The Producers Books

This book had to have been an exercise in humility to write. I have nothing but the utmost respect for Phil Vischer after reading his story. My wife and I learned about the Veggie Tales in the late 90's after receiving a recommendation from some of our friends. We've been fans ever since and have 3 kids who have all grown up with Bob, Larry, and the Veggie crew. It's hard to believe so much was going on (good and bac) behind the scenes at Big Idea as we all laughed and sang along with the Veggies at home.

A great story about one man's Christian journey through the world of business and his growing relationship with God! As an entrepreneur in the early stages of several companies, the lessons taught are invaluable. As a Christian who is always dreaming, setting goals, and striving for worldly "success" this book has made me step back and re-evaluate my life and relationship with Him.

On business, Phil talks about the early stages in computer animation world in which he was a revolutionary. He teaches about money and cash flow in relation to running a company. He discusses leadership and his struggle to run a profitable "Christian" company in a secular world with non-believers all around. What's amazing to me that through it all, this is not a book that points blame anywhere but the on it's author. In fact, the names of anyone in which others might have placed blame are not ever mentioned!

On Christianity, it's inspirational to read a true story showing the Christian walk and struggle illustrated by Henry Blackaby in his devotional study Experiencing God. Blackaby writes, "If you start something and it does not seem to go well, consider carefully that God, on purpose, may not be authenticating what you told the people because it did not come from Him, but from your own head. You may have wanted to do something outstanding for God and forgot that God does not want that. He wants you to be available to Him, and more important, to be obedient to Him."

What a powerful book! A must read for Veggie Tales fans, Christians, and business people alike. Lessons to be learned by all.

I just got finished reading this and was totally blown away. I really appreciated his honesty and openness about what happened to Big Idea and this reaffirmed my feelings about the other so-called business books out there: it's easy to look like a genius when you study successful companies and draw contrasts, but the same methods don't work for every company.

Phil is a great storyteller, and I'm pleased to have been let into his world for a few hours.

This is a great book for everyone who wants to run out and do great things for God without stopping to ask what God actually wants. The only drawback in my opinion was the way "apologized" to the people he had hurt. If he would have just offered an unqualified apology it would have been great, but for some reason he felt the need to mention that he had been prompted to apologize and then follow it up with, "there, I've said it." But, part of the point is that we're all growing and learning, and I did see real humility in the way he's running his current business. No longer playing the same games as before. Very entertaining and insightful book.

I laughed and cried, but I learned as much from this as a management textbook. Very captivating, entertaining, but emotionally charged with what do we do when God allows our dreams come crashing down around us.

Raised as I was on Sesame Street, it took me several episodes before I realized, "Hey, there are no females here. Isn't this show about good role models?" (VeggieTales came out the same year CTW launched Zoe, Sesame Street's first popular female muppet, to great fanfare.)

But the Veggies were fun so I continued to watch, as Bob, Larry, Pa Grape, Junior Asparagus, Mr. Nezzer, Mr. Lunt, Jim and Jerry all got personalities and subtexts. Poor Little Laura remained a whiner. Junior's mom hardly gets to speak. And Esther? A one-note.

So I was interested: Did some executives force Vischer onto this lopsided stage, or did it just happen? And the answer is: he really is that way.

He says that when he and his now wife (wife of 16 years, no doubt happy) found they were expecting, she "had" to drop out of college in her freshman year. We are just supposed to accept that. As it takes longer than one school year to go through a pregnancy, he didn't mention any complications, and this was the '80s, not the fifties, I found that puzzling. He just as cavalierly dismisses her singing aspirations--again, this is the '80s.

Again and again, his theme is that "kids" and "families" need good examples. This is good. He condemns Madonna. Understandable. And it doesn't occur to him that some kids might be females who need good examples, and that families might include women. Interestingly, Vischer even quotes the Bible to explain creating Bob: (paraphrasing) The Cucumber came first, but he was alone, and that was not good. So I created a sidekick.

Wait a minute, didn't the original tale mean creating a ...?

There are many intentionally laugh out loud moments in this book, and some that I think occurred by accident. After working himself into a heart condition, he states that while his wife and in-laws played with the children, he went into his wife's childhood bedroom and started to sketch the Veggie Tales Theme Park. Shades of Harry Chapin, here.

I absolutely expected more about __valuing__ his wife and children. It would have been possible to do that without compromising privacy. But they barely get a mention.

But, to be fair, all that is puzzlement at the man. To review the book, I have to say it was well-written, humorous, and told a great deal about the writer and his philosophies. He is absolutely driven to create, and does so, despite odds. He gives as clear, and as beautifully written, an account of how CG changed the entertainment scene as I could ever hope to see.(Vischer covers so much material it would have been helpful to have had an index.)

