Video Production Books

The 4th Edition of the Camera Assistant's Manual by focal press author David Elkins is a must have for the beginner as well as the seasoned pro. From how to set up a darkroom, to threading diagrams on all "in use" cameras, to lifelong useful tables and charts, this edition has it all.

Nothing comes close to David Elkins' book. It's that simple. This is the best, most complete book on the job of the camera assistant. PERIOD. If you are new to the job of the camera assistant, this book is an absolute must have. If you are a seasoned "vet" who has years of experience working on motion picture sets, again, this book is an absolute must have. Elkins' total description of every aspect of the AC's job is so consise, it's like a classroom in a book. Loaded with every conceivable diagram and chart, and covering every motion picture camera currently being used, this book goes well beyond your typical "job description" type tome.

The bonus materials alone make this book invaluable. Along with the companion website, the reader has vast amounts of precious material available for when the job calls for it...label templates, charts, manufacturer links and contacts, the list goes on and on and on. The best part is the writing style is clear and informative, almost like Elkins himself is teaching you as you go.

Look no further than this book. It's all here.

The Camera Assistant's Manual is a must have reference book for both beginners and experienced professionals in the camera department. If you are a beginner, this manual will teach you all of the basics as well as the advanced details of camera assisting. Although not a substitute for actual experience, author David Elkins also coaches you on how to act efficiently and professionally on a set. This can save you countless embarrassing blunders on your "first barbeque." But before learning all of the AC's duties, the reader is introduced to the basics of cinematography and a complete overview of the camera department. This is extremely helpful - allowing the beginner to understand the "big picture" first. If you are an experienced professional, Elkins gives you hundreds of tips and suggestions that will add to your knowledge base and help your job go smoothly. This 4th edition contains the most complete and up to date camera diagrams, tables, and formulas of any single reference source. Imagine your relief when you have to load and thread a new camera for the first time. The Camera Assistant's Manual is worth it's weight in gold.

I bought this book when I was hired to AC for a project on equipment I had never worked with before. For one of those, "Holly crap! I agreed to do a job I only know how to do part of!" moments, this book is great. Every question I could think of was answered thoroughly and I mean THOROUGHLY. If you want to learn exactly what the responsibilities of an Assistant Camera Person are and how best to execute them read this book! If you are a working AC and want an easy to read, text-book style reference this is it.

David Elkins's The Camera Assistant's Manual, Fourth Edition is the best technical book around, and one of the best books on movies, period.

Dave manages to cover every aspect of an assistant's job, no matter how obscure or infrequently encountered. But the completeness is only one aspect which recommends it to any aspiring or working cinematographer.

Written in a clear, conversational manner, Dave manages to demystify both the jargon and the sometimes strange job of an assistant. His accounts of procedure for both first and second assistants clarify what we in the business call "industry standard": the accepted, professional way of conducting yourself and doing a job. Outside of a job on a
Hollywood set, it is nearly impossible to learn these classic, time-saving routines. And unless you've been a pro in the business, you're not going to know about such things as the relative merits of Magliner and Rubbermaid carts for hauling equipment.

The book covers the general characteristics of film, cameras, and lenses in such a way as to give a general technical education. Dave also gives a valuable overview of the camera department and its place in film production overall.

What many readers will find most useful are the sections on troubleshooting, the diagrams and threading patterns of every currently used camera, and the wealth of forms and lists to organize the on-set work.

I've tried to give a good idea of what the book covers, but it contains much, much more. I've been using The Camera Assistant's Manual since the first edition. This is the biggest and the best version. I only wish that, when I started as a camera assistant, I had had access to such a clear, helpful book.

If you're intrigued at all by the work of John Cassavetes, this book is well worth your time. The book itself is a collection of interviews Cassavetes gave through his entire life, edited into chapters that correspond to the movies he talked about. The excerpts themselves are pretty interesting, but it is author Ray Carney's commentary in between quotes that really makes this book worthwhile. Carney gives us the back story, and fills in the missing parts, but he also sets things straight when John rambles into fiction. It's easy to see that Cassavetes liked to talk about his work. There are over 500 pages on roughly a dozen films.

If you are new to Cassavetes and read this book, you'll want to view his films. I have only seen a handful myself, but his total commitment to getting them made is so impressive that I feel ashamed to have not seen more. I saw my first Cassavetes film in college and felt that it was interesting, but a little over the top in places. As I get older, I think that real-life might be more over the top than I first realized.

