Radio Books

I work in home video content in the back office. This book gives a great overview of the industry and how it works. I own a copy and bought another for a new employee. Highly recommended.

It is a good book to read and has interesting facts about the movie industry. Came in good condition. Would buy it again.

This is an absolutely fantastic book. It is a series of essays from very well known industry professionals and will help anyone to better understand the perspective of the other people you're working with on the set.

My wife and I are movie fans...though not like those hard core guys who hang out at independent film festivals...and we love this book.

It's a wonderful introduction to all the ins and outs of the movie business. The writers talk about film as a business and how the business side of film influences their creative choices. Revenue streams, copywrite issues, and how to "make it in Hollywood" are all discussed thoroughly in this book.

The authors were obviously choosen because of their expertise, but most of them are surprisingly good at conveying information in a way non-industry people can understand. I was expecting that each chapter in this book would be filled with Hollywood jargon...like when you read an article in Variety, but that is not the case.

If you love movies and REALLY want to understand how they work, this book is a must. Other books are great at explaining the artistic side (for example, How to Read a Film is a great title), but The Movie Business Book is wonderful since all of its contributors understand that modern film cannot be fully understood as a work of art unless you understand how the economics of Hollywood influence how the art is shaped.

I have recently bought over ten movie business making books, all starting with this one. I would have to say that out of all of the books I have read thought, this would have to be the best out of them all. Not only do they have chapters written by different people, they are all people that are in the business. They break down hollywood lingo and include a basic pay structure. This book is the most informative of the film books I have read. This is the book you buy if you want a break down of movie careers, but not for how to personally make it yourself into the business.

NOBODY'S FOOL is a terrific sports novel that shows the changing heart in a relationship that grows in depth as the story unfolds. It's football better than FRIDAY NIGHT LIGHTS told in honest down-to-earth writing.

Paul Hemphill, likely the South's finest writer, has in the past written about country music, NASCAR racing and minor -league baseball. Now he brings his considerable powers to high-school football. "Nobody's Hero" is as exciting and drama-packed as the end-of-the-season championship game between two arch rivals. But what truly sets Hemphill's work apart and above other sports-centered novels are the complex and very human relationships that form the backdrop for the big game.

Paul Hemphill's works are marked by carefully drawn characters of complexity and sublety as befits a great writer who has delt so effectively in stories with a Southern context. His Birmingham upbringing, his Auburn U. 'education" and his Atlanta experience provide the football background and the racial context for a story of recovery and redemption in the modern South.

You don't have to be a football fan to appreciate this beautifully-written story of a man who finds out he's a lot better than he -- or anybody else -- thinks he is. It's a novel of redemption, and it's full of flesh-and-blood characters who grow and change -- people you find yourself caring about.
If you are a football fan, you'll appreciate "Nobody's Hero" all the more. It captures the grit and the glory of high school athletics, the kids who play and the adults who guide them. And it's a great read.

Hemphill's hilarious Long Gone was made into a movie, but Nobody's Hero is better. A former award-winning sports writer and a southerner, Hemphill's description of the relationship that develops between a down-and-out ex-jock from AL and a young African American athlete is beyond believable. You KNOW these guys and pull for them. And, their story is seasoned by the insertion of two salty female characters who are completely captivating. The reader can't help wondering what happens to these characters next so, Paul, how 'bout a sequel?

I can't say anything positive since I have not received it. I wish that I received as swiftly as I paid for it.

This book is perfect for people who is interested in filmscoring, discussing every aspect of filmcomposing that you need to know about. It`s the best I`ve read so far.

This book is a MUST for everybody who is involved in the film industry (composers, producers, directors, film and music editors, etc...) and wants to know the insides of composing film scores:

It has many examples, references, quotes and the expertise of such a great composer as Karlin is.

Wanna be serious in this business, must get it.

It's worth buying it.

This is the greatest book I ever seen. It' a complete guide for film and tv scorig. It analyses every aspects and tasks of the film music production for a composer. From the spotting to the business... It explains very clearly the concepts, also with a lot of quotations from today's most famous film composers, editors, executives, producers, directors... (more than 100 professionals have contributed with quotations to this 'bible'). There are many many printed score examples. It is very up to date, with modern films examples, and there's also a chapter concerning digital music composition. I've copied the whole contents pages, so you can see this book professionality.

Just don't care about the price, it's really a great investment. I was in doubt to buy it for the price, but when I've opened it I've realized that my money was spent in a great way.

CONTENTS
of On the Track by Fred Karlin and Rayburn Wright

Foreword by John Williams
Preface to the First Edition
Preface to the Second Edition
Acknowledgments for the First Edition
Acknowledgments for the Second Edition
Introduction
How iv Use This Book

I PRELIMINARIES

1 The Filmmaking Team
Meeting the Filmmakers. The Director. Communicating with the Director. Support and Guidance. Two-Way Dialogue between Director and Composer. The Producer. The Producer's Power. Communicating with the Producer. The Film Editor. The Music Editor. Music Executives and Supervisors.

