Video Production Books

Cut To The Chase: Forty-five Years Of Editing America's Favorite Movies is a rare look into the film editor's trade. In the format of an extended interview of Hollywood legend Sam O'Steen, editor of such renowned movies as "The Graduate," "Chinatown," and "Who's Afraid of Virginia Wolf?", and with the assistance of his wife, Bobbie O'Steen (herself an experienced writer and former film editor) covers all aspects of the creative movie making process as it really is in the lumbering, confusing, and sometimes merciless machine that is Hollywood. Showcasing the stars that he worked with, and much more, Cut To The Chase is very highly recommended for any film student or movie buff curious about what really goes on behind the silver screen.

This is one of the best books about the film business I've ever read. Legendary film editor Sam O'Steen tells all about his craft and about the importance of the relationship between editor and director. In doing so, we learn how the editor's role was crucial in shaping some of the greatest films of the last forty years including Who's Afraid Of Virgina Wolf, The Graduate, Carnal Knowledge, Silkwood and others. The book is the transcribed conversations between Sam and his wife and fellow editor, Bobbie O'Steen. It is remarkably intimate and wonderful in its backstage gossip as Bobbie gets a great performance from Sam, a classic storyteller who pulls no punches. Critical insight into the technique of filmmaking is mixed with racous and often breathtaking tales of Hollywood before parents began sending their kids to film school as an alternative to being a doctor.

Sam and Bobbie O'Steen have given us an exceptional mix of Sam's takes on all the elements that go into movie making - human, technical, personalities, talent/no talent and gossip - in a way that made me feel as though I was in a living room listening to Sam O'Steen tell stories. What a treat.

Sam O'Steen's editor's view of movie making combined with quite a cutting sense of life is unique. His throw away lines about some executives and stars are very telling. His generosity talking about editing brings great sense to the whole movie making process, and his body of work (Who's Afraid of Virginia Wolfe, The Graduate, Chinatown, Rosemary's Baby, Catch 22, Carnal Knowledge, Silkwood, Working Girl, and all the rest...) allows him to speak with an earned cockiness. This book is a treasure for anyone who loves movies.

This book documents the creative evolution of the editor's role in Hollywood. Sam and Bobbie O'Steen weave a fascinating tale of how Sam worked his way from messenger at Warner Bros. to 'a pair of hands cutter' to master artist crafting the most amazing films that emerged after the fall of the studio system: "Whose Afraid of Virginia Woolf", "Catch 22","Carnal Knowledge", "Chinatown". He worked with the top artists of his time and shares many unique and special anecdotes about them. Along the way he gives us insight into a master editor at work, writing about the choices and changes that can make a good film, great. A great addition to film fan or film students library.

While I do recomend this book as a good insight into the politics of making a major motion picture, I found it lacking in the one area it should have exceled in-editing. As an editor myself I was looking for more insight to O'Steen's thought process and editiorial technique and less behind the scenes gossip. Skip all the chapters after "Chinatown". It is a good read up to that point.

Charles Roberts has for my money written the best introductions to both Final Cut Pro and Final Cut Express. If you want to get up to speed with either of these programs in a miminal amount of time, this is the book to get. It's something even a mother could understand!

Digital Video Editing With Final Cut Express by Charles Roberts (Assistant Professor, communications Media Department, Fitchburg State College, Fitchburg, Massachusetts) is a practical and highly recommended instructional and reference manual concerning how to use Apple's Final Cut Express editing software for optimum digital video results. Covering not only the software interface, but such issues as proper setup of Macintosh and Final Cut Express, an explanation of video hardware, means for troubleshooting a wide variety of problems and much more, Digital Video Editing With Final Cut Express combines black-and-white illustrations and screenshots with easy-to-follow narration to better instruct and draw out the skill and creativity of amateur and professional digital film makers alike.

I should have gone to a bookstore and looked at the books on Final Cut Express, but based on the reviews I thought this one would be great.

First of all, it deals with Final Cut Express 1.0.1. That's not the current version - so if you're buying FCX now, much of the info about drop-down menus and set-up will not apply to your software.

The book is very thorough in describing how to use FCX, but you have to read several paragraphs of explanation in order to figure out what you should do. The book would be more user friendly if it had charts or some way of summarizing the practical instructions. Right now the instructions are buried in paragraphs of explanation. I spent several hours just learning how to set up the initial preferences because it took so long to wade through all the info.

