the industry--not only effects geniuses like Willis O'brien, but actors like Laurence Olivier, Maggie Smith, James Franciscus, Honor Blackman, Richard Carlson, Jane Seymour and Raquel Welch. A little pricey, but worth the cost. A must have for Harryhausen fans, naturally, but anyone interested in the movies will come away satisfied.

I just recently purchased Ray Harryhausen: An Animated Life.
Mr. Harryhausen was influenced by King Kong for his remarkable career. I was influenced by his first movie released in theaters
entitled BEAST FROM 20,000 FATHOMS. Ever since I gazed at the
incredible effects when I was six, I wanted to know why and how
something could seem so life like. Unfortunately, all I did was manage amateur special effects with an 8mm camera, but enjoyed thrilling friends and relatives with what talent I had. Now I can appreciate all the patience and imagination that this
genius has somehow transmitted to the screen. All of his movies are showcased with the wonderful behind the scenes stories and photos that made such magic in my childhood. Anyone who has ambition to follow the FX trade, should definitely read this book. Granted the technology is greatly improved today, but that even made Mr. Harryhausen seem more adept at his work. How tedious it is to move a model just a fraction of an inch until it appears fluid on the film...how educational it is to realize what props were used and what artistry was projected to make everything REAL. This coffee table book will be a treasure
in my collection of literature.