John Cassavetes passion for making movies shines through in this volume. Ray Carney's insight tells the rest of the story. If you are interested in independent film making, this book is a must.

Absolutely necessary reading for those interested in American alternative cinema and not only. The book gives a brilliant picture of USA's one of the best directors ever.
Highly recommended for everyone. No other book shows Cassavetes in this light. Packed with interesting material, as good as Cassavetas' cinema itself.

Ray Carney's "Cassavetes on Cassavetes" is a wonderful introduction to Cassavetes' work. I found it to be a great read - amazingly free of academic jargon or fancy terminology. It was hard to put down! And with incredible photos of the wild-man at work. A must for every fan of indie film as well as aspiring directors and artists - and also for students of life! If you want to know even more, I'd also recommend Ray Carney's massive web site devoted to Cassavetes and indie film. Any search engine will take you there. It has wonderful behind-the-scenes information about the making of Cassavetes' work. If you want a volume to provide ongoing daily inspiration and encouragement regarding the artistic process, buy this book. It is a book you will go back to again and again and again...

Ray Carney's done a great service to film fans by bringing Cassavetes' scattered talks and interviews together into a coherent statement on art. Carney shows how Cassavetes' whole process of filmmaking was tied to his outlook on life. Combative, spontaneous and deliberately amateur, he aimed for situations where writer, actor and viewer are all left without direction, forced to respond to the story as individuals rather than reach for pre-approved 'social codes'. He savagely edited his films to defy audience expectations, usually rejecting versions that the studios, his collaborators and even his wife liked best. Some of Cassavetes' statements made me wonder if he did this to edit some part of himself--the Greek immigrant son made good, with the blonde wife and kids and Hollywood home. In some ways he was an insider desperate to stay on the outside. Conflict was fun for him, he thought America needed more of it, and the messy collaborative 'families' he built around each film were his alternative to the button-down corporate society he fought against all his life.

As Carney presents him, Cassavetes wasn't out for the money, the glory, the ego or ultimately maybe even the art. He wanted fun, he wanted friends and he wanted people to really live as individuals. Are there folks like this around anymore? We need them more than ever.

My half-hearted browser's interest in Cassavetes needed a kick in the seat of the pants, I now realize, and reading this book shows me how much I failed to appreciate him while we were lucky enough to have him around. The format is eye-opening. Cassavetes speaks, and then the author. The constantly shifting P.O.V., and the frisson between the truth Cassavetes himself presented, and the unvarnished truth as discovered by the author, makes this book constantly stimulating and endlessly arguable.

Cassavetes life and films are worth a serious look-see -- and this book is an EXCELLENT place to begin that-- if only because he is that rare individual who absolutely refused to accept mediocrity in himself and others, both as an artist and a committed liver of life. He went for the burn every time out, and could often be an ornery s.o.b. when he detected that people were simply going through the motions in their life or art. (The book is rife with anecdotes that literally make you wince and leave you wondering "Could I have long tolerated this behavior in a friend or family member?") He seems never to have thought "I'd better not burn my bridges here", or practiced any of the other forms of incremental, over-thought cowardice that most of us do.

Cassavetes was driven like no one else; he never made a lazy, easy commercial film. He let his life and films commingle, letting the cameras roll for hours, shooting thousands of feet more film than he could use, afterward sculpting it into a shape that could be released. (He said film stock was the one part of his film making on which he would never scrimp.) His films were, probably more than any other director's, explorations of life.

Cassavetes lived life so completely that it might be truthful to say he did something the average person would call foolhardy nearly every day of his life, in some way or other. But in spite of this, or because of it, it's impossible to come away from this book without an awakened admiration for him.

When I first found out about this book, I immediately came to Amazon and read the reviews listed with this one. I must whole heartedly agree with my fellow reviewers that this book is filled with a lot of never before seen photos and information about George Lucas that the public has never had access to before. It is graphically beautiful. When I first received my copy, I literally couldn't put it down for hours. I highly recommend this book for anyone who is interested in learning more about the man behind the Star Wars saga.

This guy has got it together - a great look inside the creative process and genius of the modern film maker. Absolute must have for a Star Wars fan or anyone wanting to learn more about the cause and effect this one man has had on the film industry, movie making, motion pictures and the technology to bring them to life - far beyond any one else has ever done before..... travel into hyperspace with this book.