He is true to his vision as long as he is able, and doesn't let failure tear his faith apart.

I just completed a feature length screenplay that will soon become a feature length film. To prepare for production I decided to purchase two books: Creative Producing A to Z, and, A Film Director Prepares, both by Myrl Schreibman. Having just finished reading them, I now know I could not have made two better choices. Buy them both, read them both, then read them both again! I promise, your film career will be well served.

This book is the producer's version of Gray's "Anatomy of the Human Body." Without a doubt, Schreibman's text is the blueprint for any successful indie film and should be read and thoroughly consulted by every creative producer - experienced or otherwise. Furthermore, this book that can be extremely useful to directors and screenwriters because it provides a real understanding of what the producer does and how the other creative entities can best collaborate with the producer for creative and practical synergy. In short, this book is a must for anyone who wants to make movies.

I bought this book for my cousin who wants to start out in the film business. This book helped me break down the who's who in the industry and the breakdown and samples are easy to understand.

I recently finished producing my own independent film and found this book right at the beginning of my post-production period.

I wish I had found it earlier. It is full of no-nonsense advice and information that is practically bullet-proof, and I ended up agreeing with about all of it. Schreibman, who apparently has a long history of producing films for t.v. and theatrical market, has paid his dues, done his homework, and knows another "feel-good" you-can-do-it book isn't necessary.

He tells you like it is, doesn't pull any punches, and helps you avoid the most common mistakes, both legally and aesthetically. Writing and directing are generally the more "arty" positions in film production - the Producer is supposed to keep the ship moving forward and avoiding any fatal mistakes. This book directs you in the right direction.

My film was a "micro-budget" film, and this book may ultimately be more useful for "larger" independent features, including ones with SAG deals, distribution in place, and budgets closer to 7 figures. While all the advice here applies to everyone making a movie, it's the attitude Myrl conveys that I really appreciated and believed in, more than some of his nuts-and-bolts info. The contract samples at the end were also very helpful when I went out and began looking for more help finding money to finish my film (which I eventually did).

Now I'm dreaming of using the rest of the info here for my next film!

If you are looking for a practical, REALISTIC book on how to begin and finish the production process, this is the book for you. I began my very extensive hunt for a book that would spell out the production process from A-Z. This book delivered on what it said. Very often in this industry it can be smoke and mirrors...not here my friend. Myrl speaks from experience and gives it to you straight. You WILL understand the production process from start to finish after reading this book.

As an added note, I was so impressed with the book that I contacted Myrl to consult with me on a recent project. He delivered on his promises and helped me guide my project to a successful finish. A five-star book and a five-star person.

Out of print book came quickly and condition was very good, service was quick. I will be back.

I loved this book! The entire time I listed to this book on cassette I felt I was hearing privileged information...yet Jess Oppenheimer shared his intellectual jewels freely as if they were common everyday thoughts. Well, for him, they were. What a genius. And what a witty, creative, generous, and responsible man! If he were alive I'd write him a fan letter.

This is an excellent informative book about the "I Love Lucy" show and a must have for any Lucy fan! The cd that is included is worth the price of the whole set alone. In the cd it includes hours of hilarious episodes from I Love Lucy and My Favorite Husband starring Lucille Ball, you will also receive lost scenes from the shows on the cd. I am not much of a reader but this book you just can't put down because it is so good and of course I love Lucy! The book doesn't look thick on the picture shown on Amazon but it is a nice thick paperback book and includes lots of wonderful pictures of the cast of I Love Lucy and fun information that you may have not of known about I love Lucy and how it became to be produced.

I THOUGHT THE BOOK WAS VERY INTERESTING AND INFORMTIVE! IT WAS HILARIOUS AND I JUST COULDNT PUT IT DOWN. IT ONLY TOOK ME THREE DAYS TO READ IT. I THOUGHT IT WAS INTERESTING HOW IT TOLD ABOUT THE LIFE OF JESS OPPENHEIMER AS WELL AS THE LIFE OF LUCILLE BALL AND OTHER CAST MEMBERS FROM THE SHOW I LOVE LUCY. I REALLY LOVE THIS BOOK AND I THINK EVERY I LOVE LUCY FAN SHOULD READ IT!!!

I'd like to start with a clarification: this book is not a biography of Lucy, it is the creator's (Jess Oppenheimer) memoir. As such, there are many parts of the book that have nothing to do with Lucy, including episodes from Oppenheimer's childhood and young adult life.

