Video Books

This is a very detailed book about the life of Kay Francis. The authors present a chronology of Kay Francis' life based on her diaries and other extensive research. Kear & Rossman provide intimate details of her life in an unbiased and thoughtful manner. The authors were able to convey their love of Kay thru the book. We receive a glimpse into the life of a Hollywood actress in the 20s & 30s. This book will appeal to people interested in Kay Francis and Hollywood. I enjoyed it because it shows the individuality of Kay Francis. Her charity work, midwestern values, sexual encounters, and career are all presented in the book. The pictures were great and interesting.
The book left me wanting to know more about Kay Francis and the movies she starred in. I highly recommend this book.

I must admit, I didn't know a lot about Kay Francis going into this book but I had seen her in a couple of films and I went the extra mile to delve deeper into her life and career. I was glad I did! Oh, what a life! Oh, what a career!

This book is the definitive reference to Kay's life, both on and off the screen. Her exciting career, her steamy sex life and the best part...much of this book is based on Kay's own personal diary entries. You can't get better than that!

If you know nothing about Kay and you're intrigued with her life, the way I was, you'll learn everything you want and need to know by reading "Kay Francis: A Passionate Life and Career." If you know everything about Kay Francis, you're wrong. You only THINK you do! Without a doubt you'll learn something new here with the turn of every page!

Great book!

This is one of the best biographies I have ever read. You can tell the authors put a lot of time and effort into this work - it's a true labor of love. Filled with beautiful photos and extensive bibliographical notes, this one is a keeper. Who knew Miss Francis was such a "wild child"? Whether you're a film scholar or a movie buff, Lynn Kear's book deserves a special spot in your bookcase.

This year movie buffs are extremely fortunate because out on the market is not one but two wonderful new biographies of the actress who "couldn't wait to be forgotten"--Kay Francis. Lynn Kear and John Rossman have done a superb job of detailing Kay's life with an especially rich section about her early life--prior to Hollywood stardom. The book also captures the essence of the jazz age of the 1920's when women were coming out of their shells and becoming less uninhibited. In many ways Kay Francis was the epitomization of the free spirited women of the jazz age. The book, as usual for a McFarland product, is lovely to look at and the picture quality is superb. Both books quote from Kay's diaries which were long forgotten at a University archives. The diaries provide much of the dynamic revelations in the narrative--Kay's candid thoughts about her life and (many) lovers. Kay Francis certainly did, as the title says, have a passionate life--and a career which movie buffs and fans can easily appreciate. We are fortunate to have this wonderful book as a reminder of that life and career.

This book had such a slow, uneven start that I almost gave up on it. Kay had a very interesting life, but it was hard to determine that from the way the early chapters of her story were written. Lots of childish exclamation points, and chronological lists that read like "the begats." I adore Kay Francis, and wanted to find out about her life. The authors had the access to her diaries that other biographers were lacking, and her private life was definitely a wild one. That she escaped public, career-ruining scandal is nothing short of a miracle. Once the authors reach her apex year of 1932, and then her war work, the style of the writing really picks up and the story becomes a veritable page-turner. It's definitely worth getting through the first third of the book in order to enjoy the best parts. I respectfully disagree with the reviewer who thinks Kay would have loved this book - she would have hated anyone delving into her private life (she didn't even want anything done with her ashes, she was so private), but speaking as an avid fan of Miss Francis, I'm very glad it was written.

This book will be helpful for anyone interested in silent film. Brooks' insights about certain aspects of Hollywood are original. She has no fear of revealing some of the ugliest secrets of the past, and also has valuable things to say about why she believes certain directors and players created works of art. However, in my opinion she could have been a better writer if she'd had more education and/or editorial experience. Some of her essays are rambling and disorganized, and a number of her claims are unsupported. (e.g., that many actresses were pulled from the screen not because of the arrival of sound, but because they couldn't live up to Garbo, p.88.) She also tends to make bold generalizations (e.g., "Every actor has a natural animosity toward every other actor"), which, depending on whether you agree with them, are either smart and charming or arrogant and imprecise.

