Video Production Books

I haven't gotten a copy of the book yet, and won't until I return to the US in February 2007.

I did, however, study directing actors with Lenore Dekoven, and Lenore was such a lucid, wise teacher than I wholeheartedly recommend the book sight-unseen.

Lenore's approach to directing actors may seem counter-intuitive or even rigid at first, but it's actually very flexible. Keep in mind it's an approach to constructing a framework from which to work, and once you've broken down a script and start actually directing it, you'll ultimately still have to rely on your own eyes and brain to determine whether you are communicating effectively with your actor(s).

Lenore DeKoven's book on directing should be required reading for all directors. She preaches a straight forward and artistically rewarding process. Her book gives us all access to this process in a clear, concise way. As a director, you can really use her process as a shorthand to get the results you want from your actors, designers, your entire team. Stop reading this review and start reading the book! You won't regret it!

Lenore DeKoven, doyenne of Columbia University's graduate film department has here, in "Changing Directions," documented the pragmatic approach to film direction that she has passed onto generations of film students. This year's Best Director, Ang Lee, figures prominently amongst her many successful disciples and he has provided a rather inspiring introduction to both the book and to the challenges of film directing.

Suffice it to say, this work is essential reading and reference for the dedicated filmmaker and it belongs on the shelf alongside other nuts-and-bolts film books like Robert McKee's "Story" and Mascelli's "The Five C's of Cinematography."

Written in no-nonsense prose, DeKoven teaches a directorial process that begins by articulating a "through-line" - a concise statement that captures a director's interpretation of the script. These critical 'one-or-two-sentences' serve as a reference point against which all the subsequent production decisions can be made, from design to casting. She then takes you onto the set and details how the director translates the "through-line" into language that will help the actors build their performances. DeKoven's best text is saved for a thorough and practical discussion of this relationship between actor and director.

The best, most useful, least mysterious book on directing I have ever read.

I have been a filmmaker for over ten years, directing my own films as well as working as an assistant director on numerous indie productions during that period, and I have to say that anyone who is remotely interested in directing and filmmmaking must read this book.
Both from my own experience, and from my close observation of directors I have assisted in the past, there is no doubt that directing actors is the most challenging aspect in the panoply of arduous tasks that await the film director. Some shy away from it, hiding behind the monitor, some stumble through it hoping to arrive at a performance through trial and error, but very, very few actually know how to constructively and efficiently collaborate with actors to create truthful and compelling performances. I think it's because, unlike the creative process of writing a script or generating shot-lists and storyboards, actors are mutable, unpredictable - in a word, human - and somewhat like jazz improvisation, you can't completely plan the performances in a film. Instead, you are forced to observe them develop organically in real time and respond immediately. That's difficult, and the problem is most directors (even seasoned veterans) just don't know how to talk to actors - they don't speak a language that is useful to them. This is where DeKoven's book is immensely valuable and, in my experince, unique.
It provides a real step-by-step approach to learning a new language, which enables the director to give the actor a point of departure for a performance, and allows them to quickly communicate adjustments as that performance evolves. Although the process it describes is very complex, the writin is clear and the approach is very accessible. From the director's preparatory work (what DeKoven calls the throughline), to the on-set collaboration with all creative partners (not just actors), there is no part of a director's craft that will not be enhanced by exposure to this method. This book has filled a gap that I had hitherto been unable to fill in my library of fundamental texts for any filmmaker (you know the rest: Story, Impro etc.), and is a must-have for any filmmaker's toolbox.

