Video Books

Will there ever be a new edition of this title? It's been ten years. Any info. would be much appreciated.

I'll start this review by saying that, in fact, I haven't read THIS book, but I own Grant's older book from the '80's of the same title (which I bought from a used book seller for $3!), and I assume that this is the same material, but with some new stuff added. I plan to buy this newer book, because I can't wait to see this author's views on the subsequent movies that came out.

John Grant's description of the Disney movies and cartoons is amazingly detailed, and he profiles every character, from Mickey Mouse to obscure supporting characters that most people have forgotten about. While reading the entries, I remembered several movies and cartoons that I had seen as a kid, and forgotten about. It made me want to run out and buy all the old movies on DVD, so I could watch them again and relive this simpler time!

While Grant is definitely a Disney fan, he does look at the movies with a critical eye, and is willing to admit some of the shortcomings they had, including some of the racism that appeared in the earlier films (although I think he was a little too soft on this, which could be seen as insensitive to many people). He also has this charming, very British style of writing, that's addictive to read. Great escapist fun for any Disney fan!

This is almost certainly the best book on Disney animation ever published - it is difficult to think of superlatives that other reviewers haven't already (quite rightly) used in their praise of it. (To the reviewer who complained about the omission of Eega Beeva: Eega Beeva is a character in the comics, not the animated movies.) Astonishingly comprehensive, beautifully illustrated, and written with the kind of stylish wit that makes the mere act of reading the text a joy in itself, the Encyclopedia deserves all the praise that has been heaped on it.

I have only one complaint. This is the third edition, and was published in 1998. Why oh why has there been no subsequent edition? What has gotten into Disney's corporate head that they have not begged Mr. Grant, well known for his extensive writings elsewhere, to bring the story of Disney animation up to date? Such a book is desperately needed!

This is a definite must-have for any Disney fan. The book is divided into three basic sections: Characters in shorts, characters in television shows, and characters in features. Each category has a mention of every Disney character created until 1997 including interesting articles about them. This is also a great place to find information on lesser-known or forgotten Disney characters such as Spike the bee from a number of Donald Duck cartoons and Little Hans, a star of his own wartime propaganda film. Combine this with hundreds of pictures from the films and you have a book that is sure to be a favorite of any Disney fan.

First, while the title of this book is accurate, it is also misleading. This is no fluffy, flimsy book containing some fun descriptions of Disney characters from the latest popular films. This is an intense, in-depth look at EVERY Disney animated character since Walt began his career. The book is divided into two parts, "Shorts" and "Feature Films". The shorts have the usual gang, Donald, Mickey, Goofy, Pluto, and so on. After each characters bio is a list of every Disney short they've appeared in. Don't be worried or fooled by by this truly encyclopedic book - it is not a boring A to Z book. Color photos pop off of every page, including some from rarely seen Disney shorts. The feature films section not only includes detailed character bios, but plot summaries and "making of" details, cast and crew credits, and more. You buy this book, you will have a list of EVERY Disney short ever made (including the early "Alice" shorts and Oswald the Lucky Rabbit), every feature film in chronological order, and enough information about each one to be the champ of any Disney trivia game!

If you ever found Cooper handsome, this book certain has many photos to entertain and foster this thought.

The hardcover is a must! The narrative inside is perhaps average but if you supplement the book with a bio novel on Cooper you'll certainly feel its well worth the expense. Buy, buy, buy

Well, let me start with what beautiful tribute this book is to her father. Maria Cooper's book is beautiful, but too many of the pictures look posed (Hollywood style). And the pictures that are actually not posed say more in body language about a family that clearly protects the Cooper family image. These people are beautiful, but they are too perfect: clothes, hair, makeup, you know it's all there. One picture I found fascinating, is of the three of them on a beach facing the ocean. Maria and her mom on the left, and further away is Gary Cooper and his body language is quite clear. Hmmm, that definitely was a candid shot. And if anyone is really looking, the beautiful Maria seems to be the glue that kept that family together. There is a gorgeous shot of the three of them in their ski clothes in an old house. Rocky with little makeup is quite beautiful, but Maria and her Dad are the ones in sync in this picture. I don't know, but these pictures show a definite strain in the family relationship far more than I ever realized. With friends, the pictures are happier. I am a fan of Gary Cooper's and always will be. And the fact, that he adored his beloved daughter and she adored him is clearly seen in this book. Maria Cooper shows us a Gary Cooper I have already seen in other pictures other people have taken of him. There really isn't a lot of hugging, and touching, and birthday parties, water fights, and family occasions, events, like most people and other stars have of their lives while children are growing up. I would love to have seen a picture of Mr. Cooper in his overalls in his garden (he was an avid gardener), teaching Maria to do things, showing her how to ride a horse, acting goofy.. Maria Cooper is quite lovely, and this book is wonderful to look at, but I don't really feel anything but a little sadness that she didn't show us more candid and "real" photographs about of her Dad and the family. There was a great deal more to this man than meets the eye. I didn't get too much of a glimpse into that.

