Video Production Books

Andre Bazin died pitifully months after having being released "Touch of evil" , but the impressive documentation effort , the conscientious analysis around the previous films of the prodigal son of Wisconsin, the forewords of Truffaut, make of this book a true artistic worthy to have it and reread it over and over.

Don't miss it!

I have always been a fan of Orson Welles on radio and television. Having collected a ton of radio broadcasts on CD and audio cassette and having watched most of his movies, I appreciate the genius of his work. I picked up a copy of this book recently and am amazed at the amount of research put into it. An aspect of Welles rarely discussed is his magic career. At the Mid-Atlantic Nostalgia Convention this September in Aberdeen, Maryland, I plan to attend the presentation about Orson Welles and his magic career so I can watch rare footage and films with Welles, and get an even deeper insight to his trickery. Book comes recommended.

Well there doesn't seem to be much info about this book here so for those of you who are wondering what s going on, I'll list the table of contents.
1 - Introduction
18 - Script
105 - Shooting
159 - Editing
186 - Conclusion
193 - Bibliographical filmography (to 253)
Those of you who are familiar with Richie's other stuff such as the Inland Sea will be happy to hear that in this book he combines his critical and writing gifts with a fairly pragmatic approach to his task.
Don't be overly wary of ramblings about transcendental this and that - certainly such notions do rear up but only in the context of technical discussion - e.g. in a discussion of the cut away shots to the vase at a crucial moment in Late Spring. Which isn't to say that Richie doesn't consider the social & moral aspects of Ozu's work at some length. This is obviously necessary for such a morally concerned artist as Ozu, and such topics highlight Richie's greatest strengths as a writer.
This book includes numerous excerpts and stills from production materials, shot sequences etc, which are mostly interesting and relevant; in fact if I had a criticism, I wouldn't mind a few more explicit examples (and counter examples from the work of other directors) especially in the discussion of composition. The Biographical Filmography section briefly covers all his films, mixed in with a fairly straightforward biography. Also recommended on the biographical front would be the docos included on the Criterion DVDs. Especially, "I lived, but..." which comes with the 2DVD Tokyo Story set .
In other words, for the English speaking reader, it would be hard to imagine a better match between subject and author. Highly recommended for any Ozu fans.
The back cover shows a youthful, exuberant Richie animatedly chatting with Ozu during the filming of Late Autumn in 1960. Ozu sits quietly, holding a cigarette...

I saw this book (chinese edition)several years ago when I was almost 35 years old. It really shocked me!The author is so remarkable in understanding and interpreating the family in OZU films which is so real and convincing.Following the Mr.D. Richie, I, as a chinese, began to try to undersatnd the root of chinese family through a series of the OZU's films. I agree with author that the transcentalism for traditional Japanese and Chinese which the author express in the final charpter lies in the "everyday life world"and that I believe is quite different from western transcentalistic approach.This book is excellent....

This issue features a treasure trove for magicians and Johnny Eck fans. The cover photo of Johnny is the best I've ever seen. Featuring excerpts from a telephone interview with the man himself, along with Johnny's typewritten unfinished autobiography, Pandemonium Vol. 3 is the only place you can find so much Johnny information in his very own words. And Johnny was a consumate story teller: his words are a treat. Lavishly garnished with fabulous photographs -- from a darling shot of Johnny and twin brother Robert as babies in frocks, through a series of photos of rehearsals for the legendary "Miracles of 1937" sawing-in-half routine, to an elderly Johnny grinning on the front stoop of his Baltimore row home -- this issue is a treat for the eyes as well as the brain. If you can get a copy, by all means buy it.

This issue features a treasure trove for magicians and Johnny Eck fans. The cover photo of Johnny is the best I've ever seen. Featuring excerpts from a telephone interview with the man himself, along with Johnny's typewritten unfinished autobiography, Pandemonium Vol. 3 is the only place you can find so much Johnny information in his very own words. And Johnny was a consumate story teller: his words are a treat. Lavishly garnished with fabulous photographs -- from a darling shot of Johnny and twin brother Robert as babies in frocks, through a series of photos of rehearsals for the legendary "Miracles of 1937" sawing-in-half routine, to an elderly Johnny grinning on the front stoop of his Baltimore row home -- this issue is a treat for the eyes as well as the brain. If you can get a copy, by all means buy it.