By now, most people have seen one George Lucas film, just as they have most likely seen a film by Steven Spieldberg. This wonderfully photographed and informative coffee table book has everything you need to know about the directoral genius and the history of his films. It all began in the late 60's, when he and Steven Spieldberg graduated from USC in Southern California. They would both go on to become leading American film directors. Lucas's first attempt at film was a successful student film- THX 1138, a chilling science fiction film about a futuristic, militant society akin to George Orwell's 1984. Already, there are signs of his most recognizable movie Star Wars as in that film a young man defies the oppressive regime and attempts to rescue himself but fails to do so. In the mid 70's, Lucas had already created the storylines for his Star Wars saga. It is a 9 part saga. We have seen Episodes 1-6. Beginning in 1977 with Episode 4 A New Hope, the film that won him instant fame. The book recounts the making of the film on location, the casting of Mark Hammill, Carrie Fisher and Harrison Ford- actors who at that time were in need of a successful film role. The book even details original scenes that were cut off. In 1980, The Empires Strikes Back was released and it proved to be the highest grossing sequel of a film ever made. 1983's Return of the Jedi, as wonderfully made as it was, has never been as successful as the first two, though it raps the saga nicely. In 1999, Lucas released Episode 1: The Phantom Menace, the first installment of his space opera which tells of the growth and downfall of the young Anakin Skywalker who becomes Darth Vader. 2002's Attack of the Clones dealt with the Clone Wars and the budding romance of Padme and Anakin. 2005's Revenge of the Sith describes the Sith takeover and the destruction of the Old Republic and extinction of the Jedi, all except for Yoda, Obi-Won and Padme's twins Luke and Leia. Lucas had a hand in the making of Spieldberg's popular Indiana Jone series. We have seen how he has become a film-maker who relies on great stories and the magic effects of cinema and computer graphic/digital technology. He is the only director who can point us to the path of how future movies will be made.

This book is filled with rare and beautiful images from the Lucas archive. If you're interested in George Lucas, there is no alternative. The story is pretty good, although a little limited. If you combined the images from this book with the detailed story in DROIDMAKER (subtitled- George Lucas and the Digital Revolution- which i just read straight through and LOVED), I think you'd have the perfect Lucas book. Still, i highly recommend this.

Excellent book about Lucas' life and projects. Special focus is of course on Star Wars and Indiana Jones. The Star Wars (original film) is the best chapter and there is some excellent stuff there - including segments from the first draft of the film and how the story changed from the first and final draft. This tells the real story about Lucas and his incredible path from the shy film student to the man that would change film making forever. A must for all fans of films. This is a truly interesting book with some great pictures and it is very easy to read. Highly recommended.

I love this book. The writing is clear and clean, and while it covers basically *everything*, it's never either condescending or overly simplistic. If you want to make a digital movie, this nuts-and-bolts guide should be your first read.

Digital Cinema is a must-read for anyone interested in filmmaking today. Actually, it is a must-read for anyone interested in telling stories because, as authors Taylor and Hsu convincingly argue, digital cinema is the cutting-edge medium for today's storytellers. "Going back to our cave-dwelling ancestors sitting around a fire," say the authors, "the human impulse to entertain, provoke, move, enlighten, and share has shaped our whole history of dramatic, written and visual work. There is a very basic human need for translating internal thoughts and emotions into a medium that can effectively and affectingly convey them to others...and digital technology promises a quantum leap in access to visual storytelling tools." Hsu and Taylor clearly know their field, and expertly guide the reader through a highly readable explanation of why digital cinema has "democratized the filmmaking process," making it much easier for individuals with stories to tell to reach their audiences. They acknowledge that simply owning an digital video camera is not enough, however, and carefully detail the often challenging realities involved in making even a digital picture. Still, if you read this book, you won't want to turn back. Incidentally, if you're in the vicinity of Santa Monica, California, on Wednesday, January 7, you can catch the authors signing their book at 7:30 p.m. at Barnes & Noble, 1201 Third Street Promenade.

I appreciate a book like "Digital Cinema" that can clearly and thoroughly explain a subject, especially the technical aspects. A friend in the film business strongly recommended it to me, and her enthusiasm was certainly justified. A great read for filmmakers and anyone who loves movies.