The cover photograph, of Gary Cooper spoon-feeding ice-cream to his daughter on the streets of "Hadleyville," is a poignant clue to what follows. Maria Cooper was a girl who lived a very rarified life, and she lets us take a delicious peek at it.

This is a great book for initial insight into Gary Cooper by his daughter. It is very obvious she adored her father. The book is very informative about the personal life of "Coope" with many wonderful pictures, however, the book is more images than writing. The details are only touched on. If you are a Gary Cooper & you want many unseen pictures, this is the book for you...

In a day and age when the children of "the stars" write the most deplorable books about their parents, this book is a wonderfully tender tribute to a true hero. Absolutely refreshing.

One of the best archery books available for the hunter or competition shooter. Full of concepts and information to improve form and accuracy.

I AM ABOUT HALFWAY THROUGH THE BOOK AND I AM TOTALLY AMAZED AT ON HOW WRONG I HAVE BEEN TAUGHT IN THE PAST ABOUT FORM, SIGHT PICTURE, POINT WEIGHT,. BERNIE EXPLAINES IT ALL SO ALL CAN UNDERSTAND. IT WAS HARD TO FIND THE TIME TO READ THE BOOK BUT ONCE I STARTED IT IS HARD TO PUT IT DOWN. I HAVE WATCHED SO CALLED EXPERTS SHOW AND DEMENSTRATE POOR FORM, WRONG DRAW WIEGHT, SELL WRONG EQUIPEMENT. I NOW HOLD MY BOW LIKE IT IS SECOND NATURE AND IT MAKES THE SPORT SO MUCH MORE ENJOYABLE. I HAVE HAD A NEW BOW FOR 3 MONTHS AND VOWED NOT TO FIRE IT UNTIL I HAVE READ HIS BOOK. GET THE BOOK THEN BUY YOUR EQUIPMENT. OTHER WISE IT IS LIKE GETTING THE CART BEFORE THE HORSE. GREAT JOB BERNIE, KEEP UP THE FIGHT TO TEACH ARCHERY THE RIGHT WAY

Idiot Proof Archery is easy to read and focuses on the primary problem of mentally separating sight picture (aiming) and trigger pull (release). I enjoyed the 44 case studies with pictures that showed the most common problems with technique which allows self analysis. I have recommended it to other archers at our club and I consider it a reference book for my library.

Although I'm not a tournament or 3D shooter, this book gave me what I needed to be a better hunter.

I had reached a plateau. I had made steady improvement with daily practice, then could not seem to improve any further. When this book arrived, I stopped shooting and read it through. Bernie was very convincing about not only what to do, but why to do it his way. It is also entertaining to read. Just one of his tips made an immediate improvement. Following his plan, I have a blueprint about how to make steady improvement. Some readers have criticized this book claiming that Bernie is just trying to sell his products. I didn't find that at all. He offers his products, and explains how they work, but does not insist that you "must" have them. In fact he criticizes the archery industry for pushing products rather than coaching good tecnique.
I will not let this book go. I have already referred back to it numerous times to hone my skills. This book does not make archery easy, but it does give you a plan and hope for becoming better - with a lot of work. I recommend this book to archers of all experience.

A nice hardcover edition of this book with lots of explanations about the making and good full color illustrations. I liked the section on the CG. It's definately worth the price and could be used as a good coffee table book or such.

I saw this movie when the dubbed version came out in theatres. I had never been a fan of Japanese animation beofre, but after I saw this movie, all my misconceptions were blown away. Unfortunately, it took a long time to come out on video, so to pass the time, I bought this book. It is a great coffee table and conversation piece, and the pictures chosen are beautiful. My only problem with this book was the captions that described the pictures. Since they were based on the original Japanese and not the dub, there were a few small facts that were differing and served to confuse me. Yet that is a very small problem. All in all, a good book.

