Video Production Books

I rarely laugh when reading books, even when its really funny.
Reading this book though, I was constently cracking up.
The advice is ACTUALLY usefull, it tells the good and bad of film making.
Im keeping this short and simple, so to sum up. This is a truely awesome book.

I don't think I read through 300+ pages so fast in my life. It's incredibly informative on making your own flick from conception to distribution and it is one of the easiest reads I've had. Its also funny as hell, filled with that Kaufman wit.

If you liked Rebel Without a Crew, you'll love this one.

If you're a Troma fan pick it up. If you want to make movies pick it up. If you want a look into the life of a man with an extremely interesting story pick it up.

This is a book I will be returning to both for reference and enjoyment.

I bought this book hoping to have a fun read about making movies and this persons experience. Sadly, what I got was a book load of expletives and degrading ideas of what to throw into a scene them film it. I take away three stars for the no effort put in to not writing a fun book that many can read. I understand the shock value of the title, fine, but curses in every paragraph? I'm not saying to write like a bored, stiff, old tenured expert... But the name calling and mud slinging is not necessary (atleast not all of it). I give it two stars for the street level info. all independents need to know before making a film. Please do protect yourselves.

This is an interesting book for Troma fans and independent film fans. It is really just a book that is meant to entertain and tell stories rather than provide real helpful insight about how to make films. While I appreciate the show of support for independent art, the book doesn't really seem to support independent creation other than Troma's own brand (despite the title of the book). While I will admit that the book is very funny to read, I think sometimes it crosses into somewhat arrogant and self-important banter.

To me this book is more about Troma patting itself on the back and reflecting on their wacky stories then about really empowering anyone but themselves. Read if you are a fan of Troma, not if you are looking for encouragement.

Make Your Own Damn Movie book is the best make your own movie books on the market. You won't find better and honest information like this anywhere, and not for the price either. I have met Lloyd Kaufman and talked to him about making films and he really knows what he is talking about. His book gives you a very fun and enjoyable read, and the information will help you get on the right track to Making Your Own Damn Movie. This book has become my bible for making films, His view and way of speaking has changed the way that average Joe's can go out and Make Their Own Damn Movie!

If you are interested in making a film or just looking for a good laugh you must buy this book.

I just finished reading the book and I'm beyond stunned! It's undoubtedly the most actionable, simple, surefire program I have ever seen. You could not pay me 10 times to give it back!

I read so many books on breaking into the adult film business...I even spent $1,297 on this course from www.adultfilmmaking.com, the "only" online adult film school, which was a total rip off. This book by Ray West and one other one that I downloaded off the internet for $80 have been the ONLY two books I've read that actually give legitimate, usable information on how make money in this business. I don't understand the negative reviews on this book. Yes, the book has grammical and spelling errors but if readers aren't able to overlook that for the information it offers then they probably should stick to their 9 to 5 job anyway. If you're interested in getting into the adult business profitably and successfully, you need all the resources you can get. This book is one valuable resource to get you started. If you're a bible-thumper looking for ways to condemn this industry then you're probably the ones who are degrading the content of this book. Why waste your time? Get this book if you want to make money in this business.

The book was great to read and very informative. the speed of Delivery was also a plus. It was at my door with in a week. can't complain about that. GOOD JOB!

Ray has always taken turns people are blind to notice. I have purchased many products from him, and the flow, creativity, and simplicity blows everything else on the market away. I was further shocked, being from Seattle, to visit the Microsoft offices and find Ray's book laying on someone's desk in Marketing. I have no idea why there, but this man is a genius from my own reading. - From Anonymous

This book was a blast to read. I heard about Ray West from a forum as being a guru to adult film making. After reading, I know why! Eventhough his book is 2001, I am going after his new stuff. I just can't imagine as a film maker how much fun this book has brought to my life. Ray West, you are a true genius.

Somebody's got to be honest here -- the movie that Stu made with all of his techniques is simply godawful on nearly every level. In fact, his emphasis on "rebel" technique might very well have you redirecting your creativity in all the wrong ways. Films are about good STORIES.

That being said, for the discerning reader, there is an enormous amount of useful information in this book and it will really get you technically up to speed fast. For that the "guide" really does deserve five stars. But what we have here is also a recipe book for making the most cliche-ridden Hollywood imitations, which is the furthest thing from what movies need in right now.