My involvement with a project shot entirely with a mini digital video camera began in mid-September of this year. My new client was very pleased that I identified the format correctly within a couple minutes of viewing the first episode, but other than that I was clueless regarding the issues involved with shooting in the digital format. DIGITAL CINEMA changed that immediately. The authors have provided me with invaluable insights into the use of digital video, and I was able to read (study) their book whenever I had a few minutes available. Wasting no time, Chapter One provided a detailed chart comparing the expense of shooting on film compared to shooting on digital video. While I'm involved with a television show, many of the issues translate directly to my situation. The rest of the book continued to enlighten me in the most cost-effective manner possible, and I now feel completely comfortable and confident whenever a conversation turns to this topic. The postproduction discussions were most personally relevant, but everything else is also extremely helpful. For instance, I wasn't even thinking in terms of digital video being a series of "ones and zeroes" instead of true video, but I'm aware of such issues - both large and small - now thanks to this book. I thank the authors for their work, and recommend it to all.

If Speilberg could start his career with a Super-8 camera, I can only imagine the amazing results that readers of DIGITAL CINEMA can accomplish with their digital cameras after reading this book! Taylor & Hsu not only discuss the decade-old issue of "digital vs. 35mm", they provide helpful comparisons, valuable resources, and look at digital filmmaking from all sides, including story concept, realistic limitations, advice on actual shooting, how to keep costs down, and marketing your finished product. Concise, informative and easy-to-understand!

Stacy is one of the true industry leaders. Any DJ, whether new to the business or seasoned veteran, can get some pretty valuable information from this book. I highly recommend it to anyone who wants wants to generate more business.

This book is a great thing to have. It brings thing to your attention that you would not have thought of. It has helped me to better market myself and helped improve my business.

Once again Zemon has used her many years of experience and talent and lent us her superb advise. The book is a constant reference to me as well as other DJs lucky enough to read it. A must read for newbies as well as seasoned single- and multi-op mobiles looking to increase their marketing savvy.

I've been DJing for years but knew I was lacking in marketing knowledge and sales skills. I read this book, immediately put some of the ideas into practice, and saw results right away! The DJ Sales & Marketing Handbook and The Mobile DJ Handbook are my two most important reference manuals for the sucess of my mobile entertainment business.

Although I am not a DJ, I purchased this book to help me in marketing my photo booth rental business that I provide to special events.

The book contains real-life specific marketing advice to any business serving the special events industry like how to break in to the Bar Mitzvah Market, when to advertise for different event types, what to do after completing an event, how to deal professionally with complaints..etc

A must read to create a successful business.

This unique book is one of the best Film and Television Directing books that promises satisfaction and truth. Myrl A. Schreibman is an authentic and creative author that incorporates wisdom throughout the book rather than regurgitating his knowledge. Experience is another thing that this book offers which creates a pragmatic platform for the reader that ultimately functions as motivation and inspiration. This book is a powerful tool for any beginning, intermediate, and even advanced student or professional of Film and Television Directing.

The Film Director Prepares: A Complete Guide to Directing for Film and TV is a great text and resource for the beginner looking at the construct of filmmaking and the director's role as well as great advice and insight for those at intermediate and experienced levels. The added CD from Frame Forge is outstanding and invaluable for storyboarding your project. Overall an excelent resource!

This book is an entirely interactive book as it contains a CD-rom that has a 3d storyboarding software that makes it absolutely remarkable in being able to manipulate the images in the book to experiment with concepts and precepts that the author is knowingly speaking about. The Directors Guild of America calls this book the definitive book for directors and encourages not only those who are learning to direct but those who already direct to hacve this book in their library. It is told from a very easy and understandable perspective and full of practical stuff about telling stories, saving production time during production, working with talent, directing various forms of television and most of all what it means to do coverage to tell stories. This is one book that you must have!

I just finished 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 both, 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.

Practical and easy-to-grasp, this book breaks down directing to its most essential elements: the philosophy and the process. The book is a great starting guide for the newbie. Use it to learn just the fundamental principles of filmmaking, and then go out and discover your own principles.

High praise for Friendly Ememies. It instructs directors on how to communicate with actors by understanding the principles of acting and learning the actor's lexicon. It teaches directors how to bring out the actor's full potential while arriving at the director's intended vision. It's well organized and practical. Clearly written by someone with a lifetime of experience doing what they're writing about. It's the best director's guide to shaping actor's performances out there. I know, I've read them all.