2 The Script, Meetings, and Screenings
The Script. The First Meeting before Screening the Film. The First Screening. First Cut, Fine Cut, and Assembly. The First Discussion after Screening the Film. Composing before the Film Is Finished.

3 Role Models and Temp Tracks
Specific Film Scores or Cues as Role Models. Specific Film-Scoring Styles Used as Role Models. Specific Classical Pieces or Styles Used as Role Models. The Composer's Use of Role Models. Evoking a Role Model Inadvertently. Role Models and Plagiarism. Temp Tracks. Music Editors and Temp Traclcs--How It's Done. Why Filmmakers Use Temp Tracks. How Composers Work with Temp Tracks.

4 Spotting the Film
Talking It Over. Making Decisions. When To Use Music. Starting a Cue. Ending a Cue. Short Cues, Transitions, and Long Cues. The Importance of the Acting. The Director Communicates. Spotting Notes and Timing Notes. Changes in the Spotting after Scoring. Score Lengths.

5 Budgets and Schedules
Cost Factors. Figuring Costs. Working with a Smali Budget. Scoring Union or Nonunion. The Assumption Agreement. Working with the Contractor. Composing Fees. Budget Estimates. Time to Compose. Copying Time.

II CONCEPTUALIZING

6 Developing the Concept
Characterization. The Central Character. The Singie Dramatic Theme. Two Dramatic Themes. Ethnic/Geographic Considerations. Musical Styles. Combining Two or More Stylistic Elements. The Process of Elimination. Scores for Study.

7 Demonstrating the Score: Mockups and Electronics
Electronic Mockups. Mockups for Communication. Changes.

III TIMINGS
8 Timings and Clicks I
Free Timing. Using Clicks and Clock. Metronome Equivalents. When Timings Don't Sync. Requirements on Extremely Accurate Hits. Ritards, Fermatas, Accelerandos.

9 Timings and Clicks II
Music Editors. Cut Back Cues and Split Chases. Tempo and Mood Changes within Cues. Meter Changes within Cues. Timings with a Calculator. Using Videorecorders, Digitized Video and SMPTE Time Code. Drop-Frame or Non-Drop-Frame? Avoiding Confusion in Math Problems. Hardware and Software.

IV COMPOSING
10 Playing the Drama
Audience Expectations. Don't Tip the Story. Tone. Main Titles. Whose Point of View to Play? Playing the Overview. Playing What the Scene is Really About. Getting Inside the Character's Feelings. Playing the Environment or Location. Playing the Situation. How Intensely to Play the Drama less Is More/Understating the Drama. Avoiding Emotion. De-emphasizing a Scene. The Power of Silence. Playing through the Drama. Phrasing the Drama. Hitting the Action. Highlighting. Red Herrings. Scoring the Film Like a Ballet. Underscoring the Dialogue. Scores for Study.
11 Genres and Source Music
Genres. Action. Comedy. Documentaries. Historical and Period. Horror. Source Music. Interweaving Source and Score. Scores for Study.

12 Composing
Creative Considerations: Work Process. Intuition and the Subconscious. Writer's Block. Preparation. Planning the Score. Organizing the Score. Unity and Variety. Research. Tempo or Pulse. Personal Taste and Style. Beginning the Sketch.

13 UsingMelody
Motifs. Multiple Motifs. Unaccompanied Melody. Two-Voice Texture. Giving the Melody Character. Adapting a Theme. Hit Records. Scores for Study.

14 Using Harmony
Harmonic Languages. Harmony Resulting from Linear Writing. Harmonic Pedal Point and Ostinatos. Using Harmony for Characterization. Using Harmony as a Theme. Tension. Scores for Study.

15 Using Rhythm
Tempo and Pulse. Sketching the Rhythms. The Percussion Section and Electronics. The Orchestra as Rhythm. Rhythm as a Thematic Idea. Rhythmic Ostinatos. Uneven and Changing Meters. Polyrhythms. Scores for Study.

16 Using Orchestration
Characterizing the Film's Dramatic Theme. Suggesting Locale with Color. Symphonic Orchestration. Fresh Sounds and Interesting Combinations. Change the Color, Change the Emotion. Orchestral Effects. Smail Budgets. To Orchestrate or Not to Orchestrate? Sketches. MIDI Sketches. Transposed or Concert Pitch-Scores? The Art of Orchestration. The Composer/Orchestrator Relationship. Orchestrating from MIDI Sketches. Using Synths and Orchestra Together. Typical Orchestra Setups. Know the Instruments. Short Cuts. Orchestration Schedules. Changes. Other Practicalities. The Business Aspects of Orchestration. Scores for Study.

17 Technical and Practical Considerations
Technical Considerations. Streamers. Recording. Practical Considerations. Preparing to Record. Save Your Music. Checklists.