Some of Brooks' cleverest comments are reported in the introduction by Kenneth Tynan, not in her own writings. My favorite was her joking suggestion that she and Marlene Dietrich write each other's memoirs: "'Lulu' by Lola, and 'Lola' by Lulu".

Note: this is a collection of essays, which don't necessarily follow a sequence. The brief history of her family and childhood given in the first chapter fooled me into thinking this book would be an autobiography, but Brooks leaves much of her own story untold. (In fact, the epilogue is titled, "Why I Will Never Write My Memoirs.") Tynan's introduction fleshes out a little more of Louise Brooks' history, but fans will probably want to keep looking for other writings and biographies after they've read this one.

This book is a collection of Brooks's autobiographical essays together with an interview by Kenneth Tynan.

It shows a Louise Brooks as a fiercely independent character, as well as her failure as a social creature, because of her open critic of people's false faces.
But at what price? She survives as a kept woman by three lovers and ends in poverty, rejected and lonely.

She characterizes her work in Hollywood's film factory as slavery and throws a shrill light on Hollywood's morals (the casting couch) and cynicism: the end of the silent period served as an excuse to terminate all contracts.

The all important feature of her life was sex, not love: 'I have never been in love.' But, 'A person's sexual loves and hates and conflicts ... It is the only way the reader can make sense out of innumerable apparently senseless actions.'
She considers that 'the most fateful encounter in my life' was a sexual one with George Preston Marshall.
Nevertheless, she had some regrets: 'How often do we change the whole course of our lives in pursuit of a love that we will have forgotten within a few months.'

She never wrote her biography because 'I am unwilling to write the sexual truth that would make up my life worth reading.'

Barry PARIS did it for her, admirably. His book contains also a few corrections on Louise Brooks's statements in her book.

A moving text with admirable pictures.

What made Louise Brooks interesting beyond just the typical celebrity she was unusually intelligent. She was an extraordinary beautiful woman but if that were all - she would have been just another face in the Hollywood crowd albeit a striking one. Her life was not so much one of just ups and downs but most generally straight down starting at the top. Lucky to have so much success early in life but maybe unlucky for her vision as to witness the folly of those who gave it. Louise's insights and critical assessment of her life and those around her were a " blessing and curse" but then again she had no choice but to follow her own mind as it played out to the end. She was certainly not one to parlay her attributes as a cunning femme fatale as it were but she existed as a passing player through a masquerade of "bread and circuses" orchestrated by those with lesser sensibilities. No, Lulu could have never been satisfied with the status quo, the mundane of the hoi polloi, the trappings of the superficial she was an individual who saw life in its raw form and played no game and for those who did not understand Louise - missed - that her only glory was the truth and its price to pay. She was an intriguing and talented woman who deserved more but would not sell her soul to gain it. Her book tells of her life and times and the pathos within it.
I will recommend highly Barry Paris' biography of Louise Brooks as a necessary read for anyone interested in reading about the life and times of Louise Brooks. The book is excellent and engrossing. It gives a most informative detail of all aspects of Lulu's life. Actually Paris' book should be read first to gain a comprehensive overview of Brook's life before reading "Lulu in Hollywood." A better biography you could not read.

I am unimpressed by Emily from Seattle's harsh words, which are both snotty and inaccurate. Tynan was the finest theatre critic of his time--and not bad on film, either. His profiles of stage and screen actors, recently collected in one volume, are masterpieces of the genre. In particular, his profile of Brooks was an indelible portrait of a brilliant and beautiful woman. Brooks herself, though not a great actress, was indeed a great star--exquisitely beautiful, highly charismatic, and powerfully erotic. To the best of my memory, Tynan describes her only in these terms, never as the creator of naturalistic film acting. (Incidentally, none of the women named by Emily--Crawford, Davies, Bow, and the insufferable Shearer--could properly be described as an actress. They were merely stars--and distinctly inferior to Brooks in talent, intelligence, and beauty.) Finally, as everyone here (including Emily) acknowledges, Brooks was a first-rate writer herself, and the essays in this book are required reading for anyone interested in silent film.