This book is a wonderful little look into the world of not only Mononoke Hime, but Hayao Miyazaki's world as well. It contains high quality screen captures, pencil boards, original movie posters, and original character designs. It is a hardbound keepsake for all those who loved the movie and/or any of Hayao Miyazaki's other works. The book is also highly informative about the storyline and the creators views about the story and characters. It is a good thing to have in your collection.

I've given this a high rating, not because it is flawless but because it is an awesome companion to the film and a wonderful keepsake for that time in your life when you get a coffee table to put it on. If you own the film, you probably won't need this--and honestly, I purchased it as a way to show my support of the US distribution of this film. The book is a US translation of the Japanese edition, and as you can expect was lovingly put together. The last section does seem to perhaps be filler, but with such wonderful reproductions from the film along with in-depth background information, what more could you want out of it. On the other hand, it isn't really cheap either, but given it is probably one of the 10 best animated films ever, it makes a very nice addition to your over-sized film book collections.

Lastly, if you can recall the boring titles your grandparents kept on their coffee table, I think you can start to seel the appeal of things like this. Why settle for pretty national geographic titles (or whatever) when you can have this or big godzilla coffee table books (as do I)? Let your future grand-kids know that you were plenty weird in your former years.

I loved this book, the drawings are excelent, the writing also, this one was the only one that i reed with a smile.

I got this for my daughters friends birthday. She loved it ! It helped her get through the game.She said it was one of the best strategy guides she has ever gotten,very detailed.

A friend introduced me to Resident Evil 4, and after several gruesome deaths during the course of the game I thought that maybe I should by the walk-through book. I first purchased one from a differant company, but found it to be unsatisfactory, and looked for and located a copy of this Bradygames version, which I have been extremely pleased with. The information and maps provided for game play are excellent, to the point where you can be totally prepared for what's around the next corner if you decide to read ahead, or you can just forge ahead, and then go back and read in the book where you messed up after you die, and do it better the next time. Some people might think it spoils the game to be prepared before hand, but it can easily make the game more enjoyable, and this walk-through definately makes it more so, if you decide to play that way. It's an excellent resource, and a definate must for any serious player.

The Guide for RE4 is a beautifully rendered one, covering all the places things hide, all the ways to combine items, and how to get every detail out with regard to outfits and the oddity of "other" weapons. The first time you play it you could probably use this, too, but only if you want to make one run at the game and only if you need it to fast-forward all of the puzzles. The problem with this is that a guide is simply a guide and, in the end, RE4 is player-friendly enough that you won't need it. You might need to find out about what to beat to get something bizarre, but there are things in game that allow for everything else.

First, the merchants in the game are really useful and they sell maps that highlight out all the treasure. While this doesn't tell you how to combine everything, you can simply keep all your odd little items and try combining them until you manage a priceless artifact. Second, you can look at the guns and see how they "stat up" to figure out what you want. The guide give advice that works if you want to edge up from one weapon to the other, but some of the weapons are pretty playthings and their use is what makes the experience unique. Third, this is the friendliest game as far as enemies are concerned, and you should be able to beat anything with a little practice and a few lucky shots. The same can be said for the puzzles - none of them are really difficult and finding out stuff on your own makes you feel strong. Finally, just play through the minigames in the game, kick it up and beat the game more than once, and power up your weapons all the way and see what you end up with.

So, you really don't need a guide and maybe you know it. Still, if you have to have one because you just need it or if you are buying this for someone who you might think needs help, it thrives here. This book is sexy, too, and I was impressed by the quality of the maps and the excellent care taken by the designers of the walk-through. I am of the opinion that a walk-through is either (1) a compulsive need to get everything or (2) a way to even the playing field. If you need either one of those, this is a golden ticket out of Las Plaga land. If not, you know how to run and gun.
Regardless, try to run the game first! The play-through is exciting when you have no idea what to expect AND you are better than you think. I wish i could wink when saying this, too, and add "trust me" for good measure. Resident Evil 4

You can't do anything wrong in Resident Evil 4 as long as you have this guide. The maps show everything down to the ground texture, and the screenshots look like they are still on the TV. The guide covers playing strategies, characters, weapons, enemies, and just about anything else that has to do with the game. Resident Evil 4 is an extremely complex game at times, and this guide makes it a breeze. The only problem that I had was that the first few pages fell out, but the guide is better then any online walkthrough. BUY THIS BOOK!!!