Great book for the beginner & advanced pro. Gives you many suggestions on how to get the shot finished with out spending a lot of money. Many movie clips included on the DVD for examples in support of the text. But what I found is that this book is just fun to read. There is a no holds bared, if you want to make a movie then just do it, "I hate green screen" attitude that encourages everyone they CAN make movies. There is technical stuff on setting up shots & After Effect is the only post software used, but you can skip over or breeze by these on your first read because you'll be using this book as a primer as you make movies of all kinds..."just do it!".

Great resource if you are an intermediate videographer. Most of the techniques would be above a newbies head. If you use Adobe After Effects, you'll find some great ideas.

Not for the beginner but very practical info that will make a difference in your video production. If you don't have After Effects then it will depress you.

This is a fantastic book and a fun read. I think I read it twice in the week that it arrived. The included DVD is a nice treat as well as it's pretty cool to see Stu's movie and all of the effects and techniques discussed in the book 'in action.'

If I have one complaint about the book it's that it doesn't come with a DV Camera as after reading, you'll want to run out and make your movie.

Fairy tales are usually about a young man who becomes a hero by battling the most dispicable enemies and achieving his heart's desire. In the end, despite great odds, monsters are vanquished, villainy is given the heave-ho, the princess' heart is won and great treasure is acquired far from the eyes of the Internal Revenue Service (which is how you can tell this is a fairy tale).

"The Making of Star Wars" is just such a fairy tale, but it's not about the one up on the screen. This big, beefy, bouncy delight tells in 360 eye-squinting pages of type and hundreds of photos the story of how George Lucas, armed at first with nothing more than a bare bones script and a reputation for interesting, if not money-making movies, devoted more than four years of his life, bet his precarious career, and came up with a movie that not just redefined Hollywood blockbusters, but reimagined heroism and other virtues that touched a generation made cynical by the upheavals of the `60s and `70s.

How he did it -- as described in this book -- should give all writers, artists and other dreamers pause to reflect on the value of preparation, hard work, a willingness to absorb ideas from others, and going into a project knowing that you have not only no idea how it will come out, but that bad luck will doom you no matter what you do.

It's amazing that "Star Wars" was made at all, when it becomes clear in the book that the executives in charge at 20th Century Fox were more interested in busting Lucas' chops instead of making a movie. As one of Lucas friends notes: "There was a lack of respect for George. The movie industry is a very vituperative and petty industry most of the time -- and part of the negotiations was just to see how much they could push George around because they felt like they could."After getting Lucas under contract cheap, before the success of "American Graffitti," Fox proceeded to fritter away their leverage by withholding the contract for "Star Wars." To keep the project going, Lucas was forced to invest his own money, and in the end, had to threaten to stop filming to get the contract. By that time, the project was so far along that Fox was faced with either agreeing to his demands, or letting the project go to another studio. Hence, was born the most lopsided contract in history, giving Lucas say over final cut, plus control over all sequels and merchandizing.

Considering that "The Making of Star Wars" was published nearly 30 years after the movie's stunning debut, going back and putting together this history is a major accomplishment. Fortunately, J.W. Rinzler had access to interviews conducted during the production of `Star Wars," when people were in the midst of the work and uninfluenced by its future success. This fills the book with episodes and incidents of such detail that it's possible to fall into the pages and imagine yourself, back in the mid-'70s, where hair was blow-dried, collars and pants were wide, Gerald Ford and Jimmy Carter were atop the political pyramid -- reflect on that when you look at Obama/Clinton/McCain!

For the two weeks, I was in film geek heaven, boring my wife at lunchtime with details about alternative casting (Christopher Walken as Luke! Jodie Foster as Leia!), alternative storylines (Luke was a girl at one point and named Starkiller; the robots were originally bureaucrats working for the Empire; Lucas toyed with filming it all in Japanese, with subtitles), sources for names (Han Solo? From a brand of paper cups) and those small incidents that acquire greater meaning (an out-of-work James Earl Jones spending a day in a studio to record Darth Vader's lines for $7,500). And don't get me started on the models and special effects; we'd be here all week.

But the heart of the story is George Lucas, and while I've always respected the man, my heart went out to him once I understood the impossible odds he worked again. "Star Wars" was made because he willed it into being; he was the Jedi who rescued his movie.