This book is a hybrid of interview collections and workbook exercises, designed to help filmmakers with their creative processes, not using the dumbed-down how-to-manual approach that so many filmmaking books employ, but in an intelligent and subtle way that engages and challenges the reader. These authors have assembled a formidable list of filmmakers -- the brains and souls behind The English Patient, Toy Story, E.R., Boys Don't Cry, many more -- and asked them more than the usual-suspect kind of questions, and by doing so have managed to go deeply into the creative process. The book interweaves the interviews with anecdotes, proverbs, and a group of creativity exercises which are several levels above the kind of artists' self-help books that have sometimes insulted our intelligence in the past. Ever wonder how Anthony Minghella thought of the opening shot for The English Patient? Or how Merchant Ivory get those stellar casts? This book actually tells you things you want to know, and then challenges you to go out and make a movie.

Inspiring! This book reminds you that the most important thing you have to contribute as an artist is already within you. Essential reading for anyone in any creative endeavor. Buy this book and fly!

I teach a seminar for teenagers in digital video. When I started designing the curriculum, it was mostly a "how-to" kind of thing. After reading this book, I changed the whole focus of the seminar. I asked the kids to look inside themselves and think about what they, personally, had to say. I said, "You are like kids who have been given a big box of crayons. Do you want to scribble on the wall, or do you want draw something special from your heart?" When they turned in their treatments for their video projects, they had taken the ideas of this book to heart.
This book should be required reading for anyone who teaches filmmaking or is starting out as a filmmker. It will get them on the right track!

"Creative Filmmaking From The Inside Out," is a brilliant book! This book utilizes industry experts, who through their own experiences and examples, explain the creative process of filmmaking from concept though completion.

At the end of each chapter, the authors outline suggestions and exercises to evoke the reader's own creativity and abilities.

I highly recommend this book to anyone that is either interested in filmmaking or is already involved in a film career, as it is always fascinating to see how successful people approach their own creative problems. Creativity is the one commodity which Hollywood is always looking for, but for which there are no formulas.

I felt that the book was appropriate about Spielberg's enormous contribution to the film industry over his career. The book has wonderful pictures and stories about each film from the first film, The Sugerland Express, to Saving Private Ryan with E.T. The Extra Terrestial, the Indiana Jones trilogy, and Schindler's List among the films listed here. This book chronologizes Spielberg's film-making techniques as well the special and visual effects. I am not one of his biggest fans. I admire his work and contributions to the film industry but I prefer more than the special and visual effects. There are other film-makers and directors out there that do less with more.

If you want a good read about cinema's most amazing director, then this is the book for you. It contains lots of really great insight not just on shooting the movie, but how it even started. Though author Douglas Brode tends to get a little too political, it is a really good book that I keep coming back to. Read at all costs.

This book is a great read for the major films of Spielberg. It is done with a great deal of research by the author, who puts together a very good story line of the producer/director and how he and his films progressed over time. The author also provides excellent background information on the films, from both a technical point of view and also the creative story line. The text layout, photos, and great front and back cover photos are there to flesh out the films. It is also a fun book to read. All put together, this is a very good book to understand Spielberg, his movies, his life, and his impact on very successful creative and commercial 20th century movies.

Douglas Brode's biography of the films of Steven Spielberg is an informative and interesting book that covers the life and films of Hollywood's most commercially successful film director. From his early T.V films to Saving Private Ryan, this book covers all the facets of Spielberg's work including unknown facts about the production of his films and supplementary information. With rare color production photos and stills, this book is a must- have for any Spielberg or film enthusiast.

Your book fills a much needed gap in the non linear workflow for editors and producers alike! For me the video formats and compression chapters are fabulous cross platform information. Lately, it seems that everywhere I go people are reading it. It is hot.

Virginia Quesada, Q MEDIA, INC. and VIDEOCULT.COM

As the co-author of this book, I just want to thank all of our students who inspired the writing of this book with their hunger for practical knowledge on FCP and the great questions they ask in class.

So often, the nature of these questions went beyond the technical text and sample projects that we were using in class. It is also frequently difficult to answer real-world questions about FCP in the classroom context. So many of these answers "depend on the project you are doing . . . "

Consequently, we took to using a series of real-world anecdotes - experiences of our own in postproduction that could illustrate the larger points regarding process and decision-making.