Overall, this is a pretty good strategy guide. If you are just a "dabbler" in the gaming community it is a great tool. I probably would never have made it through the first 10 minutes w/o it!

Rita Hayworth is one of the most beautiful and glamourous women ever to have lived. Though her life was marked by tragedy, particularly her Alzheimer's affliction and death at a relatively young age. This book, however, is mainly devoted to celebrating Rita's happier times. Her life is viewed chronologically in both popular and rare photographs. There are so many beautiful photos that it is difficult to take in all at once! My favorite pictures (and just a sampling of the pictures you will find in this book) are: Rita (when she was still Margarita) with her dark hair dancing in a beautiful ruffled dress (p.28), glamourous Rita smiling brightly while reclining on a couch (p.87), Rita clowning with Orson Welles (pg. 114), Rita getting her hair touched up (p. 119), Rita tickling her daughter Rebecca (p. 126), Rita walking solitarily on the beach (p. 140), Rita being welcomed home (p. 165), and Rita in 1981, in declining mental health, but still looking every inch a movie star. If you love Rita and her movies, do not hesitate to buy this book!!!

"Rita Hayworth: A Photographic Retrospective" features a zillion photographs, many never before published, of one of Hollywood's most enduring sexual icons.

The book was a labor of love for author, historian and collector Caren Roberts-Frenzel of Minneapolis, who reportedly kept pestering publishers for years to get their attention.

"But you're wrong, Rita has not been forgotten," was her mantra, as skeptical publishers elsewhere wondered aloud if a market remained for a book about one of the great beauties of the 1940s.

Caren's persistence finally paid off, resulting in one of the most luxurious "picture on every page" books ever produced, supplemented by breezy, well-written and information-packed text.

Unlike "been there, done that" books about Hayworth, this one specializes in numerous "candids," that is, unposed photos taken outside of the studio, at work, at play, on the set, whatever.

For once, here's a volume that doesn't feature the same darn publicity photos you've seen a million times for sale on the Internet or at flea markets.

The deal about Rita is man oh man, unlike sexy sirens named Grable or even Monroe, Hayworth's beauty is timeless and undated. Unless someone told you, you'd never know, for example, that her world famous pinup shot -- taken on the bed by Life Magazine photographer Bob Landry -- was shot more than 60 years ago!

The same holds true for the nearly 300 other photos that grace this book, some recaptured in all of their Technicolor glory.

Get "Rita Hayworth: A Photographic Retrospective," before it disappears! I understand only a few thousand were printed and yet the reviews in the papers and in places like People Magazine have been terrific.

When I picked up this book, I excpected it to have a good amount of photos, many of which I had already seen. But, I was hoping for a few I hadn't and a decent narrations. However, this book blew me away. I have purchased photograph-focused books on celebritites before and been disappointed by their flimsy commentary. This book does an excellent job of conecting the photos to Ms. Hayworth's life. It's not just a collection of pictures, it's a pictorial biography. Admittedly, a traditional bio would get into greater detail, but this book is a great intro to her life. Not everyone wants a tell-all book filled with intimate details. This book delivers impeccably reproduced photos and a satisfactory bio. At first I was a little put-off by the price, but I feel it was well worth it, after reading it. A great read for anyone interested in this arrestingly beautiful and glamourous woman.

Caren Roberts-Frenzel is the president of the Rita Hayworth Fan Club and this book is her dream project come to life. Caren's appreciation of every facet of The Love Goddess is evident on every page. It was so good to see someone who knows and cares about Rita create such a labor of love. Caren doesn't whitewash the blemishes in Rita's often tragic life but rather allows them to complete an honest and ultimately loving portrait of this gentle woman.

Like its subject, this book is breathtaking in its beauty. It contains scores of genuinely rare photos and they are a treasure. I own many books on Rita but "A Photographic Retrospective" is easily my favorite.

I have collected all the books ever written about Rita Hayworth. I have to say that this is the BEST photobook I have seen to date. Who else but a Rita Hayworth fan can put their heart in such a big project and create such a lovely photo tribute to Hollywood's most glamourous movie star of the classic era. Not only is there a collection of rare photographs, but there is lots of interesting information on Rita's life, trivia and more. If you're a fan of Rita Hayworth, then this is the book you must buy! Simply beautifully done!

Great book, lots of detail for any working Lighting tech, or aspiring tech. Great for a indi-film makers library.