V RECORDING
18 Recording: The Scoring Stage
The Scoring Stage. Underscoring, Prerecording, and Set Recording. Scoring Primarily or Completely with Electronics. Prerecording Electronic Tracks. Prerecording Acoustic Tracks and Soloists. Planning. The Mixer. Producing the Music. Conducting. Conducting Aids. Film Sound. Recording Format. Headset Mixes. Rehearsal Protocol. Creative Responses. Working with the Director. Changes on the Scoring Stage. Recording. Working with the Mixer. Playbacks. Overdubbing (Layering or Stacking). Prerecording an On-Screen Performance. Time Pressures on the Stage. Recording Away from Home. Timing Corrections while Recording. Postmixes and Sound Processing. Using Samples in Final Mix. Remixing for a Soundtrack Album.

19 Dubbing: The Final Mix
The Composer on the Dubbing Stage. The Dubbing Stage and the Participants. Preparing the Music for Dubbing. Predubbing. The Music Mixer. Dubbing Stage Sound. First Adjustments during the Mix. Overail Music Levels. Changing/Losing Cues. As the Director Sees It. Dubbing Stage Protocol. Dubbing with Dialogue. Losing a Score. Dubbing Schedules. Previews. Scores for Study. VI ELECTRONIC AND CONTEMPORARY SCORING

20 Using Electronic Music
Electronic Instruments as Acoustic Re-creations. Electronic Instruments for Unique Sounds. Blending Electronic and Acoustic Instruments. Scoring with Electronics. Recording Electronic Music. Scores for Study.

21 Using Contemporary Music
Using Contemporary Rhythm Sections. Contemporary Scores. A Closer Look at Three Contemporary Scores. Scoring with a Solo Artist. Scoring with a Group. Contemporary Source Music. Scores for Study.

22 Scoring for Television
Television Series. Main Titie Themes. Composing. Working with the Producers. Dubbing. Scoring with Orchestra. Scoring Long Form. The Use of Songs. Television!Film Differences.

VII SONGS
23 Musicals and Prerecording
Prerecording (Prescoring). Prerecording Grease and Fame. Postrecording (Postscoring). The Classic Musicals and Beyond.

24 Songs
The Functions of a Song. Content. Songwriting Collaboration. Syncing the Lyric to the Visuals. Rewriting, or Writing Another Song. Demonstrating the Song. The Artist. Hits and Big Business. Footloose: An Origina1 Compilation Song Score. Yentl: An Origina1 Song Score by One Team of Writers.
VIII THE BUSINESS
25 The Business
Getting the Job. Moving from Television to Films. Demos. Being Heard. Agents. Film and Television Deal Points. Commercials. ASCAP and BMI. Music Budgets. Licensing. Soundtrack Albums. Music and Business.

Epilogue. On the Track
The Interviewees and Authors
Appendix A. Study Assignments
Appendix B. Footage/Timing Conversions
Appendix C. Calculator Methodfor Timings
Appendix D. Drop-Frame
Glossary
End Notes
Bibliography
Web Sites
Music Excerpts
Index

Fred Karlin and his orchestration teacher Rayburn Wright both passed away but their spirit comes alive through the pages of this book. Fred's love for film music and to impart fledgling composers to imbibe the intricacies of film music composition is well documented and presented and is current with examples of cues from movies till 2002 in the 2nd edition of the book. Fred's reverence for film composers is both inspirational and exhaustive and reveals what a brilliant human being he was. This world and the music community needs people like this who have taken their chosen art form and has the good heart to share that information which is hard earned to let other men take lead and become CAUSE over their own vistas of expression in film music. Fred is BRILLIANT AND ALIVE. It is inevitable that you can't help but think of him with gratitude and call out to him and say THANK YOU. These are the people who can bring about changes in the field of film music education and the evolution of man in general by helping us create better art. This is the Veda of Film Scoring. Its that good.

Pro's: It was interesting to read about the actors and their were plenty of interesting photos. I like reading the comments from the actors on certain episodes.

Cons: The episode guide was good, but it was something I could care less about. I wanted to see more behind the scenes facts and this book gave me what I already knew. Also the quiz at the end was impossible. I've been watching the show since it started, and the questions are based on details that are impossible for even me to remember and the only way you'd remember them is if you taped each episode and/or took notes from each episode. I read what the other people said about the book and thought it would be great, instead it was a dissappointment.

Over all: Don't get this book unless you are a NEW fan and don't know anything. Also don't even try the quiz!

The Author of this book should be very proud! I mean I thought I was a fan and then I read this book and I realized so much I didn't know! This book has shown me how I can dedicate and try to make this show more popular by supporting it!! Read it, it's GREAT!

I think that this book was really good, probably because I am a po5 fan! It has good information that I didn't ever know about. I recommend it, and any other party of five books!

It has bios of all the stars and guests, recaps of all the episodes of the first three seasons, behind the scenes info./pics, plus tons of other great stuff!