These experiences made the conceptual basis for this book, and those anecdotes became the case studies.

Robbie and I hope that you enjoy what we think is a unique approach!

This book should be marketed differently. I (hesitantly) picked it up expecting a very software specific how to book and what I got was a guide to creating and maintaining a sucessful post production firm.

I am new to the production world; only just recently opening a boutique production company here in Chicago.
For a while I struggled with Final Cut Pro and maintaining productive organization from reel to distribution.

THIS BOOK HAS CHANGED EVERYTHING.

The amount of money that this book has saved me is starting to stretch into the thousands. Optimizing your workflow within Final Cut is the best way to maintain quality and effeciency.

Most creative media help books talk about specifics, glorified tutorials really. Final Cut Pro Workflows breaks down the entire process of post-production in a really straightforward way.

It even gives you amazing case studies that touch on not only the physical aspect of the post-production but dealing with clients, vendors, and talent.

Imagine the best textbook you ever read in school, especially on your favorite subject. I don't know about others but I would read it through, enjoying learning the material. Final Cut Pro Workflows does that.

This book, while obviously geared towards FCP (with suite specific hints, shortcuts, options), should also be marketed towards the overall creation and maintainability of any production company regardless of the suite.
With just a little bit of translation you can apply the business help aspects of this book to an Adobe/ Avid workflow or even a workflow that has takes advantage of ALL the available software out there.

I would highly recommend this book to anyone with a desire to take their production values to the professional level.

As a user of Final Cut Pro, but a relative newbie to postproduction I've struggled to understand the "Big Picture" of postproduction workflow.

Final Cut Pro Workflows is an awesome resource that doesn't cover all the same button pushing techniques that every other Final Cut Pro book does, but provides insightful and thoughtful workflow techniques that I've been able to apply to all my projects.

What I found particularly cool, and what I think separates this book from others is the 3rd part of book which is a collection of case studies. These case studies are great because they're written as a narrative and explore quite a few different workflows using Final Cut Pro.

This book is a must have!

This book is one of those few that is so hard to put down. It was a fasinating look at the Bond movies,and the faces behind them. I had no idea that the budgets of the movies were so low.(as compared to other action films) This book took me in,and I would recommend it to any fan of film,especially James Bond films!

Director John Glen tells of his experience with the James Bond film series strait up. At the helm of five of the films as director Glen pulls no punches and offers great insight into the creative efforts of the whole Bond film team. This is a great book and even more so if you are a James Bond fan. I really like this book. There is really no gloss here. This is really about what went into making these films while Albert R. Broccoli was still alive and producing them. I highly recommend this book.

John Glen directed the five 007 films which basically span the entire decade of the 1980s: For Your Eyes Only, Octopussy, A View to a Kill, The Living Daylights, and License to Kill. He was also involved with previous 007 films such as Moonraker, The Spy Who Loved Me, and numerous other British films going back to the 60s. This book is a collection of behind the scenes stories from the making of Glen's films, but with special emphasis on the Bond films. Most Bond fans know the plot details inside and out, so what makes this book interesting is the story and script development, shooting location stories, and cast and crew details. The only downside to the book is I wish there was MORE of everything...more stories, more photos, etc. This is a highly entertaining book if you are a 007 fan, particularly from the Roger Moore - Timothy Dalton era.

This is a valuable book for the inside track on the Bond films. Director John Glen did a good job. His services will be greatly missed unless they get him back. After reading this book perhaps the producers should get John Glen back.