A MUST HAVE for the inside scoop into the Industry.

If your planing a career in the motion picture or television business than this book will greatly advance your technical knowledge of the business. If your an old pro at the business the book is great for a quick reference to prepare you for a shoot.

Harry C. Box's book on Set lighting for film and TV is the most comprehensive book on the subject. He writes with humor and an insiders knowledge, while taking the time to explain things as though you where a novice. If anyone is considering a career in Film production this is a must read on their list.

This wonderful book, covering all the major areas in lighting, in enough detail to give a solid grounding. w

While it may appear a little too technical for the absolute beginner, it does offer a solid base in knowledge for those with a little experiance wanting to expand their knowledge, and take away plenty of ideas with which they can put to trial on future set's.

If your looking to become a cinematographer; but feel there are gaps in your knowledge, get this book. I believe it to be a must have.

Kurosawa illuminates for us his whole life, warts and all. Upon reading this I never knew what a sensitve person this man was, from the time he was an early member of the Japanese Communist Party to his older brother's tragic suicide, Kurosawa leaves no stone unturned in this revealing autobiography. Although it does not cover his whole life (I believe in stops in 1980) he spends a great deal discussing each of his film projects all the way from his early days at the Toho Studios. I am reminded of my favorite quote from Kagemusha, "The shadow of a man can never desert that man. I was my brother's shadow. Now that I have lost him, it is as though I am nothing."

The book got into Kurosawa's mind and laid down the roots of his philosophy in filmmaking. It showed his genesis as a filmmaker. It gave insight into how his films happen. A beautiful work -- I loved it.

Kurosawa's insistence on the need for a good script in his films is inspiring to future script writers. I have not written any of these yet his book makes me want to write scripts when I am more of a travel writer. If you want insight into why this man made the beautiful and provocative films that he did, this is the book for you.

One of the greatest pleasures imaginable is to investigate a body of cinematic work, and then, to learn about its creator from his own persepective on his life and art.

There is tremendous satisfaction in seeing the personality of the director reveal itself in the work and to re-view the films with new knowledge of the creator. This may not be a false track, although auteur theory has a bad rap right now. Kurosawa, in the conclusion of his autobiography said, "look for me in my films".

Kurosawa was a genius, his films full of life and compassion, and strength. He did not look away from ugly truths in his life or art. (Read the autobiography and understand the significance of this approach!)

I recommend this book as the touchstone for a deeper appreciation of the art of Kurosawa, for an understanding of his complex personality, and for the human warmth that comes across in his reminiscences. By the end of the book, you will want more, of course. It will seem to end abruptly and too soon. You will have many questions that you will wish to have answered. But then, we'll take Kuroswa's advice. We'll look for the man in his films.

Some people have criticized this book, saying Kurosawa does not go deep enough into his films, particularly his later ones, and why he did what he did. In all honesty, maybe the popularity over this book is poorly done - all the reviews on the front and back cover talk about it like Kurosawa will explain his movies in detail, and most often advertisements will talk about how if you like his movies you should read the book. But as Kurosawa himself says in the preface, he did it really out of encouragement from friends and in an effort perhaps to do what Jean Renoir did do and John Ford did not. As the title suggests, it is really a more personal, casual, reflection upon his life from his birth to the filming of "Rashomon," his first international success, in 1950. In a way, the personal route may be a humbling experience to the film guru or the Kurosawa fanatic. Too often directors or filmmakers are treated - as many artists are, in fact - more like a synopsis of their latest work. We constantly hear about how masterful Stanley Kubrick was and what his methods were, but who was he really? What school did he go to? Who were his friends? His teachers? What was his family like? What were his boyhood passions? Who is this man behind the camera?

Kurosawa tells us that in his story from his first memories as a child ("I was in a washtub naked," page 3) through his school years and through a tough young adulthood. It is all very well written, and actually quite interesting, particularly the segments on Mr. Tachikawa, who we can probably thank for Kurosawa's love of painting, his brother forcing him to face his fears, (not only of water, but of death as well) and two daring but stupid moments in a mountain village where he almost killed himself to impress the local children.