If you love PO5 as much as I do (which beleve me is a alot!) this is the book that you should read. It gives you the inside scoop on the show and the stars and also includes tons of quizzes and an episode guide. So if your smart (which you must be if you decide to watch PO5) read this book now!

Post-Rapture Radio is a thought provoking book that is fun to read.
It follows the adventures of one Rev. Lamblove, a disaffected preacher who may be losing his mind. Through a series of journal entries, sermons, dreams and commentaries we read of his growing frustration with consumer Christianity. As Rev. Lamblove becomes more and more insane he makes more and more sense, and you just might see yourself in him and.or the other characters in this book. It is neither preachy nor polemic, but it will make you reexamine your suppositions.

I'm going to meet this guy some day and laugh as loud with him as I did when I read his book. Yet, it's almost satire. Penetrating, poignant and schizophrenic. I loved it.

I guess this book has been out for awhile and I'm probably behind the times (or maybe the author was ahead of his time). I underlined a lot in this book. Here's one of my favorites:

"After all, what takes more faith - to believe that God can save you and offer personal fulfillment and comfort, or to believe that God can reorient the whole world from one of hate, greed, fear and personal gain, to one ruled by peace and justice? A world where there is Good News for the poor, releases for the captives, the recovery of sight for the blind - where the oppressed are free, and all live according to God's good favor. What takes more faith - to believe that God can save you or that God is going to save the whole world and wants you to help?" - pg. 86, Rev. Lamblove (aka russell rathbun)

The best line is on page 110, but don't skip ahead. You gotta read the whole thing, then the punchline will blow you away.

I hope it's not too late - I want to join the revolution!

Russell Rathbun has just raised the bar for Christian fiction. Post-Rapture Radio is fiction - forget for a moment the adjective Christian - at its very best. It is inventive, humorous, shocking, provocative, philosophical and at times quite depressing. It's almost existential. Rathbun has a message, to be sure, and it's directed at Christians. However, unlike most "Christian novels with a message," the message does not weigh the writing down.

In the book, the narrator discovers a box containing various writings of "unknown crazy preacher" Richard Lamblove. The writings include sermons, journal entries & miscellaneous scribbled notes by this man, whose only proof of existence appears to be the documents in the box. Most of the book consists of these various writings, interspersed with notes by the narrator, who is trying to make some sense of the writings. Lamblove is at odds with what he perceives as the "Contemporary Christian Church Conspiracy" that surrounds him and it's either driving him crazy, or driving him sane. Or perhaps both.

There will be a number of people who simply "don't get" the book, which to me only shows how brilliant the book is (all great books are not understood by the masses). Some will hate it because it pushed various buttons, and we all hate when our buttons get pushed. Many will love the book, just because it's so well-written and relevant. My reaction, however, was that I began to identify so closely with Rev. Lamblove that I experienced moments of near despair (a near existential moment - another sign of a great book).

The only shortcoming of the book, in my opinion, was that the Lamblove character is a pastor. The way the book resolved (I won't give the ending away) was fine for Lamblove, but what about the majority of people in the church? What options are open to those trapped in their own Contemporary Christian Church Conspiracy, but without the resources and opportunities of the leadership (not that he gave any specific answers there, either)? I need to ask Rathbun ... perhaps he'll write a sequel.

Ouch!! Once I got his literary device, his satirical critique hit home with both humorous and distressing poignancy! The sad truth is that many leaders in desperate need of updating of their methods and models will fall victim to a wholesale exchange of contemporary style for contextual substance. Russell Rathbun's critique of ultra-modern Christianity is a must read poking fun at our attempts to contemporize ministry without the accompanying and necessary spiritual depth, character, and authentic (and ancient) substance of the gospel. Ouch, ouch, ouch!!!

I have been taking recommendations from Berardinelli's website for a few years. This book is a compilation of his favorites from about the last 10 years, and are arranged by genre (Action/Adventure, Animated, Comedy, Drama, etc.). An appendix uncovers some 'easter eggs' (want to see Gollum's MTV speech from the DVD?), and another reviews directors' cuts. Berardinelli includes only 'recommended', 'highly recommended', and 'must see' movies.

Berardinelli exudes both open-mindedness and conviction in his reviews. He sees through audience manipulation and recognizes artistic vision. He's not syndicated, and has only his fans to please. I get the distinct feeling that he writes reviews to create a more demanding movie viewing audience. If my feeling is right, I hope he succeeds.

You'll have to visit Berardinelli's website (www.reelviews.net) to experience the other half of his vocabulary: the colorful invective he uses to trash truly bad films. A great example: "I have written this review as a public service to those who stop by my video column. I sacrificed my time so others don't have to. Feel free to ignore this warning..".

James Berardinelli's Reelviews website has been my go-to source for movie reviews since I stumbled upon it a few years back. I admire his candor and insightful analysis of films and the film world. Just like a previous reviewer said, since discovering James I have not wasted money seeing a dud film in the theater).