Francis Ford Coppola was born in a great year for the movies!
In 1939 the director was born to Carmen Coppola and his wife
Italia. His parents were creative-Carmen was a musician in the
Detroit Symphony and later in the New York Philharmonic under the baton of Arturo Toscanini. Carmen would later win a musical
Oscar for the Godfather films.
Francis was a younger son to his older brother who was everything Francis wasn't: handsome and well liked at school.
His sister Talia Shire would later be a movie star in his own
films most notably the Godfather classics.
Coppola graduated from Hofstra and received a master's degree
in film from the UCLA film school. His early apprenticship in
film was under the tutelage of famed B director Roger Corman.
Coppolla emerged from nudie films and small pictures to direct
"Finigan's Rainbow" and began to emerge as a talented maverick
whose creative/artistic wings were flying in the early 1970s.
Despite arduous business and creative troubles he won fame and fortune and several Oscars for the Godfather films. His most
controversial film was "Apocalypse Now" his take on the Vietnam
conflict based on Joseph Conrad's novella "The Heart of Darkness."
Coppola's career has more ups and downs than a roller coaster
as he founded Zoetrope Films in San Francisco and went to the
mat in countless donybrook battles with studio executives.
Coppola reminds me of Orson Welles in that he achieved fame early and then had a difficult career in tinsel town. He is a
man of massive ego; intelligence; daring and creative attention
to the details/minutia of film. He was unfaithful to his wife
Ellie; grieved over a son yet emerges from this biography as a
flawed but good man. He is gregarious and honest and a good
friend. His friendship assisted George Lucas in launching his
storied career! I like Coppola's rich textured films. His screenwriting from Patton to his latest project is outstanding.
This meticulous account of Coppola's career in the Hollywood jungle will not appeal to everyone. Countless pages are devoted to business deals, legal disputes and the difficulties encountered by Coppola in making his films.
For me who loves the Godfather and FFC this is a fine book.
Anyone who seeks to explore this brilliant man's career would do
well to begin with Schumacher's fine biograpy.

I thought this biography was detailed mostly around this film. On page 262, first paragraph, I think Mr. Coppola would agree to mention the fact that "The Chief Phillips" made a life last attempt to end Willard after getting speared on the boat by Kurtz's mongrules. Overall, the book was a manificant biography of a Itailian-American film maker of our time.

...and I hope he stays that way. Francis Ford Coppola is one of the inspirations of my life. His energy and enthusiasm for what he does outshines even the projects many might deride. One thing you have to say is at LEAST he puts his all into what he does, and I'd imagine no one would doubt this. PS: WHEN is the UNCUT version of "One From the Heart" going to be issued on DVD?

I work for Francis Coppola today and know him pretty well. Michael Schumacher's book really captures the spirit and energy of this facinating and complex man. I have read most of the other Coppola books and none combines an understanding for both the human and artistic side of Francis.

This book, like no other I have read, reflects the passion, energy and chaos of the Coppola world. I can tell you from the inside there is no more exciting experience than being part of the Coppola energy. Francis loves to tackle the "impossible" and never gives up. I particularly like this book because it is clear that the author, like myself, has great respect for this whirlwind of a man.

This book is a great read for any fan of the series.

I purchased this book for my boyfriend for christmas and I've kind of stolen it back (we live together so it's not a big deal lol). This is my favorite anime of all times. I love the story, I love the characters, and I especially love Sousuke and Kaname together. Even my boyfriend who "doesn't like anime" loves this series and wants to cosplay from it! *omgshock* I reccomend EVERYTHING that has to do with this series!

Full Metal Panic is an awesome show. I'm a girl and I think that the show is for both guys and girls personally. This book has stuff that goes on in the anime within it. A perfect item for your FMP collection.

I just got the book today, so I haven't looked at it in great detail... but the overall impression is great. Too bad that only about the first 1/3 of this book is in color...

This is a wonderful book! It goes through all the basic techniques of film making from writing your script to camera angles to lighting, and gives great encouraging advice to future girl directors. There's even a little history at the begining that tells about the woman directors from the past. I really enjoyed this book!! It's so much fun to read and is so encouraging! Any teens interested in movie making will love this book! I know I do.