My suggestion: Use the DVD that comes with FCX to get a feel for what it can do, and then use the Help function when you need to figure out something new. This book is incredibly thorough and I may use it in the future, but for now it's easier to use the Help function and Google any questions I have.

Charles Roberts' "Digital Video Editing with Final Cut Express" is more than just another software manual. His insight into MAC OS and organizing workflow is invaluable to even the most experienced NLE user and the appendices clearly explain complicated technical concepts behind digital video and the hardware needed to create a working system for editing. I am already 'sold' on Apple's Final Cut Pro but Roberts' conversational style of writing and solid technical knowledge make an already accessible software even more so.

You won't go wrong with this book! It assumes no knowledge and takes you through the whole editing process. The appendixes alone, with advice on purchasing DV decks, the hardware you need for setup, plus tips and tricks makes it worth the price. I also feel more confident as an editor--the book covers Express as the vehicle for teaching about editing principles. It goes beyond the usual button pushing software books.

Amazing book, all Aida lovers should get it! The pictures are beautiful, and the information is really detailed.

I saw Aida on Broadway and was impressed by the music, the acting, the scenery, and the dancing. When I discovered this book, I found a way to relive the moment. I enjoyed looking through the photos of this book and showing them to people who have not yet seen the play on Broadway. I also enjoyed reading all the behind the scenes comments by the actors and actresses. All in all, I have found this book a great way to cherish one of the greatest musicals on Broadway.

I'm a fan of Tie-In books, whether they be for a movie, or Broadway. This one ranks fairly high up there, behind Rent
by the Johnny Larson Estate, the Renthead bible, but above the Beauty and the Beast book which was more pictures than information.

This one had tons of information, and a good selection of pictures. You get a fantastic idea of how they progressed from the original story to the Broadway show, and nice behind the scenes anecdotes. There are also some very beautiful 2-page spreads, such as when the two-starcrossed lovers meet in the museum. However, the book is rather thin compared to some, and thus it doesn't hold quite as much information as some would like it to. It certainly could have used more pictures.

One thing it doesn't have are production drawings and concept art (it has a couple but they're small), which I always love to see. Those really help get you visualize what the production team was going for originally.

Still it's worth buying, and I would recommend it very much to any Aida fan certianly.

You'll find this oversized book ripe with details, from conception to Broadway debut, and filled with pages of colorful photos that illuminate the production. Journalist and author Michael Lassell traces the show's history with interviews from those intimately involved, from writer and composer Elton John and Tim Rice to stars Adam Pascal and Heather Headley to costume designers and choreographers. His unrivaled access allows us to visit every aspect of the production.

The book is divided into four chapters: story, composition, production, and performance. The first section describes the timeless tragedy and romance of Aida and of its rebirth from acclaimed opera to modern day rock musical. John and Rice's hammering out the numbers is described in the second part, and we begin to see the show's evolution from its originally titled "Elaborate Lives" Atlanta production. Set design, art direction, scenery, and costuming are detailed in the third chapter, and the last focuses on performance details.

The most ardent fan will always find such books lacking, but in fairness it gives the common theatre-goer a good sense of the energy required to stage a Broadway production. One of the best features is the photos, both plentiful and saturated with color. I especially liked the visual contrasts between various stages of the show, such as early costume sketches compared with the final outfits. The breadth of interviews also conveys the passion of an extraordinary "Aida" team.

A couple of things could have been improved upon. While I enjoyed the pictures, there was a redundancy to some. Two full page spreads of "Dance of the Robe," for example, one to illustrate the lighting and a second to show the choreography, proved unnecessary. Space dedicated to "sequence shots," a cluster of essentially the same candid photo, could also have been better utilized with more production stills or, better yet, meatier text. At the core of the show is the story, its historical and contemporary implications, and this book doesn't drive into the heart of the characters quite forcefully enough. Lassell only dedicates several pages at the end to the actors' interpretations of their characters.

This is an excellent book and very informative. It tells you about all of the changes that the show went through. It has wonderful pictures. They're all in color and they bring back memories of the show. I had had the good fortune of seeing the show with the entire original cast still intact. There were no understudies that day and I was so happy. I'm still trying to remember where that scrim in Fortune Favors the Brave came from. My only complaint is that they didn't tell the name of the man who played Radames before Adam Pascal took over in Chicago. Buy this book. You will thank me.