Falsetto's book of interviews with an eclectic group of working directors is destined to be a classic along side the Projections series and Joseph Gelmis' Film Director As Superstar. Since the level of most film journalism has descended to the level of one global corporate circle jerk, it is refreshing and inspiring to see someone as intelligent, sympathetic and knowledgable interview directors as varied as Neil Jordan and Atom Egoyan about the ups and downs of making films in today's amnesiac and malthusian marketplace. Falsetto has done an amazing amount of ground work in preparation for this book and it shows in the honest and sincere level of responses he gets from filmmakers. There is none of the usual 'It Was A Pleasure to Work With Joe Superstar' rhetoric here. The directors shed their knee jerk junket responses and show us what it really entails to make ambitious, thought provoking films today. Falsetto teaches at Concordia University in Montreal, but don't hold this against him. He is one of those increasingly rare academics who has not lost the ability to communicate his ideas and passion about his subject. I can't say enough good things about this book. If I have a caveat, it is that I wish each interview had come with a filmography (and an index would be useful). But those are mere quibbles. Let's all hope Personal Visions sells enough for a sequel. This book is on the same level as classic Paris Review interviews with writers.

Author Mario Falsetto has just given us a priceless compilation of interviews with some of the most original, provocative, and dedicated filmmakers of the contemporary era. But, "Personal Visions" is obviously much more than just a series of interviews with "free-thinking", or "hip" filmmakers. It is an reflexion on the role of the film artist who, nowadays, is caught in the vicious web of a vicious corporate world (i.e. in or outside of Hollywood). Through a skilful process of Q&A (ranging from the filmmakers' backgrounds to specifics about their film and theater work), the author is questionning the general assumption about "independant cinema". (Like one of the interviewee, director John McNaughton, says: "Everyone's talking about independant cinema, but show it to me!".) Each of the 17 artists interviewed by Falsetto has a very special insight into the business, making "Personal Vision" a must-read for any aspiring filmmakers (or for anyone interested in what film directors have to say about movies and the day-to-day creative process). Edited to the perfection, this book is engaging, stimulating, and always entertaining. It is also an invaluable work of reference for film scholars at all levels. Undoubtedly, "Personal Visions" will be around for a very long time. Kudos on your fine work mister Falsetto. Your interest in "young" filmmakers should stand as an model for all the other film critics around the world.

Its probably not fair that I write this review so early as I am only on chapter 3. But... this is a most informative and entertaining book to read. There is obviously a good collaboration between Sibley and PJ as much of it is not only written with PJ's cooperation, but in his words from personal in depth interviews. Great personal family photos also.

I ordered my copy from AmazonUK. Its too bad it is not more readily available here in the U.S. but do try and get a copy. You won't be sorry.

The book is on the shelves in New Zealand right now. It's a remarkable journey he has made, from struggling apprentice printer to mogul.

The book, like his movies, is long, and rewarding for it. The emphasis is more on pre-LOTR work and life, and it really focuses on the movies - no business or personal exposes here.

Three things struck me:
The first is his overwhelming passion for movies - passion that led him to just do it, rather than learn first by going to university. The results speak volumes, and he is in good company with this approach.

The second is that he is a leader with an ability to gather large amounts of people around him - from the first movie made with a bunch of mates on weekends, to LOTR with over 24,000 kiwis involved.

And the third is that he is an astute businessman - the book only hints at this, but it is clear from the continuous improvement in his Film Commission submissions, and the improvement in the deals struck with New line and Universal.

Read it.

This book was a good overview of equine photography. I am an intermediate photographer with moderate horse knowledge. It was easy to understand and implement - even with my lower level skills. The pictures in the book were amazing! Most of the book covered photography, but the video part was very informative and simple to understand. I would definitely recommend this book if you are going to photograph or video horses even just for fun.

