Video Books

Price:
I've talked to many people that feel the price is a bit steep and I agree the book isn't cheap. It is however 500 pages filled with interviews, pictures (everywhere), and essays. Think Arnold Schwarzenegger's The New Encyclopedia of Modern Bodybuilding : The Bible of Bodybuilding, Fully Updated and Revised size wise but about horror films. I mean the book is no joke and there could be an exploitation horror film made about a serial killer who uses this heavy book as his weapon, that's how big it is. I felt the price was well worth it as a horror fan and film lover in general.

For those of you who aren't the biggest readers:
Basically, all you have to do is read section I The Exploitation Independents which is the history of American independent exploitation films during 1970-85 and goes from page 11-48. After you start reading you'll want to keep going and after that it's basically a reference book with essays and reviews, so you could read up on a particular film. What I'd do is either read up on a film I found prior to watching it or after I watched it to learn more.

THE BOOK:
Stephen Thrower appears to know film even though he made a rule to not include reviews on classics, foreign, and studio made films, he still makes tons of compare and contrast references to classics and mentions great directors such as Bergman and Fellini. I highly recommend this book to horror and film fans, my friends in everyday life not so much but I think my horror Amazon friends will love it, specifically reviewer Clint Bronson. Clint has crazy knowledge on horror and from my readings of his reviews 1970s imparticular which, after much thought, is the best decade for horror hands down. Be sure to check out Clint's reviews as well.

Section I- As I mentioned details the history of the exploitation film from 1970-85
Here is how Thrower breaks down section I and the history, this was a great read.
The roots and the Godfather of gore H.G Lewis.
Romero and the Modern Horror Pantheon
Critical Responses to Exploitation Cinema
Drive in Massacres
42nd Street Monsters
Serial Killers
Psycho-Killer, Qu'est-ce que c'est?
Slashers- J'adore
When Blood Is Not Enough
Torture
R ape
It Came from the Stars/Swamp/Bushes/Caves
Things That Go Bump in the Night - One of my favorite avenues of horror being the ghost story. Thrower is honest in this area saying a bigger budget with good acting helps this area of horror.
Art of Perversity-Horror and Incoherence
Decline-Carpenter, Hooper, Romero, Craven
Hollywood Trash

Section II
Essays on Films and Filmmakers
This goes from 73-373 and like I said at this point it's a reference book. You can skip around read films that interest you and as you see others go back to the book and read up.

Section III
Reviews
118 Additional reviews. These are done in a shorter format then the essays above.

Section IV
Appendices and Index
Including an exploitation independent checklist Horror, 1970-85
A Bibliography
Index

I actually learned about this book in a non horror magazine Film Comment which gave it very high praise as well.

If anyone wants to know if a particular director or film they like is talked about in the book feel free to ask.

Nightmare U.S.A. is an extremely informative and well written book. The author keeps it fun throughout by putting a sense of love into his work. I found, as I read through this hefty tome, a true feeling of 'being there' watching the films that are presented. I'm looking forward to the next installment. All in all, a wonderful read for those interested in the study of exploitation films.

So great a book I bought two one for my business partner and one for me!

I've written a longer, more extensive review for Film Threat, but I'm going to do another one here because I believe this book belongs on the shelves of every horror/exploitation fan, film buff and film journalist. Yes, it is expensive, but it's also a 500+ page oversized hardcover with color and black and white photos (many from filmmakers' personal collections), movie reviews and interviews (many with directors who have never spoken about their films publicly before). As I said in my previous review, this is probably the best film book of the decade.

If exploitation films are your cup of tea, you need this book. Period. At some point this should become some sort of mandatory college text book, as it is not only a history in filmmaking that is rarely covered by more "serious" journalists, it's also a crash course on filmmaking.

Once you read this incredible book, which will cause you arms to fall off if you try to do it in one sitting, you'll be thrilled to know it's only the first volume (the second one, according to the author, is scheduled for 2010). And you thought things couldn't get any better.