I first met Andy Laszlo some eight or ten years ago when he gave a two day seminar on Cinematography at NYU while I was director of the Department of Film, Video and Broadcasting at NYU's School of Continuing Education. One or two hundred students enrolled the first day, and as word spread across the campus of Andy's insights and trenchant comments, the attendance doubled on day two. When I learned of the existence of his book, I purchased it immediately. It is of immense value, not only to cinematographers, but also to directors, producers and writers: in short to anybody currently in film and video, or anybody who aspires to enter this field. It is immensely readable, written in clear, concise English and amply illustraed with some extraordinary examples, and a treasure trove of practicle knowledge. It is highly, highly recommended.

If you want to read a book about Andrew Laszlo then this is the book for you. The book takes you through projects he personally encountered and has little in the way of practical advise/techniques for the individual film maker developing their own projects. The book is easy to read and entertaining,although i was looking for a text book style read.

Laszlo's Hollywood career speaks for itself. Now, with great style and eloquence, he has set down a vital and helpful look at his field. As director of the University of Miami's Motion Picture Program, I can report that this book has proven useful and valuable to undergraduates and graduates. More than a technical manual, it will prove informative and rewarding to anyone who loves film.

Cinematographer Andrew Laszlo has filmed more than thirty motion pictures, numerous television shows, TV movies and commercials in a career spanning more than fifty years. In Every Frame A Rembrandt: Art And Practice Of Cinematography Laszlo draws upon his immense expertise and experience to provide the reader with a comprehensive, single-volume introduction to this fundamental aspect of filmmaking. Laszlo' reveals the day-to-day activities of a cinematographer before, during and after filming a project, and discusses such critical and central issues as equipment, filmstocks, testing, labs, unions, agents, budget requirements, as well as working with directors, producers, and crews. Clearly and concisely written (and enhanced with additional material by Andrew Quicke), Andrew Laszlo's Every Frame A Rembrandt is a "must" for any aspiring cinematographer, and an essential reference title for professional and academic collections.

The envelope please--best book by a cinematographer (or anyone else for that matter) about cinematography. Essential reading.

There are books of theory, there are books of anecdotes, and there are books on how-to. This has the best of all.

Andrew Laszlo, ASC is a wonderful storyteller, inspirational teacher, terrific writer as well as a distinguished cinematographer. His credits include Shogun, Owl and the Pussycat, One Potato-Two Potato, Newsies and many others.

The book is a wealth of film criticism, tricks of the trade, technical details, wonderful anecdotes and behind-the-scenes stories.

For example, Laszlo discusses how he lit a scene from Rambo with one match, and then explains that a second one was hidden behind. He is funny and iconoclastic at times: "I hate dailies," or "Taking a stand in the film industry is not an everyday event." But behind every attention-grabbing statement is a complete and highly intelligent, articulate explanation.

The book covers five of his films: "Southern Comfort, The Warriors, First Blood, Streets of Fire, and Innerspace." There is insight into the politics, diplomacy and psychology of filmmaking--dealing with directors, producers, studios and crew members. Through the writing, we watch a truly masterful problem solver, consummate professional and talented artist at work and reflecting upon that work.

Interviews done by Andrew Quickie (Film and TV Professor at Regent Univ.) punctuate the chapters.

I eagerly await the sequel to this book, perhaps to be called "Son of Rembrandt," or "Every Frame a Laszlo." Certainly there would be enough anecdotes and information from his 42 or more other films to fill a dozen standard volumes.

From what I have already read from the book, it seems to be a clear and understandable read, not to mention the content is professional and applicable to the subject matter. In other words, this book was not written by amateurs. They have had experience in this field, and this becomes useful for the reader, especially for college students who want to get into this field. Great buy and it came highly recommended by my Video Productions Management professor!

This book is written mainly from the point of view of the Production Manager (PM), and since the PM is really at the pivot point of the entire production process, this book gives us a great view into every step of that process. If you want to know what happens when they make movies, read this book.

In development on a new feature film, this book has proved to be very helpful. From setting up the production checking accout, to offering a few dozen production forms, it is proving invaluable.

"If you have produced a low-budget independent movie and want to apply for a job with any Hollywood Production Company, this is the book that you MUST read before you go in for the interview. It explains the way that Hollywood Motion Picture Productions are managed." -- RMS

Details, details, details....the things that determine the effectiveness and efficiency of a production office. Deborah Patz provides us with a concise, well written and wonderfully organized, must-have guide for anyone just entering or working in, the film production office, from PA through PM. An invaluable tool for Producers as well, packed with accurate, step-by-step details!