Best of all, you can always trust James to tell the truth. If the movie is schlock, he lets you know; if the movie is decent, he'll tell you who might be most attracted to seeing the film in theaters (often times by providing a list of similar films like a "if you liked these, try this" recommendation); and if the movie is great, James sounds the horn. And I must admit, while I look forward to seeing four and five star films, I look forward to reading the one and zero star reviews (there's just something deeply gratifying and entertaining about a reviewer ripping some piece of schlock to the tiny bits it deserves...call it my guilty pleasure).

So if you want a "Reel" honest review, James is your man. Pick up the book, check out the website (I recommend spending some time running through "ReelThoughts" for a few great ideas about what is going on in the entertainment industry, what could/should be going on, and so forth), have yourself a ball. I only hope Mr. Berardinelli can find the time to put together a DVD guide as well for those of us - and he knows were out there, growing in number - who prefer the comfort of home to the current theater experience.

You da man, James. Keep it up!

This book provides heavily edited versions of James Berardinelli's website movie reviews. Unfortunately, instead of skimping on plot descriptions, he skimps on analysis, which is his strong suit.

My first exposure to Berardinelli was the first version of this movie guide. And I didn't think much of it. Some time later, I was discussing Berardinelli with a friend, who advised me to check out his complete reviews posted on his website. After reading the complete reviews, with all of the analysis intact, I finally became a believer. But despite all of this, I now own both versions of his movie guide, which I find useful for quick-reference purposes. (Note: If this movie guide contained Berardinelli's complete, unedited movie reviews, I would bump my rating up to four stars.)

Note to ALL film critics: In the future, try to restrict your movie plot summaries to just one or two paragraphs, and then get on to what you were truly put on this planet for, i.e., providing analysis and criticism.

(Note: this review assumes that you are not terribly familiar with James Berardinelli. If you are, skip to the last two paragraphs.)

Growing up in a Dallas suburb, there was nothing much to do but to get a ride over to the local multiplex and catch the latest flicks. Early on in my preteen years, of course, almost anything would catch my interest (save for something like Jane Eyre), but after awhile it became apparent that my time would be better spent going to movies that were actually decent. So, this led me to peel open and dog-ear the "Guide" section of the Dallas Morning News, always skimming the review snippets before deciding to which movie I would beg my mother to take me. However, while this system proved adequate early on, it became apparent that I was still spending time watching alot of terrible movies, movies that had been given such wonderful critical catch phrases as "Two Thumbs (Way) Up!" (which I'm sure must be trademarked or something similar by now) or "Four Stars! One of the best movies of our time!" Which, of course, led me to a gradual disillusionment and the growing belief that all critics were cash-mongerers being paid off to write catchphrases to be used in advertisements.

I still think that about many critics. But eventually, I discovered rottentomatoes.com and it proved to be a good, brute force way of finding quality movies to spend a hard-earned 8 bucks. I came to notice, however, that one reviewer in particular kept standing out for well thought out, well-read (and well-seen) reviews, many of which corresponded to my tastes and interests. It was in this way I came to find James Berardinelli. His name was a bit of a pain to remember at first, but it soon became synonymous to me with pure, intellectual and quality reviews.

Very few critics, I feel, are able to properly enunciate precisely why they feel a movie is good or bad. I've read many a four star review of Pulp Fiction, for example, that was filled with vague assessments and ephemereal praise; namely, that the critic had realized they had just seen something wonderful, but couldn't quite express why. And sometimes this enunciation can be done in overkill; however intelligent a review from the New York Times or the Chicago Tribune may be, sometimes they seem a bit *too* intelligent, a critic trying too hard to maintain an image or trying to be Faulkner when Hemingway would suffice.

It is, however, this precise skill of putting down in words that certain "je ne sais quoi" many of us may feel when watching the latest masterpiece that makes Berardinelli brilliant. It is his irreverant attitude to the worst of movies, and his superbly insightful and analytical approach to even the most untouchably brilliant of movies and his refusal to reduce his thoughts to a catchphrase that makes every read an enjoyable one. I never read reviews in my free time for fun before, but now I pour over Berardinelli pages as if looking over a great literary tome. And in fact, his reviews may be; each review opens a dialogue with the reader, explaining everything what one wants to and needs to know. One has a question, and Berardinelli has anticipated it and answered it. If anything, I wish his reviews were longer.

However, it's simply more than just Berardinelli agreeing with my tastes. In fact, I found I disagree with him on quite a bit of movies, but unlike many other critics, a point of divergence is not an irreconcilable-"oh-he's-just-one-of-the-crazies-who-liked-star-wars-episode-one" moment but rather a way to see an alternative opinion presented intelligently and analytically. If anything, if you're used to just reading reviews from your local newspaper, Berardinelli will elevate your level of discourse with movies and will broaden the way you think about the art of filmmaking.