Delia Salvi is a pioneer in the field of teaching emerging directors how to best work with actors. She has mentored many at UCLA including Alexander Payne, David Ward, Audrey Wells, and myself. I have found her book and her counsel to be invaluable. Salvi's book is specific and easy to put into practice. I teach directing at Chapman University Dodge College of Film and Media Arts and I recommend the book to my students and I use it in my classes and in my professional work on the outside. Five Stars!!!! Lynn Hamrick, Director

Delia Salvi has written an insightful, brilliant - must read for any serious student of Film or Television Directing. This book should be standardized as required reading in Film Schools around the country!

It is a Bible for Artists, whether it be, Actor, Writer, Producer or Director.

Kelly Galindo
Professor @ Chapman University School of Film, Acting Coach, Director and Actor.

May the Gods of the Arts bless Prof. Salvi for writing a guide that is not bogged down in esoteric theory. Practical, concise, comprehensive. A definitive road map for stage or screen directors, with value to actors and writers too. The most useful book on the topic that I have read in years.

What a terrific book! It's a fun read filled with great tips and tools. Anybody who is interested in the performing arts will get a kick out of it, not just actors and directors.

Delia Salvi explains exactly how to diagnose and fix a flat scene. She explains specifically how to work with all different kinds of actors and help them give their best performance. She is very passionate about her work and it shows in her writing. I feel having this book is like having a Hollywood professional as my own personal mentor.

Also, just as it helps directors to understand the acting process, (which she explains) it also helps actors to grasp the directing process. She makes it all easy to understand and apply.

But, I'd say my favorite part of the book is the interviews with working actors and directors. It's really worth it just to read her interviews with Geena Davis and Alexander Payne. They tell you all about how it works in the real world of Hollywood. Very eye-opening. And I'd say that section made me a better actor.

This book served as a guide to go from not knowing anything about iMovie to being able to create a large slideshow project. I ordered another guide first and couldn't get off square one. This guide allowed me from starting at no knowledge to understanding well enough to get my job done. The iMovie icon sat on my desktop for years before this book opened it's utility. A small and worthwhile investment to get the most out of this software. It has even given me the bug to get a camcorder and move from photography to videography.

I love this book. Its so easy to read and informative that it'll suit any age! Its an easy way to get the know-how on Imovie and Idvd and also helps seasoned ammatures (like myself) brush up on the commands and answers any questions you might have.

As digital video cameras spawn in the hands of you, me, parents and tourists like cockroaches in my kitchen we find ourselves needing the kind of technical and aesthetic help not really seen since the advent of `desktop publishing'. Once again a `Missing Manual' has come to my help. `iMovie 3 & iDVD: The Missing Manual' is an excellent book.

I previously reviewed iPhoto2: The Missing Manual and said "The target audience for this book would probably be a little less technical than myself, however when I find myself in a field I don't understand well I don't mind a little stuff for the absolute newbie" -- and once again this is true. iMovie 3 & iDVD: The Missing Manual finds me in an area where I am technically inferior. Once again I truly appreciated this book and its style.

The book is broken up into four sections, one devoted to video cameras and shooting a movie, a large one on editing in iMovie 3, and smaller sections on exporting out of iMovie 3 and on using iDVD. At the end are two useful appendices: the first is a menu-by-menu look at iMovie 3, and the second is an iMovie 3 troubleshooting guide. The latter is often needed and always useful -- iMovie 3 still has more than one bug.

The first section gives a great deal of incredibly useful information about video cameras and how to use them, including hints on various types of shooting such as sporting events, interviews and weddings. The technical information on cameras is perfect if you have yet to buy a camera, including a guide to which features are essential and which unnecessary as you can do the same thing (only better) in iMovie 3. When it goes on to the `how to shoot' section, you get pretty much the same advice you'll get anywhere, but since we didn't really read all of from the last book on video we read (and forgot half the bits we did read) it's nice to have it there again.

The second section does a good job of explaining the details of iMovie 3, even down to some of its shortcomings and bugs. I also appreciated the way it spent as much time on improving the quality of the finished film as it did telling me how to use the various parts of the software. It follows a logical sequence through the movie-making process, giving good details on how iMovie does the job, how to get the best result and what sort of things to avoid -- particularly useful for things like transitions and effects when less is best.