The good professor is a bit cryptic in his writing: his writing voice sounds as if he's been holding this conversation with you for a while. But if you stick with the book, you'll "get it" and appreciate the material. Excellent author to learn from about making films and writing screenplays. His focus is on techniques for telling the story through film. But screenwriters will also find the techniques valuable.

I was given this book by a friend because he knew I wanted to one day write a screenplay. This book was a gateway to topics and theories I had never even considered. It is well organized and delves into the major theories of film in a concise, informative, and entertaining fashion. It has actually changed the way I now watch movies and will certainly be a handy reference if I one day manage to begin this screenplay of mine.

I only had one problem with this book. He wrote on the back cover that you will save $40,000 in tuition. I don't agree. I go to film school and after the cost of room and board, eating and tuition you can pay anywhere from $80,000 - $100,000 for a BFA, not including the cost of making your films.
Ok, with that said I think watching movies is a great way to learn how to make movies. It was also Alfred Hitchcock's suggestion. Obviously, it's not the only way to learn how to make movies, but it's one of the best. This book is a great teacher if you can't or don't want to go to a Film Evaluation class. This is also the cheapest way to do it. Spend the class money on this book, the suggested DVD's, and some popcorn. Enjoy.

Now you can go to film school in your bathrobe and bunny slippers - and still learn an awfully lot. With Richard Pepperman's "FILM SCHOOL" book in hand and a stack of suggested DVDs, you can learn a lot about how stories are put together for visual and emotional impact. The book is categorized according to concepts taught in traditional film schools and offers specific chapter and frames to access the examples; you also learn why and how the filmmakers applied the concepts. This is a book you should read through once to get the ideas, then go through again watching all the film excerpts, all the while learning an awfully lot about film-making theory and practice. Then keep this book on your desk or on the set as you construct your own stories.

I have justified it many times to my friends. Why do I watch so MANY crappy Public Domain films? Well, first, they're cheap. And, second, I learn things while watching them. Things that are important if you want to actually write and/or direct film. At least that's the excuse I'm giving them.

In reality, I learn far more from crappy films than I do from good films. From good films I'm drawn into the story, into the characters, into the themes. I often don't think about the nuances of the film because I'm so involved in the story. But, heck, give me "Invasion of the Wasp Woman" and I spend most of the time ignoring the bad acting and marveling at how they got this shot or that shot. But, lately, I've been analyzing better films, classic films, peaking behind the curtain and exploring what elements were used to create the visual story.

Richard Pepperman using mostly classic films and films of all genres and styles shows you how it's done. Breaking films down into all their main elements (story, place, character) and then going one (or two or three) steps farther breaking those down into telling, structure, subplot (for story), light, setting, space (for place) and dialogue, reactions, subtext (for character) - and more.

Pepperman does a great job of showing you how these directors and editors used all the elements at their disposal to create the stories you see. How dialogue influences character, how the sense of space comments on place, how the use of structure builds a story. And then he gives you detailed and exact places on the DVD to find what he is talking about.

If I had any fault with the book, I would have liked visual examples from the various films - he wouldn't have to do visuals for each film, but select a few - such as the sense of space in "High Noon" or the showing aspect of story in "Witness." The only other issue I have with the book is that there is an assumption that the reader knows what an "establishing shot" is or a "medium two shot" or a "POV" shot. It would have been great if some examples could have been provided in the introduction, or throughout the book, just to give the reader a frame of reference to go back to.

Still, Mr. Pepperman, using mostly classic films, breaks them apart in ways that teach the reader how films are put together on many different levels. I have always watched films and ended up analyzing them - Mr. Pepperman takes it to a whole other level. Amazing.

We all love parts of Star Wars, but why settle? For example, he could take a novel like Defenders of the Holy Grail and make it as magical as Lord of the Rings. His fantasies miss connections with the modern world His studio could be making real statements about the human condition instead of lightweight _______.

Wonderful book about the great filmaker who gave us such masterpieces as THX 1138,Raiders of the Lost Ark and Star Wars. . . .very rich and well done with beatiful colored pages, and comments from other filmaker on the movies of George Lucas. . . . a wonderful edition that would look great on anyone cofee table,so go out and buy it today.

This book gives you a sequence of events in Lucas' creative empire. It also contains interesting quotes from the man himself as well as other significant contributors to his work. It may come as a surprise to some of us that Lucas' goals are quite similar to our own; the only difference is that he has a very strong will to make it all come true.

Contained in this book are his projects that touched many who will never imagine the same way again.

George gave us visions of a future never before seen - this book is a chronicle of his works. The full page images and stories behind the ideas will leave you with a better sense of how this incredible universe came to be.