Lucas created a fairy tale for our times, but his story had a fairy tale twist as well. After laboring for years, fighting the studio executives and impossible deadlines, Lucas got his movie out. But he thought he had failed: "When I saw the first cut, my only opinion was that I did a terrible job, but it works. It doesn't work very well, but it works. ... And then when I finally saw it with an audience for the first time, I realized that no matter how far short I fell and how far short all the departments fell from what I wanted, the film did work for an audience. ... They all laughed at the right place and they believed it."

So the hero wins after all, but not in the way you'd expect. That's the hallmark of all good stories.

Having seen all 3 original trilogy movies over a hundred times a piece, (I paid theater admission for most of those viewings, no video back then), I was and still am interested in the behind the scenes events that took place during the making of the movies.
I have read all three of the "Making Of" books about the original trilogy. This book is definitely the most thorough and indepth with the technical aspects and day to day events on set. I enjoyed the interviews with George Lucas and the other people involved in the film. On the lighter side, (Being a huge Luke/Mark Hamill fan) I really enjoyed the candid photos of Mark Hamill and the other cast members on set.
The true Star Wars fan will enjoy the unlimited access to George Lucas' earliest thoughts about the trilogy and a detailed look into his film making style. This book is a must have for all who have ever dreamed of "a galaxy far, far away....

I recommend this book to anyone who is interested in the making of Star Wars. The author covers all aspects of the movie and is chock full of paintings, photos, manuscript pages, and poster art. The story unfolds chronologically and after each chapter the author lists the new elements of each draft of the screenplay as it progresses toward the final version. Lots of great trivia and insight into the epic struggle to make Star Wars.

I got this for my 14 year old son and myself. I can't get over how cool this book is !! So much behind the scenes info. I worked at a theater for the initial release of Star Wars and this book gives me information about a movie that I thought I already knew everything about.
Buy it !!!

I am not reviewing this book based on the content as I did not purchase it to read. I purchased it as a gift for my husband - a Star Wars fan from his youth.

I'm sure this book would make a great gift for the hardcore Star Wars fans (although I expect they would have already purchased it for themselves.) I would particularly like to recommend this book as a gift to more casual fans of Star Wars and fans of books on the film industry in general. My husband has read quite a few Star Wars books, but has said that this is among the most interesting of the non-fiction books he has read on the topic and he was constantly stopping me to read quotes from the book on various aspects of the production history.

It's a very heavy, very large book and makes great presentation on the coffee table - much too nice to be left sitting on a shelf. :)

Loved the actors interviews, the photos and all the back story. To learn that Jennifer Ehle (Lizzy) is blonde and to see her as such without the Lizzy dark-hair wig, was worth the buy in itself!

This book is a must for those who love A&E's version of Pride and Prejudice. It's very informational and gives the reader even a greater appreciation for the work and detail put into this magnificent movie!!

An interesting inside look at how the series Pride and Prejudice was made. As always accuracy and attention to detail showed in this excellent production. Even the fabric chosen for dresses was in keeping with the time period. Great theatre, great TV, great book!

This delightful book telling of the making of the 1995 mini-series of Pride and Prejudice gives real insight into the preparation of what must be considered the definitive version on film of this beloved novel. Like the featurette on the DVD, it explains a great deal about the costumes, the choreography, the musical score and determing locations for the various well known places that the audience visits during the program. What is not on the featurette and is in the book is insight into what the performers were feeling during this major film event, expecially the primary characters of Elizabeth and Mr. Darcy portrayed by Jennifer Ehle and Colin Firth. It is very interesting to hear their thoughts as they approached their roles. And it is also very apparent as you go through this book that everyone responsible for actually getting this on film loved the book and are fans of Jane Austen. Very nice indeed.

For the first time, I recently watch the BBC adaptation of Pride and Prejudice. This adaptation created a desire to know more about the filming and the cast & crew. I was pleasantly suprised to discover this wonderful book of trivia.

The photographs of the cast out of character gave a truly amazing picture of the quality of the makeup artists and costumers. Some of these actors, you'd NEVER recognize on the street!

I genuinely enjoyed the insights into casting the miniseries and the search for the perfect locations.

For me though, the best part of the book was the interview with Colin Firth, what a joy! He is such a gentleman.

The book while short is jam-packed with trivia from where specific scenes were shot, what scenes were shot first/last and how the actors costumes developed over time!