The third section, titled "Finding Your Audience," is a bit more of a problem. It really has nothing to do with finding an audience and a lot more to do with QuickTime. The section first spends ten pages telling us how to get our edited film back onto the camcorder or onto a VCR, then it spends a lot of time dealing with exporting to QuickTime, including posting movies to the web and some info on using the QuickTime player, including some "tricks" with QuickTime Player Pro.

The attention to the finished product in the second section carries through to the fourth section on iDVD, though the writing here is not quite as good. It is incredibly informative, however. I learned a great deal about putting together all sorts of iDVD projects, including ways of customizing almost every aspect of the finished product.

O'Reilly have the usual marketing stuff on their website while Pogue Press have the handy little Missing CD section with links to all the free and shareware software mentioned in the book. Neither has a sample chapter or the table of contents.

One of the drawbacks of getting free software is that we don't get good free documentation. One of the benefits of free software is that we can choose which `documentation' to buy. Some people might prefer the style of the `Dummies' books, others the style of Peachpit's Visual Quickstart Guide. I've had a look at all three and like the balance of depth and explanation that Pogue has in his `Missing Manual' series. I once again find myself recommending a `Missing Manual' to everyone. While catering to the beginner, this book goes deep enough that all but the most long-term user of these two pieces of software will find something to learn in this volume.

Yup. This book really made using iMovie for the first time a walk in the park.
Wiht absolutely no prior experience in this sort of stuff (the closest I've come is Photoshop Elements), I was able to, on the first try, make a music video of my son's first christmas.
I was then able to convert an old videotape from the late 70's into a gleaming, groovy DVD.
The book is well laid out, easy to navigate and above all, usable.
It's a five-star manual, no doubt about it.

I bought this book as an afterthought when I started using I-Movie. At first, like most of us, I thought--hey, I can use I-movie intuitively without a manual...but after my Imovie 3.0 crashed and corrupted the movie I'd been working on for 100+ hours, I was eternally grateful to have it nearby. This manual is wonderfully organized, very easy-to-understand, and answers virtually every question you could have about I-Movie and I-DVD. It walks you through everything from how to shoot footage that is eye-appealing...to editing it to a work-of-art in I-movie...to converting it to a Quicktime video and/or burning it to DVD. It is honestly one of the best manuals I've ever used for anything---clear, concise, yet comprehensive. Thanksfully, you don't need to read the whole book in order to "get started" with I-movie; rather, it's a great tool to pick up on an "as needed" basis while you're editing. This book is definitely worth the small investment. It truly is "the missing manual" for I-movie. O'Reilley has done it again...great job!

Inside the Passion is a behind the scenes peek at how the movie was made. It explains why certain things were shown and is surprisingly useful as a meditation tool.

A lot of folks flipped out because they thought the scourging and crucifixion scenes were too strong. The book explains why Mel Gibson and his team decided that they were not going to sanitize the Passion the way other movies had in the past.

Some folks nitpicked becuase Gibson and the team decided to have Jesus speak Latin to Pilate but the book shows that they made this decision for pretty sensible reasons: 1. The Romans had been in Palestine for 40 years. In Gallilee, which was heavily gentile by that time, a smart person must have been roughly familiar with Latin if for no other reason than that it was important to know how high to jump when a Roman soldier demanded that you do so. 2. Jesus was God. He could've spoken in any language He chose when He decided to speak to Pilate's ignorance.

Finally, the great strength of this book is that it so closely follows the movie step by step that even if you never saw the film after reading the book you will understand it. This is an excellent work and I plan to buy more copies as gifts.

I bought this book for my Dad, but opened it up last night and couldn't put it down. The book is only 186 pages, but it's not a quick read. It makes you think. It brings up insights I never thought about, Mel Gibson's 12 years of meditating on Christ's Passion have born a lot of fruits. Read it for yourself.

This book is written so clearly that almost anyone should have no trouble understanding the way Father John Bartunek, a Legionary of Christ (Roman Catholic Religious Order), clarifies the different aspects of Christ's Passion as is portrayed by Mel Gibson in his movie. Father John spent time on the set, watching as Mel filmed this great epic and has not only interesting insights into the filming of the movie, but also clarifies the main points, as well as details of the entire Passion of Our Lord, Jesus Christ. The movie is well worth rewatching ... as you read Inside the Passion and you will see it in a new light every time. Our Lord's Passion speaks to each of us individually, touching our hearts anew and calling us to a real Love, that comes from Christ Himself. This is a great book and a great gift for anyone at any stage in their faith.