That being said, why do you need to buy the book when all his reviews are archived for free on his website? If you've a soft-spot for reviews and movies, this is a good addition to your library, beating out the more mainstream works such as "Videohound's Golden Movie Retriever year XXXX" (which I never read for fun). Even then, a collection such as this belongs in the category of art criticism, not movie reviews, and for that reason a hard copy will always be welcomed as a permanent reference for the thoughts and analyses of one of the most important critics of our time. If that's not your thing, having a hard copy of the reviews means that you can always quickly look up a review without having to worry about booting up a computer or remembering how to spell "Berardinelli." If anything else, this makes sure that you vote with your dollar and support a critic who deserves greater exposure.

(I realize the overly-glowing tone of this review, but if you've read Berardinelli, you'd understand.)

I've been an avid reader of James' website for the last year of so. I have come to value his reviews over almost everyone elses. He never fails to expose a bad movie and tell exactly why in an intelligent, and sometimes humorous way. I've often been prompted to see a movie that I otherwise would have probably overlooked. James, if you read this, ignore that jerk who gave your book a one star. Everyone is entitled to their opinion, but writing scathing reviews that are based on questionable informatio is unecessary. I look forward to reading more of your reviews and your next book. Take care!

Great, fun book for Road Rules fanatics

I am obsessed with everything on Road Rules and Real World. To me, this was one of the better MTV books. You should read it if you like learning about how the characters really felt during their adventures. It was great!

I started reading this book and i couldn't put it down. The pictures are so funny, and the entrees are juicy and tell you every thing that you never knew about the casts. I think this is a great book.

As an almost-obsessive fan of both the Real World and Road Rules, this was definitely one of the better books. Even if you have watched every episode of the shows, like I have, you should get this book. It tells what really happened with the romances and fights; what cast members really thought of each other, and it even contains lost missions that were unable to make it onto the show. I would recommend this book to anyone who has seen the show. So order it today!

This book had tons of information. It really made you feel like you were there. It gives you how cast members really felt about what the other cast members were doing. It gives you the FULL story, not the part that Bunim/Murray wants you to hear. You actually find out the reason the cast members were arguing, not just the argument. I hate to read, but I finished this book in just two days. Better than Road Rules: Passport Abroad and In the House: Real World Seattle. If you only plan to get one book about The Real World or Road Rules, this is the one!

With web sites such as imdb and allmovies, a book of movie credits may not be necessary anymore.

It should be in libraries, though.

Still, the best of its kind!

Screen World 57 is a valuable collectors item for the movie buff to the film afficiaado. It contains reviews of every major film released in the U. S. and abroad. I have purchased this book every year since 1972. I wonder what this collection could be worth?

In one printing or another, this latest edition bring my collection
up to date.

If movies are your thing (and they are mine) this is the book to get to remind you of the past year in movies. We are talking indies, foreign, b movies and of course Academy Award winners. Volume 57 already? Can't wait for #58!

The 2006 edition of the Screen World Film Annual is a wonderful treat for anyone crazy about movies. The book is beautifully laid out with statistics and over 1,000 photos of movies released in 2005. Screen World includes domestic and foreign film releases, promising new actors, biographical data and obituaries. This is the 57th volume and I am proud to say I have every edition. I highly recommend Screen World, it's the best film annual there is!

I highly recommend Seagalogy for all movie buffs and anybody looking for a good laugh.
Fans of Steven Seagal will love Seagalogy because of the depth of information about his movies, commercials, music and products.
Even those of us who don't like Steven Seagal will still enjoy reading Seagalogy, because Vern mockingly and sincerely writes reviews about every movie Steven Seagal has made, comments on the absurdity of his movies and unusual characteristics.

I was hoping for the Seagal equivalent of the hillarious Wrestlecrap books. Those books show their love for the material but also aren't afraid to rip it apart for laughs. This book seems more like a 400 page high school thesis paper about reoccuring themes that appear in Steven Seagal movies. Interesting stuff like his mob claims and lawsuits, as well as his problems with production on movies like Mercenary for Justice are hardly even touched on.

Instead of describing the hillarious flubs in his DTV movies, the reader is treated to an overly long sypnosis of the film, and then a rundown of the themes which connect them to other Seagal films.

As a fellow Seagal fan I can appreciate Vern's love of the material, but overall it came off as way to dry for such a ridiculous concept for a book.

This book is laugh out loud funny. I was unable to put it down once I picked it up. There is a wealth of information here but its never hard work to digest as Vern doesn't take it too seriously. Best 10 dollars I have spent in a long time. Hopefully Seagal continues making many more movies so Vern can do a part 2 of Seagalogy.

Damn, damn, damn - Vern wrote my book!! I am your basic NPR junkie, with a video collection heavy on German, French and Japanese classics, and never miss Masterpiece Theatre. Guests are always amazed when they come across my complete set of Seagal films - but I adore these films! They are entertaining, often very funny, and have a unique point of view. I had long planned that my retirement project would be to write THIS BOOK!! Fortunately, it is very well written, and gives great insight without ignoring the smirk factor. Well done, but I still am resentful!