Simply put, you aren't a fan of exploitation/horror if you don't have this book in your library.

Being somewhat obsessed with the period and films covered in this mammoth tome I can unreservedly say that reading this was a religious experience for me. The amount of research gone into this project is extraordinary and the enthusiasm author Thrower has for forgotten gems like THE CANDY SNATCHERS, DEATH BED, BOARDING HOUSE and others is truly infectious. Not since Mike Weldon's original PSYCHOTRONIC came out in the early 80s have I been this giddy about a movie book.

Part 2 is announced in the back of the book which means the good times keep coming.

A nice hardcover edition of this book with lots of explanations about the making and good full color illustrations. I liked the section on the CG. It's definately worth the price and could be used as a good coffee table book or such.

I saw this movie when the dubbed version came out in theatres. I had never been a fan of Japanese animation beofre, but after I saw this movie, all my misconceptions were blown away. Unfortunately, it took a long time to come out on video, so to pass the time, I bought this book. It is a great coffee table and conversation piece, and the pictures chosen are beautiful. My only problem with this book was the captions that described the pictures. Since they were based on the original Japanese and not the dub, there were a few small facts that were differing and served to confuse me. Yet that is a very small problem. All in all, a good book.

This book is a wonderful little look into the world of not only Mononoke Hime, but Hayao Miyazaki's world as well. It contains high quality screen captures, pencil boards, original movie posters, and original character designs. It is a hardbound keepsake for all those who loved the movie and/or any of Hayao Miyazaki's other works. The book is also highly informative about the storyline and the creators views about the story and characters. It is a good thing to have in your collection.

I've given this a high rating, not because it is flawless but because it is an awesome companion to the film and a wonderful keepsake for that time in your life when you get a coffee table to put it on. If you own the film, you probably won't need this--and honestly, I purchased it as a way to show my support of the US distribution of this film. The book is a US translation of the Japanese edition, and as you can expect was lovingly put together. The last section does seem to perhaps be filler, but with such wonderful reproductions from the film along with in-depth background information, what more could you want out of it. On the other hand, it isn't really cheap either, but given it is probably one of the 10 best animated films ever, it makes a very nice addition to your over-sized film book collections.

Lastly, if you can recall the boring titles your grandparents kept on their coffee table, I think you can start to seel the appeal of things like this. Why settle for pretty national geographic titles (or whatever) when you can have this or big godzilla coffee table books (as do I)? Let your future grand-kids know that you were plenty weird in your former years.

I loved this book, the drawings are excelent, the writing also, this one was the only one that i reed with a smile.

Rita Hayworth is one of the most beautiful and glamourous women ever to have lived. Though her life was marked by tragedy, particularly her Alzheimer's affliction and death at a relatively young age. This book, however, is mainly devoted to celebrating Rita's happier times. Her life is viewed chronologically in both popular and rare photographs. There are so many beautiful photos that it is difficult to take in all at once! My favorite pictures (and just a sampling of the pictures you will find in this book) are: Rita (when she was still Margarita) with her dark hair dancing in a beautiful ruffled dress (p.28), glamourous Rita smiling brightly while reclining on a couch (p.87), Rita clowning with Orson Welles (pg. 114), Rita getting her hair touched up (p. 119), Rita tickling her daughter Rebecca (p. 126), Rita walking solitarily on the beach (p. 140), Rita being welcomed home (p. 165), and Rita in 1981, in declining mental health, but still looking every inch a movie star. If you love Rita and her movies, do not hesitate to buy this book!!!

"Rita Hayworth: A Photographic Retrospective" features a zillion photographs, many never before published, of one of Hollywood's most enduring sexual icons.

The book was a labor of love for author, historian and collector Caren Roberts-Frenzel of Minneapolis, who reportedly kept pestering publishers for years to get their attention.

"But you're wrong, Rita has not been forgotten," was her mantra, as skeptical publishers elsewhere wondered aloud if a market remained for a book about one of the great beauties of the 1940s.