Kurosawa's growth is nearly coincidental with Japanese history. Just as Japan was constantly changing through out the 20th century, so to was Kurosawa. Forced to participate in a military program at his school, he takes every opportunity to belittle or make a fool of his army captain. His venture into art is like an odd adventure, going from joining a socialist art movement (nearly being captured by the Japanese secret police!) to living on his own to writing scripts and eventually joining Photo Chemical Laboratory. (later Toho Studios) He discusses marrying an actress because he was afraid of never being married before the "Honorable Death of the Hundred Million" many Japanese believed they would commit if invasion seemed immenant. This eventually goes on to his work as an Assistant Director, and later making his very own films through Toho and later Daiei after the Toho Studio strikes. These parts will be more to the liking of the film guru, as Kurosawa does give backstory to the inspirations behind his early work.

During this time period he speaks a lot of his family and the friends he got to know. His brother is such a remarkable and likeable character that when he commits suicide you really do feel sad. I took a particular love for Kurosawa's father: although some may see him as a bit harsh when he berates his wife for placing fish wrong or getting upset with his son for failing courses, one shouldn't dismiss him with the simple western stereotype of the tough father for he does have a heart. When Kurosawa's wife becomes pregnant and he pays a visit to his family, his father gives him a large bag of rice and says it is for his pregnant wife, not wanting her to go hungry in a time when food was scarce in Japan.

Perhaps, in the end, it is really fitting that Kurosawa focus so much on his personal feelings rather than his film. If you have watched his films and studied them, you will see the influences from his past life in those very films. "Something Like an Autobiography" was written long before Kurosawa made "Dreams," yet I found myself recalling the film reading this book. Besides his references to mountain climbing, he also talks about how in his father's village children would place flowers over a rock, and he learned that long ago a warrior had been killed and the villagers buried him there out of pity and placed the rock over his grave, so now children place flowers on it whenever they pass out of respect. Sound familiar? I also smiled at the section near the end when he discusses a Daiei studio executive - one who had been so steadfastly against making "Rashomon" - coming on TV and speaking for the film as if he was the mastermind behind it. I was thinking of the Deputy Mayor in "Ikiru," who is against the park project from the beginning yet after Watanabe's death takes all the credit. Maybe Kurosawa alludes to this kind of art reflecting life on page 163 when he mentions the oddly impeccable timing of "The Cuckoo Waltz" while dubbing "Drunken Angel."

This is a recommended read for any one interested in film or Akira Kurosawa's life - it is easy to read, full of wisdom, and is very frank and personal. As I said, it's not a 198 page thesis on his films, but as Kurosawa says in the book he does not enjoy explaining his films - he puts into his films what he has to say and leaves it at that. As the last line of the book says, "There is nothing that says more about its creator than the work itself."

I'm probably not going to be able to say anything about the book that hasn't been said, but I'll try.
If you want to know how to dissect a movie, this is the book for you. Mr. Kitchen will have you take a movie apart to its "spine" and lay bare the trail, from beginning to end, of the cause and effect of every dramatic event. I guess this is what studio execs call the "through line" Great book.

To me, the book is too wordy. Some of the tools are not useful.
Sometimes you have to rack your brains and read twice to get what the author means. Well, maybe because English is not my native language.

Anyway, I give it five stars 'cuz it helped me make my story work.
I have read over 40 books on screenwriting and I have to admit: Jeff Kitchen's book is one the best. He teaches some tools which you will never find in the books of other screenwriting gurus.

Though, it should not be your first book. But it's a must if you want to grow as a storyteller.

For a novice screenwriter I'd recommend to read next books: Teach Yourself Screnwriting, The Screenwriter's Bible, The Comic Toolbox, and The Anatomy of Story: 22 Steps to Becoming a Master Storyteller.

This book is awesome. I use it mostly just for reference but it has helped direct my way out of mind fog many times. It's very easy to read and understand. Everything is spelled out, it's hard not to understand. The only reason I'm giving it 4 instead of 5 stars is because there are a few spots where I wished the auther would go into more detail but even so I found the book to be a bit of a life saver. The information is very neccesary and valuable.

For years I have felt that all great movies had a common structure, a unified space that they all flow through in a similar way, this feeling had become so good that I could predict the sequence of events, the only thing was that I could not explain it... until I read This book... it gave me a clarity of the flow of a great script, in a logic and simple way, and I am a person who needs structure for my creativity to excel. if you want to excel at writing Jeff's method will guarantee a beautiful solid container for your script, which is 80% of the work done in guaranteed form, which is the structure of the story, what the story tells remains up to your creativity.
This book is not to be just read, you must study it, Jeff's ideas are revealing and unique. It is an absolute must. As Einstein is to relativity so is Jeff for writing.