I love love love this book it is sooooo good. It has everything in it from different shot types to how to mooch off relatives for camcorders. Great. Buy it. Now.

I am a writer, indie film director and an artist so this book was a joy to read and fun to look at. Ms. Richards has given the reader so much to learn from and information that isn't common knowledge. If you are thinking about making your first film and don't know how to do it - buy this book! Review written by the author of Bruised But Still Strong

I love this book! It is such a cool combo of photos and interviews with filmmaking tips and suggestions. This is a great buy for that person (it could be a boy!) interested in making films.

A movie not well received by critics and historical revisionists, it did poorly at the box office but fared much better in DVD sales.
"It was slow and boring," some said.
"It was too religious," others commented.
"It didn't show enough from the northern perspective," said still others.
So, was it slow? Well, it was dramatic but hardly slow if you are a fan of history.
Was it boring? Not in the least.
Was it religious? Absolutely! It depicted the times fairly accurately - folks in the 21st century have a difficult time realizing just how religious our 19th century ancestors were.
Was it mainly from the southern point of view? Yes. This would also be a complaint of mine. More of the northern perspective and northern generals needed to be shown.
That being said, this movie is perhaps my favorite movie of all time. It has everything I love most: drama, action, history, accuracy.
What more could I want?
Well, there is something else...originally, this movie had a couple extra hours of footage that were cut out - the Battle of Antietam, scenes with Booth and with Lincoln (separately, of course), and others. I would love to see these scenes restored with a special Director's Cut edition.
Seeing that may never take place, this book is the next best thing. It has the complete "director's cut" script so one can at least read what was filmed and see a few of the pictures from those scenes.
Also in this (mostly) full color book are behind the scene shots, tin types taken of the actors by wet-plate specialist Rob Gibson, articles about the re-enactors that participated in the filming of the movie, and pretty much anything else associated with the film.
If you enjoyed the movie, I would highly recommend this book.

This book is amazing ! Plenty of pictures about special effects, battle scenes, actors, makeup, soundtrack, landscape, a must have to all lovers of history, civil war or movies. I had never seen before such a work for a book about a movie ! You even could read the entire screenplay at the end !
Really, a wonderful job, Mr Maxwell !

The collaboration of Ronald F. Maxwell (who wrote, produced and directed the film version) and Jeff Shaara (who wrote the book upon which the film was based), Gods And Generals: The Illustrated Story Of The Epic Civil War Film showcases an epic movie. Presenting the full-length screenplay as well as extensive revelations and insights about the making of a classic film, full-color photographs, a selected Civil War filmography, and so much more, Gods And Generals is the perfect companion volume for anyone who truly cherished viewing this great and enduringly popular film.

For those of you who saw "Gods and Generals" and did not understand what was happening, then this book is for you. Filled with outstanding photographs from the set and scenes from the film, this companion book to the film not only takes a look at the making of the $ Million epic, but a look at the real-life characters and events that inspired the cinematic masterpiece that is "Gods and Generals." For history buffs and cine-buffs alike! Grade: A+

Over the years, whole libraries have been filled with books teaching the principles and finesses of acting. Yet the specifics of acting for the camera, which requires a totally different technical approach, have rarely been documented in great detail. Enter actor Steve Carlson, a veteran of film, television, infomercials... you name it. He's done it all, seen it all and now tells it all in Hitting Your Mark.
The book consists of two parts. Part one begins with some technical information, and teaches the reader all about the importance of marks, camera awareness in several different types of set-up, how to handle close-ups and share the frame with your fellow actors. But he also talks about using cue cards and teleprompters (essential in infomercials and daytime soaps), the challenges of doing love scenes well (including several types of movie kiss). The importance of lights, sound and editing are explained in detail, and it finally becomes clear how much of your own stunts you're allowed to do - and why.
The second part of the book is about having a successful career. For Carlson, this means more than getting jobs: it also means creating a positive frame of mind, both on set and off, and managing your emotional and financial life effectively.
Written in a friendly, clear style, this book is a good read and contains tons of excellent information. Carlson's wealth of experience makes this a must-read for anyone who intends to get into acting for the camera.