Caren's persistence finally paid off, resulting in one of the most luxurious "picture on every page" books ever produced, supplemented by breezy, well-written and information-packed text.

Unlike "been there, done that" books about Hayworth, this one specializes in numerous "candids," that is, unposed photos taken outside of the studio, at work, at play, on the set, whatever.

For once, here's a volume that doesn't feature the same darn publicity photos you've seen a million times for sale on the Internet or at flea markets.

The deal about Rita is man oh man, unlike sexy sirens named Grable or even Monroe, Hayworth's beauty is timeless and undated. Unless someone told you, you'd never know, for example, that her world famous pinup shot -- taken on the bed by Life Magazine photographer Bob Landry -- was shot more than 60 years ago!

The same holds true for the nearly 300 other photos that grace this book, some recaptured in all of their Technicolor glory.

Get "Rita Hayworth: A Photographic Retrospective," before it disappears! I understand only a few thousand were printed and yet the reviews in the papers and in places like People Magazine have been terrific.

Caren Roberts-Frenzel is the president of the Rita Hayworth Fan Club and this book is her dream project come to life. Caren's appreciation of every facet of The Love Goddess is evident on every page. It was so good to see someone who knows and cares about Rita create such a labor of love. Caren doesn't whitewash the blemishes in Rita's often tragic life but rather allows them to complete an honest and ultimately loving portrait of this gentle woman.

Like its subject, this book is breathtaking in its beauty. It contains scores of genuinely rare photos and they are a treasure. I own many books on Rita but "A Photographic Retrospective" is easily my favorite.

When I picked up this book, I excpected it to have a good amount of photos, many of which I had already seen. But, I was hoping for a few I hadn't and a decent narrations. However, this book blew me away. I have purchased photograph-focused books on celebritites before and been disappointed by their flimsy commentary. This book does an excellent job of conecting the photos to Ms. Hayworth's life. It's not just a collection of pictures, it's a pictorial biography. Admittedly, a traditional bio would get into greater detail, but this book is a great intro to her life. Not everyone wants a tell-all book filled with intimate details. This book delivers impeccably reproduced photos and a satisfactory bio. At first I was a little put-off by the price, but I feel it was well worth it, after reading it. A great read for anyone interested in this arrestingly beautiful and glamourous woman.

I have collected all the books ever written about Rita Hayworth. I have to say that this is the BEST photobook I have seen to date. Who else but a Rita Hayworth fan can put their heart in such a big project and create such a lovely photo tribute to Hollywood's most glamourous movie star of the classic era. Not only is there a collection of rare photographs, but there is lots of interesting information on Rita's life, trivia and more. If you're a fan of Rita Hayworth, then this is the book you must buy! Simply beautifully done!

Kurosawa illuminates for us his whole life, warts and all. Upon reading this I never knew what a sensitve person this man was, from the time he was an early member of the Japanese Communist Party to his older brother's tragic suicide, Kurosawa leaves no stone unturned in this revealing autobiography. Although it does not cover his whole life (I believe in stops in 1980) he spends a great deal discussing each of his film projects all the way from his early days at the Toho Studios. I am reminded of my favorite quote from Kagemusha, "The shadow of a man can never desert that man. I was my brother's shadow. Now that I have lost him, it is as though I am nothing."

The book got into Kurosawa's mind and laid down the roots of his philosophy in filmmaking. It showed his genesis as a filmmaker. It gave insight into how his films happen. A beautiful work -- I loved it.

Kurosawa's insistence on the need for a good script in his films is inspiring to future script writers. I have not written any of these yet his book makes me want to write scripts when I am more of a travel writer. If you want insight into why this man made the beautiful and provocative films that he did, this is the book for you.

One of the greatest pleasures imaginable is to investigate a body of cinematic work, and then, to learn about its creator from his own persepective on his life and art.