Truly a purchase that I'm glad that I made

Thank you MR. Simens... I have read many a film production book. None of them compare to this one. This book is clear and the most organized piece of work I have yet to come across. He speaks in terms that is easy to follow and understand, with a large dose of reality. Reality that can get your movie made. He wants you to do it. He has made your production list for you. No need for other books (money saved). Please, if you have read thus far and have not purchased this book, do so now. You will not be dissapointed... And for the expert(s) (with the three stars or less) Get real. Swallow your pride. This book is perfect. Mr. Simens knows what he is talking/writing about. EVERYTHING you need to succeed is right here. Get your first movie off of the ground, then go from there. Again, Thank you Mr. Simens.

I reference this book all the time. From Reel to Deal cuts to the chase and offers no bull. It is an easy read and loaded full of practical and useful information. I have produced eight short films in four years and currently preparing for my first feature-film. Dov's book it geared for those making a feature-film but useful for shorts as well. I always recommend From Reel to Deal to any filmmaker who has not read it already. Do yourself a favor and buy or borrow this book. It is a must-read for filmmakers, or as Dov's says PRODUCERS.

I've wanted to take one of Dov's workshops but they're never close to where I live so I bought this book which I like. However, with a copyright of 2005 I would have thought it would have more web information (urls, etc) in it. I suspect most of the information was compiled before the web got popular which has been a while. Oh well. I emailed Dov last year too and nobody bothered to reply. Still, for the price, very good info.

One of the best books I've read on the motion picture industry.
You could not learn more spending 4 years at UCLA Film School.
Now I watch movies with a different perspective.

I've read every book on Independent Filmmaking that I can get my hands on and this one book has more useful information than all of the others combined. I'm now shooting my forth feature length film and if I'd had this book before shooting the first three I'd be a lot better off today!

Mr. Nerd is apparently illiterate; though Simens does use a million dollar budget as an example of how to allocate your funds as he goes through all of the steps, this book absolutely does address budgets of every size from ten million dollars right down to your five thousand dollar digital feature for the Direct To Video market. I really don't see how anybody who had actually read the book could possibly miss this as the various budget constraints are addressed in almost every chapter as he takes you through the steps. In fact, he even outlines a method for shooting a feature length, 35 millimeter film on a five thousand dollar budget.

The two chapters on screenplay writing have more useful information than any book that I've read on screenplay writing and applying these techniques to my latest screenplay has resulted in the best work that I've ever done! That's one of the beautiful things about this book; Simens is not an egocentric, long winded babbler. He gives you just what you need to know and how to go about it.

This is the first book I've read that actually has useful information on things like fund raising and distribution options and how you might avoid getting ripped off... something that happens to so many of us aspiring filmmakers all the time.

I could probably write twenty pages about why this is the best filmmaking book ever written, but I will just say that every single page is packed with valuable, useful, practical information that actually makes sense.

Anyone who is seriously considering producing or directing a feature film, or even a short for that matter, needs to read this book three times, then use it as a reference when you start filming.

I highly recommend this book. It has helped write the Different Flags screenplay. Eugenia RenskoffDifferent Flags

So far the best and complete guide for screenplay that I've read. Very useful for those who wants to start writing a screenplay. I recommend it.

This books is very well written and has loads of information for the beginning screen writer such as myself. The author takes a chronological step by step approach as to how to get started and the proper format for a screenplay. The only thing I'm sort of ad odds with is that the author doesn't say much as to how in the world you get an agent to just read your script, let alone representing you. He sort of glosses over that problem and a real problem it is. I personally have been sending out query letters since February of this year and have received only "polite" rejection form letters or no responses at all. I've even sent out "follow up" queries and still no responses. I assume that agents need postage stamps, they've obviously kept the ones that I've included for return postage, or that in order to get ANYTHING read and actually produced, you have to know someone personally in the business. Don't quit your day jobs and think that you're going to sell a story. It's next impossible, as I've unfortunately realized. You would assume that it's not really that difficult given all the "schlock" that IS produced. Case in point: an independent film maker made a film this last year about zombies attacking a small town and it cost him about $30,000 to make. He released it and it made over $35,000,000 in one weekend! Out grossing the three main stream releases put together! Go figure. Never the less, this book is a good fundamental but just don't depend on it too much as gospel. Keep writing, keep looking for an agent but also keep/find a regular job in the meantime.