This could be a ground-breaking book.

Usually in a book with a subject like this the reader would expect one of two things - either predominantly fawning and uncritical adulation peppered with the occasional swipe at safe targets ala the tomes of Telos that cover the recent seasons of the returned Dr Who - or wholesale emasculation of the works considered and their dissection for comedic purposes, the sort of thing the Medved brothers made their name doing.

Vern does neither, and instead finds an intriguing way of reflecting on a genre that actually, surprisingly, may have much to reveal both about the way cinema and celebrity function in the modern age. Writers to come could learn much from this manner of study, one that is respectful of the film-makers' intentions and the audiences responses - or non-responses - to these and we might learn a few things along the way. It helps that Vern can also write extremely well, has an eye for a decent joke or two and an understanding of the modern age that allows him to draw conclusions that surprise, delight and inform.

What do we learn from this book ?

Well, that there is more to Seagal than just another dumb action movie star. Vern makes a pitch in his opening for ascribing auteur status to the man, an assertion that initially strikes one as either tongue-in-cheek to the point of incomprehension, taking the mickey out of the reader or misplaced adulation. Yet in his quiet, analytical way Vern demonstrates that he has a point - like many an auteur Seagal has themes and memes that carry through from one film to the next, and where they haven't been present has gone to some lengths as writer, director or actor to introduce them. Moreover Seagal appears to have come to the screen already fully formed, no working his way up for him but immediately launched in a vehicle for his talents - Nico -Above the Law - that's suggests that someone, somewhere, must have felt the man had something to say worth hearing. Subsequent success suggests that in the late 80s and early 90s, people wanted to hear it.

We are used to the idea of the action heroes as ubermenschen - arrogant, opinionated, always in, and politically on, the right. Seagal, Vern shows, is that rare thing - a left-wing action star. Repeated themes he finds in the films are the corruption and incompetence of intelligence agencies, the dangers of turning a blind eye to the environment, violence as a tool that when utilized should be deployed quickly, efficiently and without undue flash or adulation and never as a solution in and of itself, and a quiet asceticism that makes his hero something of a Renaissance man. This latter is a particularly strange thought, but Vern shows us the evidence, presents his own conclusions and also allows that we have the intelligence to draw our own. Seagal deliberately set out to impart his philosophies to his audiences - and that is what auteurs do, surely ?

This is no dry, academic tome however. It is also very funny, warm, enlightening and entertaining. It's a book to carry onto the plane - for who knows what the in-flight movie may be ? - or to read in the bath or you'll annoy close friends and relatives by reading the best bits aloud. It is that good.

So come to mock by all means - but stay to learn and enjoy. And since that's the essence of Steven Seagal's own philosophy of cinema, from what I gather here, this is a book that does the man proud.

When my son graduated from Army chef school, I couldn't resist presenting him with a signed copy of this book. It really was the perfect gift! He loved it and so did his classmates and instructors. Guess Army cooking really hasn't changed so much over the years. lol He intends to try several of the recipes as a lark. He's going to let me know how it goes.

this is a great cook book, not only for M*A*S*H* fans but, for anybody who enjoys cooking. the titles of the recipes are all M*A*S*H* related. THERE ARE COCKTAIL RECIPES!!!!!!! a must for any true M*A*S*H* fan. the col. Flagg truth serum is very good stuff. your girlfriend will love it!

As a true die hard fan of MASH I can honetly say this "takes the cake!" After flipping from beginning to end I actually attempted Hunnicutt's wife's cookie recipe.

Needless to say they were AWESOME, and my wife and my family enjoyed them until the last morsel. I'm now looking through the book for more wonderful morsels of goodness.

Jocularity! Jocularity!

This book is a funny look at life in a fictional mobile army surgical hospital through the eyes of an army private. Igor is not a well trained army cook, but is forced into the role of cook by the army anyway. In spite of his lack of great cooking skills, the recipes he includes in his book are actually quite good. My sons, both of whom are extremely picky eaters, have made several of the simpler items included in this cookbook and have enjoyed the results of their efforts.

This book is not for the master chef or for the hardcore food critic. The recipes are fairly basic and don't require a lot of unusual skills or ingredients. However, the story, the pictures and the recipes are fun and useful.

If you are a fan of M*A*S*H, as I am, you will really enjoy this book and find the recipes a nice addition to your own collection.

In 1950, a country bumpkin named Igor Straminsky answered his country's call to duty and, as an unwitting Army private, soon found himself in the most hostile environment that the planet could ever serve up. No, we're not talking about Korea. We're talking about the men and women of the 4077th who queued up three times a day with plastic trays, growling stomachs, and growing suspicions that they'd more likely meet their deaths at the inept hands of their new cook than they ever would in confrontations with the enemy they'd come to fight.