There is tremendous satisfaction in seeing the personality of the director reveal itself in the work and to re-view the films with new knowledge of the creator. This may not be a false track, although auteur theory has a bad rap right now. Kurosawa, in the conclusion of his autobiography said, "look for me in my films".

Kurosawa was a genius, his films full of life and compassion, and strength. He did not look away from ugly truths in his life or art. (Read the autobiography and understand the significance of this approach!)

I recommend this book as the touchstone for a deeper appreciation of the art of Kurosawa, for an understanding of his complex personality, and for the human warmth that comes across in his reminiscences. By the end of the book, you will want more, of course. It will seem to end abruptly and too soon. You will have many questions that you will wish to have answered. But then, we'll take Kuroswa's advice. We'll look for the man in his films.

Some people have criticized this book, saying Kurosawa does not go deep enough into his films, particularly his later ones, and why he did what he did. In all honesty, maybe the popularity over this book is poorly done - all the reviews on the front and back cover talk about it like Kurosawa will explain his movies in detail, and most often advertisements will talk about how if you like his movies you should read the book. But as Kurosawa himself says in the preface, he did it really out of encouragement from friends and in an effort perhaps to do what Jean Renoir did do and John Ford did not. As the title suggests, it is really a more personal, casual, reflection upon his life from his birth to the filming of "Rashomon," his first international success, in 1950. In a way, the personal route may be a humbling experience to the film guru or the Kurosawa fanatic. Too often directors or filmmakers are treated - as many artists are, in fact - more like a synopsis of their latest work. We constantly hear about how masterful Stanley Kubrick was and what his methods were, but who was he really? What school did he go to? Who were his friends? His teachers? What was his family like? What were his boyhood passions? Who is this man behind the camera?

Kurosawa tells us that in his story from his first memories as a child ("I was in a washtub naked," page 3) through his school years and through a tough young adulthood. It is all very well written, and actually quite interesting, particularly the segments on Mr. Tachikawa, who we can probably thank for Kurosawa's love of painting, his brother forcing him to face his fears, (not only of water, but of death as well) and two daring but stupid moments in a mountain village where he almost killed himself to impress the local children.

Kurosawa's growth is nearly coincidental with Japanese history. Just as Japan was constantly changing through out the 20th century, so to was Kurosawa. Forced to participate in a military program at his school, he takes every opportunity to belittle or make a fool of his army captain. His venture into art is like an odd adventure, going from joining a socialist art movement (nearly being captured by the Japanese secret police!) to living on his own to writing scripts and eventually joining Photo Chemical Laboratory. (later Toho Studios) He discusses marrying an actress because he was afraid of never being married before the "Honorable Death of the Hundred Million" many Japanese believed they would commit if invasion seemed immenant. This eventually goes on to his work as an Assistant Director, and later making his very own films through Toho and later Daiei after the Toho Studio strikes. These parts will be more to the liking of the film guru, as Kurosawa does give backstory to the inspirations behind his early work.

During this time period he speaks a lot of his family and the friends he got to know. His brother is such a remarkable and likeable character that when he commits suicide you really do feel sad. I took a particular love for Kurosawa's father: although some may see him as a bit harsh when he berates his wife for placing fish wrong or getting upset with his son for failing courses, one shouldn't dismiss him with the simple western stereotype of the tough father for he does have a heart. When Kurosawa's wife becomes pregnant and he pays a visit to his family, his father gives him a large bag of rice and says it is for his pregnant wife, not wanting her to go hungry in a time when food was scarce in Japan.

Perhaps, in the end, it is really fitting that Kurosawa focus so much on his personal feelings rather than his film. If you have watched his films and studied them, you will see the influences from his past life in those very films. "Something Like an Autobiography" was written long before Kurosawa made "Dreams," yet I found myself recalling the film reading this book. Besides his references to mountain climbing, he also talks about how in his father's village children would place flowers over a rock, and he learned that long ago a warrior had been killed and the villagers buried him there out of pity and placed the rock over his grave, so now children place flowers on it whenever they pass out of respect. Sound familiar? I also smiled at the section near the end when he discusses a Daiei studio executive - one who had been so steadfastly against making "Rashomon" - coming on TV and speaking for the film as if he was the mastermind behind it. I was thinking of the Deputy Mayor in "Ikiru," who is against the park project from the beginning yet after Watanabe's death takes all the credit. Maybe Kurosawa alludes to this kind of art reflecting life on page 163 when he mentions the oddly impeccable timing of "The Cuckoo Waltz" while dubbing "Drunken Angel."