However, this is still a GREAT book! It is well-written and full of entertaining annecdotes. "Laughs, Luck, and Lucy" follows Oppenheimer's slow rise to the top in the Hollywood radio industry. He describes Lucille Ball's program, "My Favorite Husband," which became the basis for "I Love Lucy." The book also includes some behind the scenes information about the making of "I Love Lucy."

The included audio cd is fun because it has clips from both "I Love Lucy" and "My Favorite Husband."

If you are only interested in information specifically about Lucille Ball, this might not be the book for you (try her autobiography, "Love, Lucy"). However, if you (like me) are fascinated with everything surrounding "I Love Lucy" and the Hollywood entertainment industry of the 1940s and 1950s, this is a great read!

Besides the complete script and some wonderful production photos, what makes this edition so special are Mel Brooks' "hand written" notes off to the side. Inserted throughout the text, they tell great behind-the-scenes anecdotes about lines that were cut or revised out-of-town, things that happened in rehearsal, and the show's evolution from film to stage musical.

This is a soundtrack of the original 1968 movie "The Producers." It is not a soundtrack of the movie that was made from the musical that was adapted from the original movie "The Producers" (whew). That may be good or bad, depending on your point of view.

The original movie wasn't really a musical, altho it was about a musical and had some music. Therefore, this CD is mostly dialog. The 3 main pieces of music of interest are "Springtime For Hitler," "Love Power," and "Prisoners Of Love." These are all great works of musical comedy, but, considering the price, that's not much for the money.

I decided to buy this because: 1> for some strange reason, digitally transferring the audio of these songs from my DVD didn't work quite right; 2> I absolutely loved the (original) movie and these songs, and 3> I thought it might have a snippet or two extra that I might want (such as when Dick Shawn sings "1+1 is 2, 2+2 is 4, I feel so bad 'cause I'm losing the war") - it doesn't.

Well, I got the songs I needed - at a pretty exorbitant price - maybe it'll be worth more someday as a collector's item. I do like that they included Zero's "That's our Hitler!" at the end of Love Power.

Also, just for the record, if you only know "The Producers" from the stage or the 2nd movie, you really should watch the original The Producers (Deluxe Edition). In my humble opinion, it is much, much, better (in fact, one of the finest movies ever made), albeit less musical. Unfortunately, many people are only interested in something new or "hot," so that's how you can make money today - by perversely reworking something sublime into an inferior product.

On my C.D. list for Christmas is this HILLAROUS C.D. I've always been a weird producer fan thinking that the movie is actually better than the stage show- despite the lack of 1968 songs. This C.D. is annoyingly funny.

"Love Power"has always been my favorite song in the movie- I laugh each time I see it in the movie. So I'm keeping my fingers crossed this Christmas for this wonderful C.D. I'm still a little disappointed that Mel Brooks cut the character and the song from the show.

Although there are only two songs with complete lyrics. This is still a soundtrack that any "Producer" fanatic will enjoy and I personally like the "Springtime For Hitler" song in the movie more than the actual one put into the show. You also catch a glimpse of Mel Brooks voice as the Nazi "Come and be a smartie and join the Nazi party."

By all means hit that buy now button and laugh yourself silly with these two songs!

... KITCHY fodder for the limp-wristed masses.

(PLEASE REMEMBER, THIS REVIEW IS FOR THE CD OF THE ORIGINAL FILM, SO IF YOU HAVE TO RATE ME, BASE IT ON THAT!)

I loved this movie. I watched it at a time when the Vietnam War was waning in in 1975 here in Chicago, as it was playing on WGN TV on the late late late show. Apparently, even the censors were asleep at the time, but God bless em, this was the perfect time to see him. Mel's brand of humor reminds me of a time when they used to use brown paper bags to wrap up the porn in.

It always has been a guilty pleasure to watch this film, laugh at the humor, and sing along with the actors. This CD captures the essence of the film, the heart of his message - it was as if the lyrics, the tone, and the actor's very intonations were possessed by the vision Mel tossed out after looking into himself and at the world when he penned these tunes, and think about it - in the late 60's! Who was confronting racism, gay sexism, and the Jewish question? Secondly, who could do it with such brave humor and didn't fear the reprocussions?

This CD contains over a dozen tracks of spoken lines from the film, and to listen to Zero Mostel and Gene Wilder's interaction witrh the wonderful diologue is to listen to the genius of Mel Brooks' zenith of comedy. In this CD is also included the true ability Mel had in making his special brand of comedy work - it was simply to make it as campy as hell by including MUSICAL NUMBERS ABOUT THE HOLOCAUST! Yes, I was laughing about Hitler, and Goebbels ( "I loves my little joe") and yes, I was shocked at first, but who wasn't?

