Video Production Books

First comprehensive study of this influential avant-garde Belgian filmmaker. A fine writer and a skilled and gifted critic, Margulies offers many new insights into Akerman's important work. The readings of Akerman's films-in particular the contextualization of the work in a wider range of frameworks-are excellent. An impressive book.

Bob Koster's "On Production Budget Book" is a wonderful addition to any producer's or production manager's reference library. As an instructor of film producers, I use this book as my primary text. As a working producer, I refer to this book frequently. Bob has carefully taken all of the line items in a typical movie budget form and provided a concise (and often humorous) description of what each line item is and how it should be dealt with in a film's budget. He also highlights many of these descriptions with short personal anecdotes from his many years of experience as a production manager. As an added bonus, the book comes a CD-ROM containing a demonstration version (PC and Mac) of the best movie budgeting software available, Movie Magic Budgeting. This is not a book about how to budget a film (who to call, how to make deals, etc.). It is about defining the anatomy of a film's budget and how to use the Movie Magic software to pull it all together.

One sadly cannot say that about many books concerning films or filmmakers.I am glad to say that this book is a glorious exception.Mr Cumbow is quite unlike the majority of movie intellectuals who are often are in love with the sound of their own jargon,actual and pseudo.There is no doubt that "Once Upon A Time" is the definitive work so far on the films of Sergio Leone.

Though envied for his innovative and daring shot compositions and characterizations,Sergio Leone was often dismissed as a revisionist and exploitation artist,at the same time a certain British director called Alfred Hitchcock was recovering from similar allegations.Often both their films were dismissed as pulp,in Hitchcocks case,B movies with A stars.However myopic reviewers often crippled by a misguided sense of moralism invariably miss the rich subtexts and simmering tensions sexual,social and various others just as interesting.Dario Argento was often referred to as the Italian Hitchcock.Argento was flattered but dismissed the remark by noting that he "I am Latin and my films are more passionate." Not to indulge in Victorian era style racial stereotyping but Argento is correct.He does find it difficult to disguise and conceal his rage,fears,passions and nightmares that make his films so gloriously over the top yet haunting and hypnotic.

Similarly Sergio Leone's closest description would be a Latin John Ford.John Ford also did not shy away from morally ambiguous men.But Leone took it a step further and seemed to have celebrated and exaggerated their persona to the extent that their every trivial mannerism which often were personally created by Leone is dramatic, executed with panache and almost Biblical grandeur .Dont let the Beat Takeshiesque poker faces fool you,an undercurrent of excitement and nervous energy are not the only things that simmer underneath.

The reason I mention all these things is that I cannot imagine that a person whose intellect and perception any less formidable than Cumbow's to do justice to these films and flesh out the characters in all their breathtaking mythical persona complete with often tragic flaws and their reaction to the rugged world(not just geographically!) around them.We see why and how Leone chose his gorgeous ,macho compositons and why he moved the camera in the scene in the graveyard with Eli Wallach in THE GOOD THE BAD AND THE UGLY atleast 10 years before Martin Scorsese. Courtesy of Cumbow ,we know Leone inside and out and how his Catholicism,misogyny,the silent film background of his father ironically coupled with the operatic heritage of Italy,his personal jaundiced view of the world and humanity are so inseperable from his films.Indeed many complained the Jewish gangsters in ONCE UPON A TIME IN AMERICA look Catholic.It doesnt matter as Mr. Cumbow points out,not just the Jewish but even the gangsters in that film are window dressing for something that even more terrifying than the gangsters themselves,that is the omnipresent sense of doom that permeates the film wearing down your resistance much quickly than the "Spinal Tap" scene in THE EXORCIST.Cumbow reveals so many deciets, intrigues and other subtexts you missed in his films that you will be scratching your head with wonder and awe at the mastery and depth of Leone and the insight and perception of Cumbow.If nothing else this book should nay will make you enjoy Leone's films on levels you never thought you could!Its well worth it!

You will not find a better book on television production. Fast-paced, thorough and completely entertaining, it's not what you'd expect in what's sure to be a school textbook one day. He tells stories of his days in Hollywood that will leave you wondering as to whom he is referring to. But ever the gentleman, Mr Del Valle will go to his grave with those secrets.

He sure doesn't leave anything out when it comes to the real deal, producing a show. He lays it all out there. He tells you what he learned from the mistakes he made so you don't have to make 'em too. In a town where most people make more of themselves than they are, it's refreshing to meet someone who, well, doesn't.

This guy's got the goods. His knowledge, gained from 30+ years of experience in the biz, would serve anyone in a managerial position well.

Very informative AND entertaining. You won't be able to put it down!

OK, so I'm biased. I'm the author.

But the book is out of print and I thought, what the heck, I should say a few words. Very few. It didnt' sell well and I figure I made about $.037/hr for the work I did. But that's my problem, not yours.

I recently re-read the book. The technology section is dated, but if you find a used copy and are interested in video, it is still a useful introduction to the subject. Very readable, not too technical.

If nothing else, buy a copy for your local library. I won't make a dime, but the book contains many references to timeless books on the subject that will help any beginner.

Good luck!

Terrific background information for anyone from entry to early mid-level in this field.

Especially good information on video.

Highly recommended.

Chapters on Professional Development, TV and Video in Nonbroadcast Organizations, The Job Search, Fascinations and Frustrations.

Fabulous look at Welles' career and a critial look at his work as a filmmaker. One of the best, if not THE best works on this fabulour artist.

I'm a big fan of Orson Welles after recently watching the movie "Citizen Kane". I was blown away by the movie, but also by the great actor.

I decided to delve deeper into his career, and I chose this book for a great starter.

I found the book to be very good. It goes through the career of Orson Welles from movie #1 (Kane), throughout his death.

The book is filled with great photos, and movie stills, each with a short caption.

Please be aware though, this is a visual history, with very little text.

It does include a bibliography,filmography, and a short roundup of his career, including a time line.

I really enjoyed this book for the broad overview. I will now probably dig deeper with other books.

For the price, I would not hesitate to pick this book up. As they say a picture is worth 1,000 words, and this book is chocked full of them!

I will be picking up more books in this "Movie Icons" format.

Happy reading/viewing!

My jaw drops at the Library Journal review supplied by Amazon of Frank Gado's magnificant Bergman book, but I note it appears to be a very early review. I had been a Bergman fan for years when Gado's book came out and when it did it was like lightning bolt. This is not just some pamphlet to add to your Bergman collection once you've read all the rest. This is the SEMINAL study of Bergman; no one can write about the filmaker in the future without knowing this book. It was the first to get past the religious mumbo-jumbo and the literary high mindedness to discover just what Bergman is actually saying. Meticulously researched and beautifully written, it is, above all, the most compelling psychological study of the director ever attempted. His discussion of "Persona," my own personal favorite Bergman film and admittedly a difficult nut to crack, quite simply renders useless virtually every other critique of the film that had been written previously, and that includes essays by Susan Sontag and a host of others with similarly sharp minds. These pages are filled with insight after insight. The only possible complaint I have is that Gado seems uninterested in the "filmic" quality of Bergman's work. There's little discussion of how the films look and feel via cinematography, framing, sound, lighting, editing, what have you. That's fine. If he hadn't left that for others there'd be little left for anyone to write about.

I have been looking for this book and found it on Amazon. I am very excited to have received it in time to give as a Christmas gift.