Unless you enjoy battering your head against the wall, read Keane's book before embarking on your project. Soup to nuts and three desserts - he gives the reader everything.

As Chance the Gardener says in BEING THERE, "I like to watch." As one who also likes to watch, this 'blockbuster release' time of year always makes me wonder....Could I do 'that'? Just how hard is it to do 'that.? 'That' being writing a screenplay and whatever comes after. A mystery to most of us watchers. This time I decided to seek answers to these questions. I naturally sought a book, which, for this quest, is Christopher Keane's HOW TO WRITE A SELLING SCREENPLAY.
CASABLANCA screenwriter Julius Epstein's foreword to this book closes with, 'Good luck and welcome to the terrible, wonderful world of screenwriting.' Why terrible/wonderful? By the time I finished this book, that was crystal clear. I learned that this pursuit isn't for the faint of heart or the thin-skinned. Screenwriting is demanding. It's daunting. It requires utter focus. It's frustrating. It's exciting. It's lonely. It's rewarding. There are lots of rules....There are no rules...
In this informative, engaging primer one can learn these rules and gain valuable insights into the wild and crazy film business itself. You might learn from this book that your idea is better suited for a play. Or a novel. Or a TV series. It's just as important to know what isn't a good screenplay idea as what is. Saves time! Throughout, I found that this book teaches about writing in the larger sense as well as screenwriting in particular. Chris Keane walks us through the many facets of this discipline that comprise the whole; the all-important story, character, plot, structure, dialogue, format, collaboration and re-write among them. He illuminates all of these aspects with references to specific films. And the book is peppered with personal anecdotes from the author's career. I found these to be invaluable insights. And one learns that once the screenplay is finished, the real work begins. This book will be helpful in the vital hunt for an agent, a key piece of the process puzzle.
I particularly like that this isn't an 'Ivory Tower Theory' book. Though Mr. Keane teaches this art, he also does it. And he has written novels and written for TV. As it's said today, he's been there-done that. I trust and respect this experience above all.
Whether you want to be a Chance the Gardener and 'just watch,' or you want to try actually writing a screenplay, I suggest you have Christopher Keane's book by your side. It's a helpful tool, seems to me. The more we know about the film process the better the 'watching' or 'doing' will be. This book will enhance the watching experience and make the 'doing' more manageable.
I've been trying to come up with a logline for this book....So far? 'The Hitchhikers Guide to the make believe.' Logline? Very important. See HOW TO WRITE A SELLING SCREENPLAY, Chapter 5.....

Much has already been said about the quality of the book. I personally find that the book is a due tribute. I also must say that I have not found something on Kubrick of comparable depth.

On the content side, I would have liked to see more info on the projects that were not realized, especially on "Napoleon". And I didn't find a lot of value on the CD, since it's a spoken track instead of some audiovisual material. Nevertheless, as I said before, I haven't been able to find anything comparable to this book on Kubrick. The written material is of excellent quality, as are the pictures and graphics.

I see that Taschen is issuing a new version for it's 25th anniversary. As I understand it, it will be out on Oct/2008.

In conclusion, I am the proud and happy owner of an excellent piece of work.

I have been a Kubrick fan since I was 7 and saw "Paths of Glory" - it was the only film I ever saw that I NEEDED to know who directed it, and, what other movies of his were out there. That was 30 years ago, and I still keep all his films seperate from anything else in my collection! This book is simply INCREDIBLE! Buy it if you can.....no true Kubrick fan should be without this......it is MIND BLOWING! A true work of art covering the work of a true artist. We will not see Stanley's talent and caliber in any other film maker, at least not in my lifetime. Bravo, Stanley!

If it wasn't for its hefty weight, the book is one of the items I'd take with me if my house was on fire - without hesitation. I can't even imagine how long it took for the Taschen team to assemble this incredible book; it tries to do justice to recollect Kubrick's body of work in the form of a portable archive. Seeing this book in person is an experience in itself. The conceptual design is simply impressive: details like the texture of the binding mimicking that of a real archive is a start.

A CD of a rare uncut interview with Stanley Kubrick included in the book is a real gem. The interview takes place during Kubrick's career in its earlier years, and it provides an insight of the director that no other text interview has been able to accomplish - precisely for the reason that you hear Kubrick's voice and his unfiltered opinions. Then, of course, you have a piece of 2001's film strip as an added bonus. It's just too much for a book! And I say that gratefully.