This is a recommended read for any one interested in film or Akira Kurosawa's life - it is easy to read, full of wisdom, and is very frank and personal. As I said, it's not a 198 page thesis on his films, but as Kurosawa says in the book he does not enjoy explaining his films - he puts into his films what he has to say and leaves it at that. As the last line of the book says, "There is nothing that says more about its creator than the work itself."

Following on from the previous Open Season art of, Surfs Up is another great look at the development years. The environment drawings and paintings are wonderful to look at and the characters a fun to look at. Again the book delivers some extra inserts throughout the book like stickers and such...but i feel this didnt have as much put into it as Open Season. Still it is a great book to have on the shelf for inspiration.

I collect and study a lot of "art of" books. This is one of the best I've ever seen, much better than the Disney "art of" books. It gives you a great breadth of development: color, sketches, layout, backstory, etc.

The sketches are amazing, and the renderings and color treatments are beautiful, lush, and eye candy. I read this book before seeing the movie and it was wonderful to see how everything came together in the film. If you like "art of" books - this one should be in your library.

If you like the movie, you must have. The book is amazing, full detailed in sketches, layout, character design and comments. The book included a big mount of extras (postcards, stickers, minibooks, DVD of making waves,etc.). If you can, don't doubt, buy it.

This movie and book was great. The DVD with the book is a MUST SEE! I love it. I buy it for all my movie buffs, family and friends. Oh! I forgot to mention..... my son is Erick Miller and he helped make the movie! Rock on Erick! Love, Mom

i would say, above and beyond, this has to be one of the most stylistic and visually thought-out artbooks i have ever had the pleasure to lay eyes on. To this day, i have not found one for any other movie that was in so many ways rewarding. From conceptual drawings to added removable material, paintings and sketches, this book leaves you without much more to want. I am a huge fan of the movie, and appreciated all the detail work that went into every facet of the film, and most of these are laid out in the book!- more than just character designs, pages on the surfboard designs, logos, "old" photos of surfers and younger geek, all topped off with a beautiful hardbound cover (with plastic, image-overlaying slipcover to protect the book) for a very reasonable price.
if you are obsessed with the movie, there is no choice- get it.

This is a very good book about the art of writing and designing videogames. It has opened my eyes to many important factors of the process of creating a story (characters, plot, "the hook",...) and it included interesting exercises to assure you are following the pages and exercising your creativity. I think is not only useful for the digital world but also to writing stories in other medias.

I have seen reviews written by seasoned game designers praising the quality of this book. However, this book also helps experience writers get in grips with designing and writing games. The book may seem a bit thin (physically) considering its massive title, but it is really a fast paced, well-balanced and informative guide to the world of game design and writing. I would call this book a 0-fat book in that it contains nothing that is not truly important.

I'm a would-be game developer and this book really gets you into how to add story elements to your game. It tells you what make good story elements and how to balance them against the needs of the game.

The book is filled with practical tips and exercises. Definitely the best book I've read on the topic.

The Ultimate Guide to Video Game Writing and Design balances the artistic and the technical sides of writing smoothly. The incorporation of writing exercises throughout coupled with examples in the back allows the fledgling writer to evaluate their own writing compared to the author's. The Ultimate Guide to Video Game Writing and Design starts with basics for an beginning writer, continues with the nitty gritty of game specific writing, and finishes with a valuable look into the business aspects of writing for video games. Over all The Ultimate Guide to Video Game Writing and Design is a comprehensive, easy-to-use tool for the first time writer and a great resource for the veteran as well.