A GREAT BOOK!

George Lucas: The Creative Impulse is a great book which gives the reader a view over George Lucas and his life and filmography. The book introduces in sections Lucas' "early years", his films and also briefly his companies (ILM, Skywalker Sound, LucasArts) and also takes to a tour around Skywalker Ranch.

Although there isn't as much behind-the-scenes info I would have hoped for, the book was really interesting with lots of big photographs taken during the production of Lucas' films and other neat stuff.

Great book.

If you like Terry Gilliam's movies, you need this book. He covers his childhood in surprising detail, talks about the Monty Python years, and then gets into each movie. The book drags near the end, but that's primarily due to the exhaustion you feel reading about this stuff --- like his movies, you can get overwhelmed by the details. This is the best on Gilliam I've read, and one of the best books in the 'Director on Director' series.

If you happen to be a Terry Gilliam fan, you have to read this. If you don't happen to be a Gilliam fan, but are an aspiring filmmaker, this is an invaluable source of insight. Hell, there are many pros who should read this!

Reading these interviews puts you inside the creative mind of a filmmaking genius (yes, I dare say that). There's a reason for everything that's on the screen, and one understands that Gilliam's knack for weirdness is a little more than that... there's more to his filmmaking virtuosism (wild camera angles and moves) than there is when they make it in your average Nike comercial. If you wanna know what I mean, well, read the book.

Also, I don't recommend this much to Python fans. Certainly, a good part of it talks about the Python days, but it doesn't talk about their creative process much - it's more about the making of the films and Gilliam's animations.

If I had to utter one complaint about this piece, it would be that it is terribly, if understandably, one-sided. The book is terrific in showcasing Gilliam's opinions and feelings on his career and films, but that's the only opinion we receive. After hearing Burgess denounce his masterpiece, "A Clockwork Orange," I've been under the impression that an artist's opinion on his own work, while priceless, is nothing more than that; an opinion. This must be especially true in the medium of film, which more than any other medium is a collaborative effort. A book including interviews with producers, actors, technicians, designers as well as the director would make for a thorough and multi-layered overview on any film. Having said that, this particular book still succeeded in offering a peak, no matter how slight, into the workings of what I humbly consider to be an unspoken genius of our times.

As someone said on the back cover (neatly stealing my idea), Gilliam on Gilliam is like something Phillip Dick might have written. It is paranoid, neurotic, nutty, and fascinating look at filmmaker Terry Gilliam.

It is, truly, Gilliam on Gilliam, with the book in total an interview with the filmmaker. Gilliam talks about the battle for Brazil, his frustrations in the early Python films (was was stigmatized as the arty image guy), and his intricate intentions in later films.

Most interesting to me, other than how it reminded me of how much of his films, sadly, I had forgotten, was how much visual work he puts into his films. That is relatively clear from screen, but even more apparent after you read through this book.

Equally interesting to the biz geek in me was reading Terry's pitched battle for budget credibility. After having budget troubles on two films (Brazil and Baron Munchausen), Gilliam had a financial scarlet letter to sport and it has been tough for him to convince the studios that he is not a risky budgetary bet. Hard to believe that such a prolific and successful filmmaker could still be auditioning, but there it is.

Anyway, an interesting and informative book. Not for those who are mildly interested, but a treat for Gilliam geeks who want the inside skinny on everything from De Niro's bizarre behavior in Brazil, to the casting of Jon Pryce, to underlying mythic chain operating in The Fisher King.

One of the most interesting director that the world of cinema give to us. This book it's an insight view, a dive in the mind of the visual art of Terry Gilliam. If you are a fan of his work this book it's kind of a Bible and if you are not a fan, this book will open your mind to one of the more magical directors in the history of this art.

This is the book I ran to when I sent back my 8th edition ASC manual. I refer to this book everyday and always have it with me when shooting. Very well laid out and full of useful information. An indispensable tool for cinematographers, and unlike the ASC manual, has NO advertising in it.

This and the AC manual are the two bibles that any cinematographer should have in hand when shooting.
It is a comprehensive guide with technical facts, and might be a little to complex for begginers and amateurs.
It is not edited to be readen as a starting/basics book for students, but as a book to be consulted by professionals or starting DPs.

This and the AC manual are the two bibles that any cinematographer should have in hand when shooting.
It is a comprehensive guide with technical facts, and might be a little to complex for begginers and amateurs.
It is not edited to be readen as a starting/basics book for students, but as a book to be consulted by professionals or starting DPs.