This CD of the movie is giving us some of the greatest parody tunes of ALL TIME - "Springtime For Hitler," "Prisoners Of Love," "Love Power," and the spoken word of Zero Mostel - ULLLLLLLLLLLLLLLA! ('I met her at the public library.') I can listen to this CD in the car, at home, ANYWHERE.

(I can also watch this film on DVD - a bit dated, yes, but it represents a time when this was still edgy - but I will stand by this and gladly watch this over and over til it cracks.)

(On a personal note: I am saddened at what Mel Brooks did by making this film about a failed play into a musical about a failed play!!!

I consider it to be one of his all-time masterpieces and part of his holy trilogy of his genius -

"The Producers" is followed by "Young Frankenstein" and of course the gem on his cap, "Blazing Saddles." He will NEVER be able to top himself, because once you've been to the mountaintop, how can you go any higher?)

PLEASE! Buy this CD and LISTEN to it and remember a time when anyone could go out and try to be daring, try and amaze, listen to every second of this CD - I own a copy, and heartily endorse it!

A play based on a film based on a play? Only in New York.

Sad.

IF you LOVE Mel Brooks. IF you LOVE the stage show " The Producers" . IF you LOVE the music, BUY BUY BUY THIS BOOK. This is a MUST have for ALL "The Producers " fans. This book is the Guide to what is the most stimulating show I have EVER seen.
Based on the process of turning the original " The Producers " ( Gene Wilder ) movie into a Stage show, along with cast selection and music ( The entire score and lyrics By MEL BROOKS . HIMSELF ).
JUST BUY BUY BUY THIS BOOK.

It even tells you how to spell Ullas' 1st name correctly, wow wow wow wow. Got to go , Its almost 11.

This book's meticulous scholarship started a welcome trend for "shot-by-shot" analysis of moviemaking.

Psycho is known for many things, but among them is Hitchcock's determination to use techniques he learned from television production. For a creator and adherent of "pure cinema," this special discipline makes the movie all the more notable.

What a series of paradoxes. The famous shower sequence is cited over and over again as one of the best uses of cutting and montage, and yet classic 50s "two-camera" TV shows would never dream of this approach. Too expensive and time consuming.

The usage of black and white - again classic 50s TV - actually enhances rather than diminishes the horror. As with old-time radio, the viewer has to fill in the lurid colors of blood and gore with her own imagination.

The cover says that this film started a trend toward "psycho thrillers." I suppose that this is true, but it accomplished much, much more than is acknowledged by the mediocre films that followed.

What an intelligent, readable, informative book this is. Full of insights about the personalities of Hitchcock, Anthony Perkins, Janet Leigh, and all the other collaborators in this important and usual film project for everyone concerned. What struck me most about the book is the author's ability to blend his thorough research with a sense of the psychology and drama of what goes into making a movie. I'd have to agree with the reviewer who said that Rebello made reading this book nearly as entertaining as the movie itself. That's quite a feat. What I want to know is when will Mr. Rebello give the royal treatment to other Hitchcock projects as well as films by other directors.

I found this book to be just wonderful from start to finish. The research is painstaking, the writing smart and lively, the degree of film industry know-how is evident on every page. In fact, the book strikes me as one of the few I've read on Hollywood to suggest that the writer actually knows his way around movie sets and knows how films get made. This book has none of the absurd (and insulting) armchair psychologizing that mars other Hitchcock books and there isn't a dry or pedantic paragraph in it from start to finish. I thought I knew a lot about Hitchcock and Psycho until I read this book. A job obviously undertaken with love and wisdom, superlatively done by Mr. Rebello. I had the pleasure of hearing the author lecture on Hitchcock on TV in London and in Tokyo and he was the standout of the whole affair!

This book is about as in-depth as you could want, but very interesting and good reading. Stephen Rebello begins at the beginning with a rather revolting chapter about the psychotic killer upon which Norman was later loosely based. (Don't let your children get a hold of that chapter!) He then talks about the man who wrote the book "Psycho", and on to Hitchcock's discovery of the book and the making of the movie. There are chapters and sections on practically every aspect of the movie and the making thereof - cast, costumes, shooting, casaba melons, publicity, and the aftermath. At the end there is also a list of the entire cast and little paragraphs about what became of them after Psycho.

This book is very good if you are a fan of either Psycho or Hitchcock in general, because in telling about Psycho the author tells a lot about Hitchcock as well.