I haven't even finished this book yet and already it's in rough shape! It's highlighted, dog-eared, bookmarked, etc. This is a fantastic book to use alongside your first project. It's not just a book, it's a work-study course on the subject. I highly recommend this book for anyone interested in game writing.

The making of Rear Windows, The Man Who Knew Too Much, To Catch a Thief and The Trouble with Harry in one book! Through interviews with the key production personnel of Hitchcock and writer Hayes, this book covers each detail of how these films were made. Very recommended.

In 1953 John Michael Hayes met Alfred Hitchcock in the Polo Lounge of the Beverly Hills Hotel for dinner. After indulging in much wine and food with the legendary director, the 33-year-old writer, who was just starting to earn his spurs as a film scenarist after a luminous period in radio, returned home and told his wife he was certain that Hitchcock would never hire him to collaborate with him on projects.

How wrong Hayes proved to be, to the distinct benefit of himself and the great director. Hayes believed he would not be hired since he frankly criticized some of Hitchcock's earlier films. As things turned out, Hitchcock admitted he had heard very little of what Hayes was saying. Instead he focused on his manner, believing him to be glib and confident of himself. They then went to work on their first project together, with Hayes writing the screenplay adaptation of Cornell Woolrich's renowned short story, "Rear Window."

Steven DeRosa takes us on a fascinating journey with a succinct dual biography of the two men, brilliant creative forces with styles in some ways different, in other ways similar, while also showcasing the four films on which they worked during their collaboration. Despite his formidable background and lengthy film experience, Hitchcock knew where to tread and how to back off, giving Hayes plenty of suggestions on settings while providing him with all the independence he needed to place his own brand on his screenplays, particularly the masterful dialogue that made him sought after from the time he arrived in Hollywood looking for work. We learn that Hayes, before working on films, was a smashing success as a writer on the Sam Spade radio series starring Howard Duff and Lurene Tuttle. It was while cranking out radio scripts and being compelled to meet pressureful deadlines that Hayes developed a discipline that led him later to be branded as "Hollywood's fastest writer."

Another fascinating collaboration was "To Catch a Thief," in which the French Riviera settings form a brilliant visual backdrop to a thriller in which Cary Grant plays a reformed jewel thief who is enticed back into action to help the local police catch that period's successor to Grant. Along the way he finds romance with Grace Kelly, who will not that long afterward return to the French Riviera to reign over Monte Carlo with new husband Prince Rainier.

DeRosa provides interesting details on the remake of "The Man Who Knew Too Much," this time, 22 years after the original was released, as a spectacular color film. We learn how this film, starring James Stewart and Doris Day,was crafted in a way to utilize the good points of the original version while building upon that success and providing excellent original material.

This book is a rare effort. Scarcely ever does a reader receive such a close perspective on the important relationship between two master craftsmen, a brilliant veteran director and a young screenwriter at the peak of his powers.

This book is about the successful teaming of Alfred Hitchcock and screenwriter John Michael Hayes. Hayes, a native New Englander, and recently a screenwriting professor at Dartmouth, wrote four films for Hitch, including Rear Window, To Catch a Thief and The Man Who Knew Too Much. They worked extraordinarily well together, Hitchcock bringing to the table his mastery of suspense and technique and Hayes his knack for sharp dialogue and strong characters. Predictably, ego, money and a battle for credit soon got in the way and ended their partnership. Steven DeRosa's research is impressive, and his style accessible, entertaining and informative.

Although the book's main focus is on the four films Hitchcock made with Hayes, and on the personal relationsip between the two, DeRosa provides many insights into the director's collaborations with writers throughout his long career. It becomes quite clear that the very nature of Hitchcock's technique, that of planning everything in advance, made him more reliant on writers than he ever admitted. At the same time, DeRosa shows what it was like to be an up-and-coming screenwriter during that era.