Jeff Kitchen's book, Writing A Great Movie, is a tool all serious screenwriters must have, simply because he teaches you advanced techniques that are not available anywhere else. If learned and applied, these tools will make a positive difference in your writing career. Need I say more?

...oh, and btw, his 5 DVD set is nice also. Jeff has a great passionate way of presenting his ideas and helping facilitate understanding.

The making of Rear Windows, The Man Who Knew Too Much, To Catch a Thief and The Trouble with Harry in one book! Through interviews with the key production personnel of Hitchcock and writer Hayes, this book covers each detail of how these films were made. Very recommended.

In 1953 John Michael Hayes met Alfred Hitchcock in the Polo Lounge of the Beverly Hills Hotel for dinner. After indulging in much wine and food with the legendary director, the 33-year-old writer, who was just starting to earn his spurs as a film scenarist after a luminous period in radio, returned home and told his wife he was certain that Hitchcock would never hire him to collaborate with him on projects.

How wrong Hayes proved to be, to the distinct benefit of himself and the great director. Hayes believed he would not be hired since he frankly criticized some of Hitchcock's earlier films. As things turned out, Hitchcock admitted he had heard very little of what Hayes was saying. Instead he focused on his manner, believing him to be glib and confident of himself. They then went to work on their first project together, with Hayes writing the screenplay adaptation of Cornell Woolrich's renowned short story, "Rear Window."

Steven DeRosa takes us on a fascinating journey with a succinct dual biography of the two men, brilliant creative forces with styles in some ways different, in other ways similar, while also showcasing the four films on which they worked during their collaboration. Despite his formidable background and lengthy film experience, Hitchcock knew where to tread and how to back off, giving Hayes plenty of suggestions on settings while providing him with all the independence he needed to place his own brand on his screenplays, particularly the masterful dialogue that made him sought after from the time he arrived in Hollywood looking for work. We learn that Hayes, before working on films, was a smashing success as a writer on the Sam Spade radio series starring Howard Duff and Lurene Tuttle. It was while cranking out radio scripts and being compelled to meet pressureful deadlines that Hayes developed a discipline that led him later to be branded as "Hollywood's fastest writer."

Another fascinating collaboration was "To Catch a Thief," in which the French Riviera settings form a brilliant visual backdrop to a thriller in which Cary Grant plays a reformed jewel thief who is enticed back into action to help the local police catch that period's successor to Grant. Along the way he finds romance with Grace Kelly, who will not that long afterward return to the French Riviera to reign over Monte Carlo with new husband Prince Rainier.

DeRosa provides interesting details on the remake of "The Man Who Knew Too Much," this time, 22 years after the original was released, as a spectacular color film. We learn how this film, starring James Stewart and Doris Day,was crafted in a way to utilize the good points of the original version while building upon that success and providing excellent original material.

This book is a rare effort. Scarcely ever does a reader receive such a close perspective on the important relationship between two master craftsmen, a brilliant veteran director and a young screenwriter at the peak of his powers.

This book is about the successful teaming of Alfred Hitchcock and screenwriter John Michael Hayes. Hayes, a native New Englander, and recently a screenwriting professor at Dartmouth, wrote four films for Hitch, including Rear Window, To Catch a Thief and The Man Who Knew Too Much. They worked extraordinarily well together, Hitchcock bringing to the table his mastery of suspense and technique and Hayes his knack for sharp dialogue and strong characters. Predictably, ego, money and a battle for credit soon got in the way and ended their partnership. Steven DeRosa's research is impressive, and his style accessible, entertaining and informative.

Although the book's main focus is on the four films Hitchcock made with Hayes, and on the personal relationsip between the two, DeRosa provides many insights into the director's collaborations with writers throughout his long career. It becomes quite clear that the very nature of Hitchcock's technique, that of planning everything in advance, made him more reliant on writers than he ever admitted. At the same time, DeRosa shows what it was like to be an up-and-coming screenwriter during that era.

In almost stupefying detail DeRosa describes how Hitchcock and screenwriter Hayes conceived, wrote, and produced four of Hitchcock's better films, including Rear Window and To Catch a Thief. Along the way DeRosa tells how Hayes' reputation grew to the point that Hitchcock was no longer comfortable maintaining the relationship. Engagingly written, this is a fresh take on Hitchcock which I thoroughly enjoyed, especially after seeing three of the four on the newly released DVD's.