The first part of the book is filled with glossy stills of all the films made by Kubrick. It's nice, and glossy, but the real reason I purchased this book is for part two.

Part two, or "The Creative Process", is filled with a lot of archival materials for each of Kubrick's films - especially pre-production materials: production notes, correspondences, and etc. You learn a lot about how Kubrick prepares for his films by seeing just a tiny fraction (undoubtedly) of what he does before he actually goes into production - it is one of the reasons that explain the long intervals between the director's releases. In addition, the book has an extensive collection of interviews with the director from various sources. But it is little treasures like the former that make this book special.

If you are a serious fan of the master director that is Stanley Kubrick, this is the next thing to have in your possession after the DVDs. Taschen made a serious effort in paying homage to Kubrick's work as a book publisher, and they have succeeded. They could've made a lazy effort in disguise to simply profit off of Kubrick's name, but they didn't, and for that they have my respect.

Amazon now has this book available for pre-order for an October 1, 2008 release date, for $44.10 from a $70 retail cost. Look under 'The Stanley Kubrick Archives [ILLUSTRATED] (Hardcover)'. I would like information on book dimensions as the first print run was on average 40 by 30cm.

Lucky me! I scored a copy of this and I have to say it is the best book on a film artist I've ever seen. The previous reviewers weren't kidding--this thing is huge! Too large and heavy to be read anywhere but on a large flat surface, but that's not a complaint, unless you're lugging it across an airport like I did.

A spectacular book that you'll refer to repeatedly. I pored over it for hours. The first half is devoted to an incredible array of pristine stills from each film. The second half is focused on every film with a plethora of on-set photos and interviews with cast & crew. The book is helpfully tabbed by film.

A stunning look into one of the greatest of all filmmakers. So well designed that my friends were awed by its beauty. And that 70MM film strip--holy cow! IMHO, it's worth the price for just for that.

A good film comes at you slowly, like a work of art, creeping into your soul through metaphors and meditation. That is how Suber's THE POWER OF FILM comes at you. Start anywhere and read a little or as much as you want, in small bites. Then stop and meditate on what you just read. Better yet, think of the film you're working on or just watched, and note in the wide margins what you now understand anew. A good scene in a good film should be watched time and again. Each page of this book is like a good scene. Underline it, mark it up -- and then, later, read it again, and add to your discovery of why film is so powerful.

Howard Suber is a legendary film educator at UCLA, and has taught dozens of courses on every aspect of filmmaking (except for animation). In The Power of Film, he commits his wisdom to paper, gathered over many decades of teaching.
The Power of Film is not a how-to book or theoretical treatise, however. Rather, it is a lexicon of movie storytelling concepts. The topics range from Accidents to Writing What You Know, and cover such things as the most important word in storytelling (it's `but'), the `real' American religion (individualism), the characteristics of the Hero (someone outside of society who sacrifices personal happiness and contentment for the greater good or goal) and whether happy endings are really mandatory. Suber also talks about genres (the essential characteristics of each), dramatic structure (some), and specific narrative tools such as the Macguffin. Throughout the book the emphasis is squarely on the mainstream American film, so you will be able to find many exceptions to the `rules' Suber mentions here, though `rules' isn't the right word. Rather, they are `insights' or concepts which work and have done so for ages, but which are just some of the possible narrative solutions to the problems cinematic storytelling poses.
This is a book to dip into, and which is intended to spark the imagination of the reader. Not all of the topics are equally enlightening, and I disagreed with the definition of the Crisis Point, but as an encyclopaedia of Hollywood storytelling it is currently without equal.

I found The Power of Film truly refreshing and unusually spiritual. Suber compiles years of teaching experience into a few hundred pages loaded with wisdom and wit. While not a believing man himself, his reverence for world scriptures and figures of faith who have changed the world, from Moses to Jesus to Gandhi, is rare in books on film.

Also, Suber's coinage of "Aristolatry" sure could have come in handy in film school (I went to USC, grad level), along with many of his paradigm-shattering concepts. I only had one professor who dared say that some films may have four acts -- I think he got fired!

The Power of Film is a great book that will take a prized place at the top of my list of books about filmmaking.