Now in a newly updated and expanded second edition, Hitting Your Mark: Making A Life - And A Living - As A Film Actor is a 266-page, hard-hitting, factual, complete reference and how-to book for the aspiring media actor. Hitting Your Mark should be required reading for all would-be film actors. All imaginable Actors' 101 questions are dealt with up front, and some that are tough to imagine. Author Steve Carlson has drawn on his thirty eight years of experience TV and films to create an excellent textbook for actors. Because it is a second edition, it is divided into Book one, which deals with introductions to the basics of camera, set, and stage, technical areas, marks and blocking, camera awareness, working to 'please' the camera, love scenes, editing, teleprompter and cue cards, light and sound, and unique situations and positions, plus auditions on camera. Book Two contains more information about the actual life and experiences of a media actor and the requirements and expectations that make a professional actor successful, or at least, likely to be rehired. The author refers to learning that all production is a team effort, to developing professional POV, or point of view, by which he means "Attitude." Attitude can be all-important in determining an actor's level of success and even whether or not they will enjoy their success. The following statement sums up much of what the author believes: "A seasoned professional uses his experience to anticipate problems before they occur and help others on the set who may not be as comfortable as they (p. 191)." Carlson goes on to cover readiness, competing, success and failure, finances (or show busine$$), life off the set, and wrap-up. Some of his closing Thoughts to Live By are priceless: "Do not act like a 'star... Be good and true to the people who are being good to you... Keep your word...Keep your personal life as simple as possible...Keep good care of money matters...Never be in a position where you 'have' to have this part. Do not borrow money from anyone except the bank and even then, only in dire necessity or when buying a house. (After your career is off and running.) Don't ask, or even permit, someone to do for you what you wouldn't do for them...No one was ever hired out of pity and never will be. You have to be good to play this game (pp. 259-260)." Hitting Your Mark is an actor's friend. It does not pretend to be an actor's teacher, that will be experience, but it provides the information to allow an actor to make the most of his or her experience.

This book is not just great for actors, it's great for anyone in the film business who takes their career seriously. Part career management and inspirational guide, it's the kind of no nonsense advice that anyone entering the business needs to know.

It was hot on this summer day. I was standing in the middle of an old Airport, Seattle's Original International Airport with conveyor belts for luggage and open areas and ticket counters and I was watching the set-up of the scene. I was still a Junior in High School and I had gotten to be a paid extra for a "Made-For-TV" film entitled: "Jacqueline Bouvier Kennedy" starring the beautiful and talented Jaclyn Smith.

Having been a film buff for years, I knew what they were setting up, where the camera was, who the "players" were: The assistant directors who would tell us where to stand, the lighting guys moving large deflectors, the director and the producer. This wasn't my first day on the set - and my knowledge served me well.

How? By watching. I watched as an assistant director made a mark on the floor and focused the camera. "That's where she's going to stand." I said to myself. And scooted my way over to stand right next to the mark. Moments later my hope was dashed as ANOTHER assistant director setting up the extras, came over and had me switch with the woman I was standing next to. But then the FIRST assistant director came back and told me to switch back. This was my moment.

Within a couple minutes Jaclyn Smith, all decked out in period garb, came out and stood next to me. She clenched her fists, going over her lines, took some direction and waited for the next move.

With a lull in the moment I turned to Ms. Smith and said: "You're doing a really good job." There, I said it. I talked to a CHARLIE'S ANGEL (and the best looking one at that - IMHO) and she smiled at me and said: "Thanks." SHE TALKED BACK TO ME! I shut up. No need to say more. Don't want to get kicked off the set.

"Are you an actor, too?" She asked me.