I am a fairly experienced photographer who has recently taken up horse show photography. I found this book very, very helpful--especially the sections on the particular phase of each gait which will result in the best photo. I purchased this and Lesli Groves' book, and found them to compliment each other--but if I could only buy one, it would be this one. Specifically, the 'troubleshooting' and 'planning the perfect shot' chapters are excellent; I am equally enthusiastic about the chapters he on computers, printers, and paper. The examples clearly explain the text. I learned a lot from this book, and my first photo practice session showed a significant improvement in my work.

This directory is the most comprehensive listing of persons and titles at almost every production company there is... I believe it is the only database of its kind. Everyone from mega-producers to full-time interns are listed, as well as their phones, faxes and addresses. An invaluable resource.

Hollywood Creative Directory is a superb compilation of Hollywood producers who can make your dreams come true by producing your screenplays. If you haven't succeeded with Hollywood agents, give HCD a try. It lists extensively production companies, offering names, addresses and telephone numbers. If you're having trouble defining your genre or you'd like for producers of films you admire to read your screenplays, make this your first stop on the Hollywood Express to success.

Excellent step-by-step breakdown. Also, really cool recipe for fake blood and theatrical wounds. Good overview of business concerns dealing with fimmaking.

The book touched on all the challenges of indie filmmaking in a clear and concise way. He discussed what areas you should focus on and what areas you can spend less money and time while still getting a great film as your final product. Elliott explored the psyche of the indie filmmaker too by bringing his own easy to understand explanations of why things work the way they do.

His anecdotes really help explain why things work the way they do on low budget productions. He is gifted at giving you insights into the small things you can change that show big improvements on camera. This book eases your mind about not having enough money to make your film. And hopefully give you the courage to put your film out there.

I recommend that any filmmaker who has little or no money buy this book. With Elliot's expertise, you can gain value insights into telling the story that you want.

Elliot Grove's engaging style ensures you'll write your best script yet. Just where other guides stop dead, this book goes on to offer fresh insights on how to sell your hot script.
Energetically written by a true enthusiast - Elliot founded the Raindance Film Festival - it is full of weaselly strategies to get you ahead of the game.
It even comes with a CD Rom featuring interviews with writers and filmmakers, sample contracts and screenplay formats. What more can be said? Beat the competition. Get it. Now.

Raindance Writers' Lab: Write + Sell The Hot Screenplay is a book and CD-ROM created to speed aspiring screenplay writers to critical and financial success. Written from the ground up by Elliot Grove (Founder and Director of the Raindance Film Festival), Raindance Writers' Lab starts with the most basic tenets of how to create a screenplay and how to secure rights to true-life stories, offers extensive advice on how to properly tell a good, captivating story, and concludes with perhaps the most critical lessons of how to pitch a story and secure a deal. The CD-ROM files require Adobe Acrobat Reader 4.0 or higher, and also contain MP3/MPEG-1 audio clips and video interviews that require a media player (Windows Media Player or Macintosh Quicktime recommended). Final Draft demo software is also included on the CD-ROM. Raindance Writers' Lab is an excellent technical how-to source, and highly recommended for film students and aspiring script writers with an interest in writing a commercially viable screenplay.

No more fitting tribute to the genius of vocalist Ray Charles could be considered than Ray: A Tribute To The Movie, The Music, And The Man, a screenplay which celebrates his life - and Taylor Hackford and James White's accompanying RAY, which blends biography with screenplay and photos. RAY provides a tribute album packed with color throughout and is the next best thing to attending the production itself: sure to be a keepsake for any serious fan of Ray Charles and his enduring influence on popular music.

i'm glad i brought this wonderful addition to the movie. it's a wonderful collectors item. the picture were fabulous and the essays Taylor Hackford, Jamie Foxx and others were wonderful. this movie is a labor of pure love for the legend who will live in all of us who love him. i would like to take time out and thank Taylor Hackford for bring us this beautiful gift of a movie and to Jamie Foxx (i have a crush on you!) for bringing the spirit of Ray Charles to life once again. you guys are fabulous and be proud of what you did because i'm sure am. i love to look at this beautiful book. it's a wonderful coffee table book (it even goes with the decor in my livingroom! ;-) )