For the true fanatic, or just the curious, this is an immensely
readable account. Far, far more interesting and enlightening then
any of the turgid, pompous academic treatises on Hitchcock that
pollute bookshelves everywhere. As definitive a reconstruction
of how PSYCHO - or any movie, with a few exceptions - was put
together. However, I suggest Mr. Rebello is overdue for either
an update
(though this reprint's front and back cover is definitely an improvement over the original),
or a companion volume.
For the completists, I suggest:

1. More production and cast stills.
2. Saul Bass's storyboards.
3. Interviews and/or photos of Marli Renfro, the actresses
who provided the voice for Mrs. Bates, the diminutive woman
who stabbed Arbogast. Other cast interviews.
4. Documentation on PSYCHO's aborted CBS broadcast of 09/66
and its subsequent showing in 06/67 on ABC - the edits,
and when it was finally shown complete.
5. Information on the sequels, and Van Sant's "recreation".
6. Full descriptions of deleted scenes from the original.
7. Some of the less inflated analysis on its symbolism, etc.
8. Most importantly: a cue by cue evaluation of Bernard Herrmann's magnificent score, including its unused parts.

Ok, Mr. Rebello, make it happen.
Until then, anyone who is at all fascinated with how an American
cultural landmark came together, (Yeah, I know, like Hitchcock used to say, "Oh,it's only a movie!")
GET THIS BOOK!

Elia Kazan was arguably one of the most influential people that theatre has ever produced. He had an amazing life through his art, and outside of it.

Here, at the age of 77, past the point of modesty, conceit and pride, he tells his remarkable story of learning his craft, harnessing his incredible God-given talent, and channelling his drive into success.

We learn about his trysts and liasons with other icons, his marriages, his faults and missteps.

He owns up to many things that have not made him proud, including naming names during the deplorable McCarthy communist witch hunts of the 1950's.

He talks openly of his failures as a parent and a husband, his infidelity, and his loss of faith.

He also recounts his many astounding successes in film and theatre, including the many great actors and actresses he worked with.

His honest self-assessment is a breath of resh air.

This is one of the greatest autobiographies I have ever read.

This is the best show-biz biography I have ever read. Poor, Greek immigrant, Kazan fought his way up the entertainment ladder to direct my favorite movie (On The Waterfront) and my favorite play (Death of A Salesman). Along the way to these achievements he was an original member of the Group Theater; he relates his experiences there including an in-depth retelling of his relationship with Lee Strasburg. He met prectically everyone in the business from an aspiring Marylin Monroe, Marlon Brando, James Dean, Arthur Miller and what seems thousands of others in the theater and movie world. His antecdotes are fresh and revealing, even those that may be common knowledge. Of particular note are the chapters devoted to the making of Streetcar Named Desire and On the Waterfront. His work with Brando, who was seldom better than when he worked with Kazan, is discussed. Along with his great movies and plays, Kazan tells his side of the House On Unamerican Affairs controversy that swirled about him until his death. While the book is massive at 864 pages, it is over too soon. It is a rare, literate portrait of the man Kazan, who changed American movies and theater forever-- and for the better.

One of the most honest, compelling, brilliant, wise, stunning books I've ever read. Kazan's life was awe-inspring, and to have it retold with such lucidness and unflattering candour is a gift for the ages. Not only was he one of the greatest theatre directors and film directors of the 20th Century, he writes like a blessed demon. This was a spellbinding, page-turning read. Immersed in its pages, I learnt so much about life, America, directing, theatre/cinema history, and myself. I also learnt more than I've ever known about how men think (wish I'd read this years ago).

It's such a pity Kazan's life has become simplistically defined by one act, and his artistry overshadowed - ironic, too, considering he made films with a deep, compassionate, liberal humanity. You can look at his life through through the prism of that one act, or read this for a much richer, fuller, deeper understanding of Kazan - the good, the bad, the ugly. And the genius.

This book made me want to live my life more fully, view myself less vainly, and create my work more honestly. Can't ask for more than that.

I was truly surprised by this book when I read it some years ago. I was surprised by how engrossing and powerful it was , all the way through. This man lived a tremendously interesting life, rich in great creative challenges and triumphs, rich in meetings and experience with remarkable people, rich in sexual adventures and complex human relationships. The story of how the child of Greek immigrants came to become the director of two of the classics of the American Theatre "Death of a Salesman" and a 'Streetcar Named Desire" and of two of the great American movies, "On the Waterfront" and " East of Eden" is told with remarkable frankness and perceptiveness.
Kazan does not come across in this work as a saint, but rather as a truly strong person who took what he wanted from life, even if this meant hurting others. His personal and inner torments however too make up an interesting part of this story.
One more point. His writing follows the rule of Henry James and is always interesting. This is a work whose richness in anecdote and event are so great that it fits into the 'couldn't put it down' category.