Howard Suber delivered a lecture to a large gathering in a theater in Kansas City this spring. What was striking about the experience was how Professor Suber turned this theater into a classroom and, by asking questions, made us active participants in a search for answers to the question: "What makes a film great?".

Suber's book, "The Power of Film", uses this same Socratic Method but the technique is necessarily different. Instead of asking questions, a writer can only pose riddles, and to this end Suber employees wit and irony to provoke careful and thoughtful reading of his concise dictionary like definitions.

The films Suber examines are American films. Without being jingoistic, he says that over the decades American films have been the most popular not only in the U.S. but all over the world. The American films he focuses on are those that have maintained their appeal ten years after they were released those, in other words, which have stood the test of time and remain perennial favorites.

The question he asks is: "What makes these films classics?"

Some of the answers are surprising. The notion, for example, that Hollywood films, to be popular, have to have a happy ending, Suber demonstrates is not true. Think of the Godfather films, Lawrence of Arabia, Chinatown. Even "It's a Wonderful Life" journeys through some very dark regions before emerging with a comic ending.

So why do people go to see these films? Suber suggests that going to the movies is akin to going to church, that what people need and want is to experience time honored rituals that put us in touch with our humanity.

As a practicing filmmaker, I have spent many hours over the years thinking about how to use the power of film to move an audience and I am always looking for help. Of the many available, I have culled a few "essential" books on film theory and aesthetics. Eisenstein's "Film Sense" and "Film Form" are two, Pudovkin's 'Film Technique and Film Acting", Mascelli's "Five C's of Cinematography" and a few others. Suber's "The Power of Film" has already taken its place with these.

Why? Because first of all, the book is packed with information and insight covering every subject about American film, literally from A to Z. Second, the insights are uncannily precise. A brief example: I don't like using flashbacks because I feel they are too easy but I find I must at times because they are sometimes necessary and I haven't been able to think of anything better. This is in Suber's definition of "Flasbacks":

"The reason flashbacks came back is that they are not merely
stylistic flourishes, like iris shots; they are necessary tools
that, so far, cannot be replaced by others."

The authority of this statement is reassuring, but notice the two words: "so far"; this tiny insertion leaves open the possibility and, indeed, ecourages the search for other ways.

How to transition to a flashback?

"The camera moves to a tight close up of a character's eyes, they
glaze over and we hear an echo chamber voice..."

I fear that every time I use this device that someone in the audience is going to yell out: "Visual cliche!". It never happens and I continue to use it because, as Professor Suber says: "no one has come up with anything substantially better.".

This is a sampling of some of what can be considered Suber's practical advise; but this book is very rich and has a broad range and covers everything from the technical to the philosophical.

The entry for "Tragedy" is three pages long but delivers a store of wisdom. One paragraph in this concise definition is about "impulsivity", and the final line reads:

"Impulsivity we see over and over again leads to tragedy."

The philosopher Martin Buber in his book "Good and Evil" devotes pages of discussion to the tendancy to impulsivity and how it is an aspect of evil. Suber's book is obviously a distillation of years of thinking and study not only about film but also about human nature.

The entries that make up this book are cross referenced. This cross referencing, like the use of wit and irony, is not only an practical aid, but also an encouragement to explore the connection of ideas.

Suber has carefully culled the essential ideas of what makes a film "great" and this selection reveals that the subject in Suber's mind has a unity, that it constitutes an aesthetic, an interlocking system of ideas. It is an indication of Howard Suber's wisdom as a teacher that he does not expound this system but only indicates it; and because this system must be discovered and recreated by every reader, it will always be new.

Getting the book and reading all of the blurbs on the cover written by film experts like Coppola and several successful Hollywood screenwriters, I was a bit concerned that perhaps I had purchased an insiders handbook, which might prove too esoteric for the casual reader. The 'power of the book' Prof. Suber has written, is his ability to take substantive information and make it enjoyable reading. The book is written in bite size stories, alphabetized by topic, each insightful and entertaining. I often sat down with the intent of a quick read of one or two articles and discovered I had read seven or eight. The topics are easy to digest, yet informative enough to go back and read several times.
Certainly as Bill Cosby used to say, "Be careful or you just might learn something". Film students and pros, no doubt already know about(and swear by)this book, this review is for the rest of us, those who just like films. The Power of Film would make a terrific gift for lovers of films of all ages and is certainly a must read for anyone with film career aspirations.

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.