Not realizing she was going to speak to me I stammered over my words, barely making a coherent sentence, something about High School and plays and yeah, actor, someday. Then they started shooting the film.

"Hitting Your Mark" is what Jaclyn Smith did. Observing and shutting up is what I did. I got paid. So did she.

"Hitting Your Mark" is an excellent book for anyone on the cusp of starting a career in acting. Okay, maybe not as you are driving off to your first audition for the "Smith County Players" but for when you are about to pack up your car and head to L.A. (or New York).

There's an obviousness to this book that I do not want to discount. The obviousness is that you are about to make it big - or are about to partake on making it big.

Much like the author states (at least a couple times), this is not a book about acting. This is, really, a book about what it means to be a paid actor. Getting the job, keeping the job. Working with professionals, dealing with the aspects of the various jobs, etc.

Just like the title says: "Making A Life - And A Living - As A Film Actor."

Now, I know what you're thinking: "You are a screenwriter - you write about screenplays - what are you doing reviewing a book about making a living as an actor?"

Simple! As a screenwriter you should be aware of ALL the aspects of the business. From the Gaffer who is stringing cable to the Director (who is stringing the Gaffer for not laying the proper cable).

Why? Well, first, what harm does it do? None! Second, what benefit does it do? Tons! Let me explain:

Knowing a film set and who is on it, and what they bring to it, gives you a better understanding of how the system works. If you write a love scene that could very well have been in an erotic film - reading about actors and erotic love scenes - and how they are filmed - may give you and understanding of the difference between your hot erotic love scene in the back seat of a car turned into a confused, awkward, 12 hour shoot that lacked chemistry and energy. Is that your fault? No. But if you knew going in what was involved...maybe it would have been far more erotic (and easier to write) about two people stealing a kiss behind a church.

Oh, and what of that kiss? How have you written it? Passionate? Tonsil hockey? A slight peck on the cheek? Each one has its own issues when it comes to being photographed.

Same goes for other scenes you set up. Do you understand "coverage?" Do you have an understanding of what the actors are looking for in a scene? What about dialogue, editing, the look, the feel of the scene. Are you writing a scene an actor is going to chomp into like a hungry pit-bull? Or are you writing a scene an actor will likely sleep through?

Cutting into the psyche of an actor (as Mr. Carlson enables you to do in this book) you have a better understanding of what THEY bring to the table when it comes to your written words. It also gives you a better understanding of why they may change your scenes, change your words or, even, change your characters.

Mr. Carlson's book is broken up into two books. Book one is all the technical aspects of an actor's life. From the "Hitting Your Mark" of the title to "Love Scenes" and "Working With a Teleprompter." The chapters are relatively short and to the point and they usually end with a "summary" of what was just said.

Book Two deals with the life OFF the set. "Competing," "Success and Failure" and a chapter actually titled: "Life Off The Set." It is in this 2nd book where the lessons of life in Hollywood can be just as important for the writer of a screenplay as they can be for the actor.

Most of these lessons fall into the category of common sense but it's always important to remember them:

Be professional
Treat people with respect
Be ready
Learn your lines
Be on time, if not early
Listen
Do not take rejection personally
Ask questions
Pay attention
Be nice
Make friends
(and many others)

There are other aspects of this book that relate directly to a professional writing career in Hollywood. Taking meetings, working with professionals, holding yourself to a higher standard, understanding (and reminding yourself) that Hollywood is a business and working with creative (and sometimes difficult) people.

The only issue that I really have with the book is that I would have liked to have read more stories from the "trenches." Having been an actor for 40 years, Mr. Carlson could have liberally sprinkled many other stories of out-of-control divas, stunts gone bad, drunken directors, crew member initiations (if they have them), craft food problems, etc. Maybe he will save those stories for the third edition.

Bottom line: As a screenwriter, it's important to have a grasp of all the aspects of film. Steve Carlson's book takes you into all the things an actor has to deal with in an interesting and fascinating way.