With a former Supreme Court Justice warning the USA today (March 10, 2006) about starting down the road toward a dictatorship, it seemes fitting to re-visit the House Un-American Activities Committee (HUAC) in the 1950s when the right-wing was trying to scare our citizens into giving the government supreme power, just as neocons are trying now.

Elia Kazan defends his decision to name names during the Hollywood Hearings of the 1950s, saying that his ideas toward the Communist Party had changed and he thought the higher ups (maybe from Russia) were dictating policies to the American communists in the movie business.

Maybe so, but he also admits the Hearings already had all the communists' names and admits they were only showing their power to control people here in Hollywood,using intimidation to instigate the blacklist. In real life, the USA government was the bully, not the old, tired communists of the 1930s.

If so, then why did he ever think the movie he directed, "On The Waterfront," was a good analogy for what he faced? The USA government caused the black list and precipated suicides and family break-ups in their Hollywood investigation.

It was the mob who caused the deaths and intimidation in "On The Waterfront." Is Kazan saying that Congress behaved like the mob? Or that the mob behaved like Congress?

Granted, Kazan was a great director, brilliant at times. But to him the bottom line was the bottom line, and to keep his position as an all-star director, he had to name names. While he tries to seem noble, the reader can see his 'reel' motivation was money and his career. So what if he named names! He was working.

Today, we see the right wing using similar tactics in the Bush administration: questioning people's patriotism, using smears and mud-slinging against opponents, trying to get people fired if they disagree with neocon policies, keeping a blacklist of university professors who oppose them, and most recently, equating the AARP group of loving gays instead of our troops.

After reading Kazan's book, I did gain a firm insight into right-wing politics, and these politicians use juxtaposition of images to label their opponents. Right-wingers still don't care if they distort the record. To them, winning is everything.

I purchased this expecting some advice on legal issues, but this book is so much more. It talks you through the whole process of producing a film from start to finish, including valuable information on finding investors, attaching stars, behind the scene terminology, production advice, sample legal forms and what do with your film once you've made a cut. All of the advice is indispensable. This is a must have for any independent film producer, especially those new to the industry. It should be taught as a textbook in film schools. The most helpful book on producing I've stumbled upon yet.

I highly recommend this book. As a first time amateur independent film producer, with about 30 film books resting on my shelf, I believe I was constantly thumbing through this one the most during preproduction. This book contains so much useful information and helpful insights, it's almost like having an industry consultant right there with you. Unlike other books, there weren't a lot of sections where they seemed to rush on to the next chapter without exploring the present topic in some depth.

If it's not already, this book will soon become the industry standard for substantive knowledge of the film business for independent filmmakers. Deal points, standard contract provisions, the often technical and confusing jargon, and the historical context for many industry practices are all covered here in comprehensive yet concise fashion. Topics of interest that are covered in depth include standard talent and producer agreements, developing a screen play, financing, and digital distribution. The book was a tremendous asset to me when I had to help an independent filmmaker comply with complicated federal securities laws in order to raise $200,000. Highly recommended.

jeffbrownlegal@gmail.com

It was a book with that gave you a good background on how film production works from a legal perspective. So you should read it if that is your concern. The authors are lawyers, not producers.

This book is a serious but very readable approach to educating filmmakers on the maze of legal hoops that must be jumped through in order to create a film. Indispensable resource to have.

No matter what area in the music or recording industry you are in, these contracts are absolutely relevant. I found them extremely useful for my company and have highly recommended it to others in the industry. I would suggest that anyone who needs help with contracts purchase this product, you won't be sorry.

I bought this book 2 weeks ago and I could not help myself from dropping by here and saying how i use and feel about this book. Basically it is a life saver for me, it cuts the time I use do deals and it's a fountain of information if you don't have an outside source. My thought it ..buy it!

I loved this pack ever since day one when i first bought it, it brought a while new perspective to my office and the work being done there has increased in efficiency not at my desk but at my colleagues to. Great title

This binder is very well balanced for such a low price. At first, I thought that these contracts would be cheap and of poor quality. However, you can easily customize these contracts to your liking. I would highly recommend these to anyone!

Let's face it- no one likes contacts. In this business though, you need them, pure and simple. This is one of the best collections of legal contracts I've seen in a while- and I've been in this business for quite some time. Do yourself a favor- pick up a copy while you still are in business.

Tarkovsky's 'Sculpting in Time' offers a fascinating glimpse into this master's theoretical and poetic approach to his craft. Reading it alongside with 'Time Within Time', his diaries collected, the text casts a new light upon the work and mind of this artist of truth and sacrifice - A true must for art lovers worldwide.