In almost stupefying detail DeRosa describes how Hitchcock and screenwriter Hayes conceived, wrote, and produced four of Hitchcock's better films, including Rear Window and To Catch a Thief. Along the way DeRosa tells how Hayes' reputation grew to the point that Hitchcock was no longer comfortable maintaining the relationship. Engagingly written, this is a fresh take on Hitchcock which I thoroughly enjoyed, especially after seeing three of the four on the newly released DVD's.

This book is amazing. I have some experience with Flash video and video production techniques, but I felt like I had a lot of gaps in my knowledge. This book covers everything I need to know, and the included code is priceless. If you want a robust Flash player, with auto-detect, auto-update, etc., but don't care to learn the ins and outs of Actionscript, just use what's provided. You'll have Player up and running in minutes.

I ended up sharing the book with our Video Production team, too. They used a lot of the instruction about good compression, proper aspect ratios, and creating alpha channels for FLVs.

Rob Reinhardt is the master of Video deployed in Flash. I was so happy to see he finally has written a book that captures his knowledge, experience, and excellent teaching skills. Rob is clear, concise and you can be guaranteed that he has tested, used and deployed all the techniques he demonstrates.
Bravo!!!!!

this book is a decent hands-on approach to creating video players using AS3 & AS2. Two of the missing things that I think are necessary are creating custom volume controls and handling full-screen mode.

There's nobody more prolific and comprehensive in the world of Flash video delivery than Reinhardt. Considering the enormity of topics and goals addressed in this book, he's really outdone himself this time. Essential for anyone interested in serious deployment of Flash video.

My company bought other Flash Video books, but this book had the ActionScript 3.0 code I was looking for. The DVD included with the book rocks--I've always wanted to test HD footage in Flash, but didn't want to spend too much time looking for huge files on the Internet. The DVD has lots of HD content to use as sample content.

This is a good group of interviews and conversations done with Al Pacino. It isn't a biography, although it has bigraphical information. What it does is give the reader a small glimpse of a man who normally stays well hidden. If you like Al Pacino it is a good read, and gives insight into the behind the curtain reasons for some of his "quirks". The Kindle editon is formatted without problems. The only complaint is the pictures are small, but that is a kindle limitation. The words carry the book. So this isn't an issue for me. I have looked for the print edition and it was out a few days, sold out in book stores, and I haven't seen it since. It may be available on Amazon, I was checking when I found this edition. And didn't continue to look, the pictures aren't that important to me - I know what Pacino looks like.

Mr. Grobel's relationship with Al Pacino grows throughout this book. The book consists of numerous interviews by the author as well as magazine articles. Pacino talks about his many successful films, actors he admires, the Godfather III disaster, and his obsession with Richard III. This was a great read and allowed me to see inside the mind of one of my favorite actors.

Lawrence Grobel is a master interviewer and get some original and surprising answers of Al Pacino. There is no flattery for the celebrity here and if there's some is only in small doses. Pacino reveals himself as a down to earth guy who cares
a lot about his craft and about doing his job well(no more,no less) and shows an amazing sense of humour at times.This is the portrait of a true artist who loves his art.
Lawrence Grobel many times insist in questions that Mr. Pacino does not want to answer and many times out of insistence get an answer from the actor.
I truly find this book entertaining ,didactic and intelligent.

This is a great book for several reasons:

1. Pacino gives insight on many of his movies, discussing why he feels they were hit or miss.

2. Pacino talks about off-the-camera stuff, such as his childhood, his struggles in trying to become an accomplished actor and much more.

3. Pacino elaborates on his true passion and where he returns when his career is in a slump.

The introduction is very strong and interesting because it summarizes his career work. If you like Al Pacino, you gotta have this book.