"Dear Ma," Igor wrote home, "Instead of letting me work at something I'm good at, they're gonna make me do a job I don't know anything about! Radar, the company clerk here, told me that he thinks the Army does that on purpose."

Still, a job was a job and the beleaguered young private wasn't going to let the ongoing sarcasm of Captain Hawkeye Pierce dampen his spirits.

HAWKEYE: It's inhuman to serve the same food day after day. The Geneva Convention prohibits the killing of our taste buds.

Suffice it to say, Igor had plenty of time to hone his craft (such as it was). His stint in a mess tent chef's hat, in fact, lasted 8 years longer than the actual Korean War. When the hit television series M*A*S*H finally bowed out in 1983, almost 125 million viewers tuned in to say goodbye, the largest audience ever for a TV show.

"Ma!" he wrote, "I'm sure you've heard the news...IT'S OVER! I'll probably be home by the time you get this letter but I wanted to write it anyway. I'll make everybody dinner when I get there but could somebody else please serve it?"

Fortunately, Igor's efforts to please the palate weren't left behind on a helicopter pad. His alter ego-Hollywood actor/writer/entrepreneur Jeff Maxwell-has compiled the best of Igor's mess tent magic into a hilarious book entitled "Secrets of the M*A*S*H Mess: The Lost Recipes of Private Igor."

Testimonial from Colonel Potter: "There seems to be a misconception here-those recipes weren't lost! We did our best to hide them."

Within these wacky pages--which are replete with black and white production stills, "dog-tag" quotes, and letters home-the author not only gives us generous dollops of homegrown culinary advice but demonstrates a talent for memorializing his Army experiences and friendships with his own brand of signature recipes:

* Hawkeye and Trapper's Swamp Spaghetti
* Winchester's Upper Crusted Chicken
* Hot Lips Tri-Tips
* Pork Choppers with Barbeque Sauce
* Stuffed Seoul
* Radar's Teddy Bear Turkey Loaf
* The Colonel's Kernel Stew
* Toasted Tank Tuna
* Hunnicut's Homesick Cookies
* Intravenous Drip Dip

IGORISM:
Hawkeye told me he went to school for twelve years to be a doctor. I trained in boot camp for eight weeks to become a soldier. It sure takes a lot more time to learn how to save a life than how to end one.

As clueless as Igor seemed to be whilst unveiling inventive concoctions such as "Cream of Weenie Soup" or "Hot Potato Pucks", he shows remarkable clarity in laying out instructions that are fun and easy to follow. Whether you're mustering your troops off to work or school with "Frontline Flapjacks with Chocolate Gravy", settling in for an evening flick with "Movie Night Popcorn Shrimp" or dazzling your next book club group with "Forward Marsh Melts", there's no denying that Igor knows what it takes to please picky eaters.

IGOR: Peas or carrots, Sir?
HAWKEYE: Oh, a little of each will be fine.
IGOR: Good, because I don't know which is which.

He has also included a short section on drinks, including "Pre-Op Novocaine Shake", "Swamp Swill Martini" and "Suicide is Painless", the latter popularized in song for both the original film and the TV series.

Testimonial from Hawkeye Pierce: "Can't wait to try the recipes. There are several people I'm trying to kill."

In real life, by the way, Maxwell is the inventor/purveyor of a kicky Bloody Mary Mix called Chico Rico™ which won a People's Preference Award in the 2003 International Zesty Foods Show. The mix, which he describes as "Lip Smackin' Fire & Spice", is available at Bristol Farms or through his website at http://www.chicorico.biz/order.html.

While dinner is cooking, TV trivia fans will find themselves well entertained with Maxwell's behind-the-scenes anecdotes as well the convoluted journey that took this affable actor from the bowels of the Print Department at 20th Century Fox to stand-up comedy to the elation of playing a character with an actual name on a hit series instead of just a credit as "Soldier 1". The proliferation of candid shots suggest the slap-dash happiness of an overgrown kid who has not only found himself at the summer camp of a lifetime but in the thick of new friendships destined to last forever.

HOTLIPS: I thought you might enjoy being the Charity Officer for me. You'd be so good at it.
BJ: Oh really?
HOT LIPS: You have such a nice smile. Not liking you is the same as not liking a collie.

Last but not least are the bittersweet tugs of nostalgia which remind us that the 4077th wasn't just Igor's family and his home-away-from-home but a weekly part of our own family as well.

"Dear Ma," his letter began, "We all just found out that Colonel Blake gets to go home. Lucky guy-sure wish I was gonna be on the plane with him!"

In the third season finale, "Abyssinia, Henry", marking actor McLean Stevenson's departure from the cast, viewers will recall the heart-stopping moment when a stunned Radar announced that Colonel Blake's plane had been shot down en route to Japan. There were no survivors.

It was moments like this that reminded us of what good writing can be. And it's books like "Secrets of the M*A*S*H Mess" that demonstrate Private Straminsky has a definite calling in top brass cuisine.