This book is actual written by John Bartunek. He is a priest with wonderful insites. He speant a great deal of time on the set when it was being filmed and during the editing. This is a great companion to the movie.
I Loved this book so much I bought a copy for my mother and myself as well- and I will probably being buying them for a few people I know this year (just before) Easter.
I Hope that he writes more books in the future.

I saw Fr. John Bartunek (the author) give a presentation on The Passion of Christ (event and film) last night to a surprisingly packed (who knew so many people would show up on a Tuesday night to discuss a two-year old film?) university campus church auditorium of over 500 people (students and community members). His presentation, like his book, gives a fascinating and compelling account of the theology and symbolism that went into the making of Mel Gibson's film. The presentation was electrifying; the book is no less moving and thought-provoking. For example, there's a very short scene in the film when, in the midst of the horrific flogging of Christ, the camera turns to what appears to be a shot of a young mother with her infant child in the crowd. As the camera moves in on them, however, we find that the woman is not beautiful, but very odd and sinister, and the baby almost inhuman, as we see when it turns its head to give the viewer an evil smile. The symbolism: The woman represents the devil and the child his handiwork. Gibson takes an iconoclastic image of Beauty (Madonna and Child) and turns it into Evil (devil and inhuman offspring). The point:
Evil is not immediately identifiable as starkly evil; rather, evil is simply beauty that has become distorted and false. It tempts us into thinking it is one thing, when in fact it is quite something else. The significance, twofold: to illustrate the devil's role in the suffering and death of Christ and, perhaps more importantly, to show that when Christ is at his weakest (including in modern society), the devil gains a foothold. Interesting tidbit: Gibson used a beautiful actress as the devil, had her head and eyebrows shaved, and used makeup to turn her into something very un-beautiful. And this was only one 20-second scene! The examples go on and on. As a liberal-minded Catholic unhappy with the "culture wars" surrounding so many issues today, I was pleased to see that this film had no agenda other than to relate the Gospel story with the major theme being Christ's love for all humanity, including not only us simple sinners but also those who beat, mock, and kill him, in various ways. It's an invigorating story and makes the book well worth reading.

Buy this book right now. Even if you aren't interested in film. If you've ever walked by a poster advertising a film, buy this book. Why are you still reading this review? Why aren't you ordering this book? In fact, don't order it online here, run to your local Borders and pick it up right now. Hurry, it'll close soon! Well, okay, buy it online, but you'd better use overnight shipping! I'm warning you!!! Buy it.

Now!!!!!

"Saying that Jerry Ziesmer probably has delivered the greatest assistant director book ever written doesn't do it justice. His tales from the Kleig was in "Ready When You Are, Mr. Coppola, Mr. Spielberg, Mr. Crowe" are not only an insider-insider's look into what actually happens in the making of movies--from "Close Encounters of the Third Kind" to "Apocalypse Now" to "Jerry Maguire"--but also a compendium of perceptive glimpses at the personalities and decision making by great filmmakers and actors across four decades. This book relates the biz and its lore with color, intimacy, candor and horse sense..."

An amazing inside story of filming with Frances Coppola, Steven Spielberg, and Cameron Crowe told by their assistant director. The author relates the tales of filming "Apocalypse Now", "Close Encounters of the Third Kind", "Jerry Maguire", "Scarface" and so many others. A truly enjoyable book for the film professional or for those who just enjoy films.

Jerry Ziesmer tells the kind of inside stories you usually only hear (if you're lucky) over beers after shooting's wrapped for the day. Without ever whitewashing or pulling punches, he offers a thoughtful, compassionate perspective on the trials and tribulations that led to some of the greatest films of our day. This is simply one of the best books ever written on the nuts and bolts, the passions and personalities of filmmaking, period. Thanks Jerry.

Disclaimer--I know Jerry from working with him on the Director's Guild Council, and I have utmost respect for him as a professional filmmaker. But I never knew his talents extended to such cogent, fun-to-read, full-of-insight writing until reading this wonderful book. It combines the best of both worlds--the "inside baseball" stuff that pro's with years of experience will still find new and fresh and helpful to their work AND the "Hollywood" anecdotage that any fan of great movies and moviemakers will read with a chuckle and a tear and a lot of smiles. If you really want to go "Behind the scenes"--save the trip to Universal's tour and get this book instead. You'll learn a lot, and have a great, great time!