Excellent book in interview form which delves deep into the fascinating and complex psyche of one of the most accomplished and gifted actors in cinema history. Reknown journalist and writer Lawrence Grobel goes to where no other interviewer/reporter has gone before:deep into the mind and thought process of legendary film and stage actor extraordinaire Al Pacino. This fantastic and thorough book explains in great depth the complex and brilliant acting career of Al Pacino. If you love Pacino's work like I do you will love this book. Highly recommended and entertaining. Al is widely known not only for his remarkable work on film and in the theater but for his passion for his craft. He is passionate about acting and is a very serious actor but who would of thought that this dark and intense actor would have a sense of humor. Some of the answers that he gives to Lawrence Grobel are actually quite funny. He can be serious when he needs to be and quite amusing when he feels the need. Get this book and you will not be disappointed. He discusses in great detail his entire career from his humble beginnings when he was a homeless struggling actor to his defining status as an icon of American cinema.

I found the history of the drive-in very interesting in this publication. It would make a great gift for any friend or family member interested in this type of history.

Although the drive-in theater didn't start in Hawaii, it may be that the outdoor movie did.
In "The American Drive-in Movie Theatre," Texas drive-in buffs Don and Susan Sanders have a photograph of a sizable crowd watching films projected against the outside wall of a building next to Sacred Hearts Convent School in Honolulu in 1906 -- about a year after the silent movie came to America.
It took a surprisingly long time to marry the outdoor movie and the automobile. In 1933, Richard Hollingshead Jr., the "father of the drive-in theater," opened the Camden Drive-In in New Jersey.
Although cars and movies seem as natural a combination as milk and cookies, it wasn't so easy for the pioneers. The Sanderses say the studios never liked "ozoners" and refused to make first-run, or even good second-run, films available.
And getting sound to the customers was a problem that took years to solve. When the problem eventually was put in the hands of a professional engineer, at RCA in 1941, a workable solution was simple.
But drive-in entrepreneurs were not engineers, nor were they the kind of people who turned to engineers for help.
They tinkered. The results were weird and wonderful -- and likely to annoy the neighbors. One solution was a giant speaker that broadcast the sound over the lot, and much farther.
Cold nights cut into business, too, but every problem was an opportunity to the drive-in operator: In Anchorage, the Billiken Drive-In offered 18-hour, seven-feature admissions in the wintertime.
The 1945-55 decade was the peak for drive-ins. The nation had more than 5,000 of them, though they never caught on much overseas.
From 1955 on, the Sanderses say, television and other changes started to suck the family trade away, leaving the field to teen-agers and Samuel Z. Arkoff's American International Pictures for another half decade or so.
Since then, drive-ins have steadily declined. There are about 500 left, mostly in rural areas. They require too much land to be affordable in cities.
Some individual theaters are doing well, and drive-in societies seek to preserve and protect them.
The Sanderses have traveled to more than 40 states to interview drive-in people and take pictures, and they have ransacked archives for illustrations.
They came up with enough material not only for this charming bit of nostalgia, but for another volume, "Drive-In Movie Memories."

Don and Susan Sanders have captured the essence of the drive-in movie theatre and packed all of the magic into a really great book. I flipped hamburgers at the now defunct Belknap Drive-in when I was in high school and turning the pages of this time-machine brought back many memories. Forget about multiplex cinemas and theater complexes at the mall. The American Drive-In movie theatre lives!

The best book of its kind, bar none. Photos are excellent, and it is obvious that the authors really know and love their subject. Anyone who has ever spent an evening at the drive-in would love the memories this book evokes. Anyone who never had the opportunity to participate in the golden age of drive-in movies can experience it vicariously through The American Drive-In Movie Theatre. I've given several copies as gifts -- Everyone loves a Drive-In !

Being a huge fan of drive-ins, I really looked forward to reading this book. The only criticism I have is the sequence of the actual chapter text of the book, and the information inserts that the author has throughout. It is very "chopped" up. Reading the chapter, then turning the page to find there is information pertaining to something else on the next page. The chapter text starts a couple of pages later in some cases, breaking up the continuity. Other than this, it makes for a very interesting read for those who enjoy nostalgia and want to be transported back to a more simpler and fun time.