I read this book back in film school, it is full of good information and useful tips. For someone who understands film and photography this is a great book. For those who are learning the book is good but may be confusing in some places. That is why I gave it 3 stars.

this book is very helpful for students who are aspiring cinemaographers. it provides a guide to various data that is vital on shoots and has basic info that is very important for all cinematographers.

Lots of important insights from industry leaders. Topics are very well planned out. Transitions from one quote to the next become a bit cumbersome and redundant, but authors cover what should be remembered most.

This gem of a book needs to be absorbed long before a filmmaker makes their first or next movie. Filled with tips and do's and don't from interviews with more than 60 veteran insiders and filmmakers, a few things became clear to me right off: (1) no single person harbors all the answers, (2) the competition is fierce, (3) quality films deserve a better shot than they're getting, (4) never alienate NY Times Critic Manohla Dargis, translation: know how each journalist works, how-to approach them, & spell their name right, and (5) cultivate link(s) to respected industry contact(s) who will champion your film with you.

This is a really good book, hard to stop reading, because it's so lively and well written by two respected indie pros -- a film critic and a publicity whiz -- giving advice and interviewing other pros. Great for anyone who wants to know who the players are and understand the reality and mystery of how independent films get to the big screen, and how they're handled on their way there by the filmmakers, press, publicists, reps, agents, festivals and distributors. It's a page turner you'll want to read straight through and go back to later for reference. Full of information you don't get in film school, with lots of specifics, even a section on legal issues and what to include in a press kit -- everything except how to raise money, shoot footage and edit dailies. It's also nicely printed, lightweight, affordable and good looking in paperback.

Think of yourself running in a mile-long race - you kill yourself to finish the mile, and when you can see the tape, you find out you have four more miles to go!

That's exactly how the authors frame the problem for a filmmaker. You got the money scraped together, you shot your film, you've been in post cutting the film, and then (and perhaps only then) do you become aware of the millions of details, hurdles, and pitfalls that lie between you and bliss - a theatrical release. The authors love film, and want nothing more than for your film to find an audience...but how? This is where the step-by-step analysis of dealing with PR, producer-reps, attorneys, media and buyers all get outed in fascinating detail. The tone of the book is encouraging overall, but stern in its advice when necessary, i.e. "Don't ask a film critic what they thought of a particular film." The juicy vignettes are funny and poignant. They have been around the block a few times, from LA to Cannes and everywhere inbetween, and the experience shines through in their examples of how things good and bad happen to unsuspecting filmmakers. The Sundance stories are a hoot!

First-time filmmakers who have already made their film should be forewarned - you may be deeply depressed by how tiny and incestuous the business is, especially for the top sales and producer rep talent. And there are some very unhappy endings for a lot of films, truth be told. But even at the end of the line, as our faithful authors tell us, there is still self-distribution. About the only ones in the business who get short shrift in this book are actors - notably the ones who don't support their film during festivals.

Ultimately, this book captures the vibe of indie film admirably. This book should be read alongside "The Big Picture", and the comparison/contrast will make you never want to see a blockbuster again. If there is an Independent Spirit Award for how-to books about film, this should be a nominee. Read it, and you will be much more prepared to reach the real finish line - your world premier at the film festival of your dreams.

Picky detail - this edition needs copyedited and proofread. There are too many repetitions of who's who (after the 59th reference you *know* Kenneth Turan is a film critic for the LA Times) and the chapters are too discrete - too close to a textbook assignment. The flow is there, though, and the whole is greater than the sum of its parts. A good scrubbing is all it needs, not surgery.

This book appeared in my mailbox recently, I'm not sure how. But I'm glad it did. (And I wish it had appeared in my mailbox three years ago.)

"I Wake Up Screening" is an excellent guide to the ups and downs & ins and outs of getting a film out of your bedroom and into the world. It covers, with humor and aplomb, the details of fixing mistakes BEFORE you start shooting, how to get into festivals (and why you shouldn't rush to do so), and how to keep your sanity and humility in a world that is heavily populated with large budgets and larger egos.

A lot of people recommend that anyone wanting to "get into Hollywood" study films and read books like "The Kid Stays in the Picture", "The Art of War" and Machiavelli's "The Prince". While stuff like that is good for dreaming and scheming of becoming a cross between Cecil B. DeMille and Montgomery Burns, I'd recommend that for every two books like that, you read a book like this. And I'd especially recommend that you read THIS book.

Michael W. Dean
Author, "$30 Film School"