I was introduced to Tarkovsky's work about 20 years ago during my time in film school, and The Sacrifice was the movie that turned me on to his outstanding cinematic legacy. The more I saw, the more I wanted to learn about the artist. Then I came upon Sculpting In Time; a cinematic memoir which has forever changed my life, and my artistic visions.

This book is nothing short of inspirational. I highly recommend it even if you are not familiar with Tarkovsky's work. Each chapter is loving written, eloquently detailed and profoundly insightful on topics such as the importance of sound, story and visual aesthetics in filmmaking. Tarkovsky's ability to, quite literally, sculpt cinematic moments in time in each of his films is nothing short of genius.

Thames & Hudson have triumphed with what collectors might regard as a limited edition, artist's book.This isn't the place to start chipping into Tarkovsky. It is more the devotee's piece - a touchstone which alludes to the magnificent ediface of his films: all which return the viewer to their world with a deeper, more spacious vision, an expanded present moment. In 'Rubelov','Solaris', 'Stalker', and,'Sacrifice', to name my favourites, he re-invented the epic with sustained inquiries into our transience without heady verbalism or vanity. To grapple with his own thinking about his achievements and how he positioned himself as an artist, one should seek out,'Sculpting In Time,'penned towards the end of his relatively short life. Recently, French documentary-maker, Chris Marker('Sunless') compiled a stunning homage to this Russian cinematic master. Bits of Tarkovsky's aforementioned book, and excerpts from his diaries appear with the reproduced polaroid snaps(the present book's theme)which fall into two geographic zones, Italy & Russia and are bookended with short tributes by two Italian friends. Every effort has been made in layout to convey the darkened atmosphere in which the illuminated materiality of these world's float to the viewer's eye. And in images barely larger than matchboxes this scale has some of the hallucinatory power of his movies. The layout & medium insist on episodic, fragmentary framing. Tarkovsky's films privilege the same exquisite framing with a sensual appetite for textures above narratives that makes us feel newly arrived at a primary experiencing of the world. These polaroids could have served as his flexing towards film projects: even their outtakes.

Sculpting in the time represents one of the most expressive eloquents statements of one of the supreme masters in the cinema art as Andrei Tarkovsky was .
All long this book you will read several aspects of the man , the thinker , the poet and above all the unvaluable reflections about the art in general and his craft in particular .
Tarkovsky makes an account about all his filmography ; making a detailed and exhaustive explanation about every film .
You will understand in all his wideness conceptual some concepts derivated about the role of the cinema in the actual world . The influence of ancient directors , his opinions about the role of the artist in the world , and some mesmerizing photos from his films as Ivan' s childhood , the Mirror , Nostalghia or Andrei Rubliov . There are some poems from his father Arseni Tarkovsky who were part of films such The mirror in the Spanish Civil War and the poem from the poet from Nosthalgia for instance .
It's a must for you to acquire this book . For me it was a delightful surprise to get this text in New York in 1995 .
Fundamental artistic legacy from this russian ( 04-04-32 / 12-29-6 ) master: in memoriam!

"Sculpting in Time" is truly an amazing work of art in its own right. Certainly filmmakers have written books about their artistic styles in the past. Philosophers have written elaborately on the subject of aesthetics as a whole in the past as well. And yet "Sculpting in Time" offers those with aesthetic interests something truly unique.

It should be forewarned that Tarkovsky, like Ingmar Bergman, was heavily interested in aesthetic philosophy. In fact Tarkovsky's ideas regarding art borderline the metaphysical (as this book is often used in higher level philosophy classes), and yet - through the tone in which the book is written - "Sculpting in Time" manages to appeal to the average Tarkovsky or cinema studies fan in such a way that no other aesthetics book has managed.

Tarkovsky's self-written "Sculpting in Time" is an amazing supplement which describes the brilliant filmmaker's use of filmic techniques but also goes a step further by explaining (at great length), why the filmmaker believes those techniques are significant. The value of his tried efforts to create a meaningful work of art directly relate to Tarkovsky's view of art as a whole.

Tarkovsky's views of art are complex and yet are reiterated for the reader so simply they stand out in "Sculpting in Time" like a gem. For instance the underlying theme in Tarkovsky's writing is the idea of an "absolute truth" of art which can be derived a given piece of art. Without giving too much away, Tarkovsky's beliefs, as expressed in his chapter "Imprinted in Time" mostly, is simply that art done for the right reasons - containing some form of objective truth within it - serves to link us (subjective beings), with an "absolute." From that blooms Tarkovsky's entire creative aspect fans of his films know and love him for.

I have to recommend this book to anyone interested in aesthetics, cinema studies, or Tarkovsky. I think this is a nice supplement to have when watching Tarkovsky films as well, so it might just serve to spark the interest in a philosophy buff to check out a few Tarkovsky films! Enjoy!

Historical fiction Hollywood style - circa 1957. Film director James Whale ('Frankenstein' and 'Bride of Frankenstein') suffers from mental erosion as a complication from his recent stroke. His life is now ruled by his past and the random surfacing of memories - childhood, poverty, horrific experiences in the trenches during WWI, his days as a celebrated film director, his life as a gay man in Hollywood, etc. It's all uncontrolled and very painful. Whale finds the fact that he will eventually lose his mind even more unbearable. Enter Clay Boone - a straight, hunky, "monster-sized" gardener hungry for life experience and drawn to the aged celebrity. Seeing Clay gives Whale an idea - he'll somehow have the monster/man kill him, therefore giving his life a sort of fitting conclusion. He will be the director of his death as well. FATHER OF FRANKENSTEIN traces the developing relationship between Whale and Clay over the course of several weeks with surprising twists and equally moving turns as events progress towards a rewarding conclusion. A brilliantly imagined novel, a rich historical atmosphere, and a riveting character study. A wonderful read. Frightening, funny, sexy, and very unique.

This wonderful novel is instantly engrossing and will captivate readers throughout. An imaginative, fictional take on the life of film director James Whale, the author writes with uncanny objectivity, sensitivity and insight. Its exquisite detail and impact are hidden under the seeming simplicity but manage to ring out, chapter after chapter.

Those familiar with the film version, "Gods and Monsters," will find a new appreciation not only for the story itself but for the filmmakers' loyalty to this great book.

Christopher Bram does it again with yet another brilliant novel. The depth and the intelligence of this book and his ability to bring the characters so alive shows his ability as a novelist. If you only read one or a couple of books a year make it this one.
Highly Recommended indeed.

I have not yet seen Gods and Monsters, but now that I've finally read Father of Frankenstein, I want to see how this elegant and poignant novel translates onto the silver screen. Christopher Bram really is a master writer. His writing style is delicate, simple, and strong--a perfect match for the distinct personalities of feature characters James Whale and Clayton Boone.

Father of Frankenstein is an elegant and poignant tale about the hidden gay side of Hollywood, war stories, and dementia. Like the Frankenstein movies of James Whale, the book begins with a dark and stormy night, only not in the cliched terms of 19th-century hack Paul Clifford. Nonetheless, I drew an instant parallel with Paul Clifford's words: "It was a dark and stormy night . . . and the rain fell in torrents--except at occasional intervals, when it was checked by a violent gust of wind which swept up the streets (for it is in London that our scene lies), rattling along the housetops, and fiercely agitating the scanty flame of the lamps that struggled against the darkness."

In its own way, Father of Frankenstein is based off these words. James Whale, famous director of the movies he'd rather not be remembered for, had a stormy life beginning somewhere around London. Somewhere between his inauspicious beginnings as a impoverished child in a factory and his mysterious demise near Hollywood, he lived a full and colourful life. The book begins at the end, really, after James Whale is an old and shattered man. He's recovering from a stroke. Well, he'd like to believe he's recovering, but his worsening mental state disabuses him of that notion rather quickly. His damaged mind dwells more and more on the past until he can scarcely differentiate between the present and events forty years past.

And then there's Clayton Boone. He's a moody loner, a presager to James Dean, I suppose. Young, muscular, virile, and not too bright, he's everything James Whale looked for in a monster. But like Frankenstein's monster, Clayton Boone won't do what his creator wants him to do.

In "Father of Frankenstein" author Christopher Bram presents a mesmerizing account of the last days of Hollywood (and British) film director James Whale. Bram's book provided the basis of "Gods and Monsters," a 1998 film which drew critical praise as well.

Bram provides us with an insider's view of Whale's life--itself something of a horror story. His turbulent life--and lifestyle--haunted him until his death in 1957 (an "apparent" suicide). Of course, such things that Whale suffered

were never publicized--or much acknowledged--while he was still alive. In this biography Bram seems to pull no punches, as he deftly presents the life of Whale that few outside Hollywood knew (his homosexuality, for instance), especially his background growing up in England, his experiences in World War I, and so on.

Whether a fan of Whale (the classic films "Frankenstein" and "Bride of Frankenstein" still have a following!) or not, the reader can expect a mesmerizing

read--something out of "Time" magazine and not the "National Inquirer"! At times, however, it does resemble "People" magazine a bit, but Bram does not resort to bitchy sensationalism to carry the book. He gives us a very interesting--but not altogether revealing--look at Hollywood in the Thirties. (Billyjhobbs@tyler.net)