I remember when this book came out, but, unfortunately, it took me over twenty years to read it. Though Louise Brooks is far from a household name, in film scholar circles, she is an icon. Her rememberances here of certain individuals and events from her years in the "Dream Factory" are brilliant. Aside from the fact that these are names that most are familiar with, Bogart, Hearst, Pabst...it is her writing style and unique observations that make these recollections interesting. Where as someone as, say, Adela Rogers St. John, a famous reporter and contemporary of Brooks, wrote accurately of that long ago time, her dusty rememberances would only interest the most devoted of film student or fan. But Brooks writings are so fresh and witty and humourous, often at her own expense. She is not only unimpressed with most of silly society, but, she was equally unimpressed with her status as film icon. In those pre Hepburn-Davis times, she was a true rebel, who was more than willing to saboutage her career rather than do anything she didn't want to do. There is no remorse detectable in her memories of her fall from status. Though it would be unfair to imply that most film stars would not be expected to be good writers, it was surprising, then and now, to find that Miss Brooks was such a highly intelligent and captivating writer. In my review of her most famous film, "Pandora's Box", which isn't so much a review of that film as it is a homage to our Miss Brooks, I recounted my having met her more than once, when I delivered her prescriptions to her in my hometown and her final, adopted city of Rochester, New York. I was very young at the time, and though I had been told that she had once been a famous actress, which fascinated me, I am sorry to have to honestly admit that my memory of her is only of a shadowy figure who I remember with intimidation. How I would have loved to have been a little older, to possibly converse with this great lady, though she may have found what undoubtedly would have been my reverence to her "legend" as film icon to be obnoxious at the least, silly at best. Well, never mind. She was and is wonderful. And, as this book attests, a scathingly intelligent lady. Celebrities of her league are no more, now we have tarts, thugs, and arrogant, illiterate self-important jerks showing off their bling-bling. How sad. If you want to hear the entertainingly clever views of this great lady who, though she went from brilliant star to near- pauper obscurity, yet never lost her class, intellect, nor pride, then read "Lulu In Hollywood." One wishes she had written much more, and, left behind more films where her inate brilliance reaches out from the screen eighty years later. But, if all we have is this book and "Pandora's Box", that's legacy enough.

Having the hindsight of producing several movies, I wish I had read this book much earlier. ANY filmmaker would benefit from reading this book as early in their career as possible and then keeping it on their shelf as an invaluable reference tool to return to again and again.

I am an in-house attorney for a film production company. This book is a great resource to point you in the right direction in many respects: reminders of what terms various contracts/agreements should contain, the different types of agreements common to the film industry, copyright information ... just to name a few items. Money well spent for a very focused look at legal aspects to the film industry.

This review is specifically directed to aspiring professional screenwriters: GET THIS BOOK.

(Note I did not say "buy" this book, since, if you truly are an aspiring professional screenwriter, you're probably sucking your own body lint for food and live under a bush overlooking the Santa Monica pier.)

Yes, do whatever you have to do. Beg, borrow, steal...pawn...get this book. You've already read your Sun Tzu:

"If you know the enemy and know yourself, your victory will not stand in doubt."

Hollywood was built on exploiting talent, and specifically exploiting writers. It's time we (YOU!) writers start preparing for the business side of things because gosh knows the other guys are plenty prepared already. Reading this book will make you realize three things.

1. Actually getting your great little/big screenplay made will be incredibly complicated, even if you're just selling it to someone who already knows what they're doing.

2. There are ways to make your script more attractive for producers/distributers and more lucrative for you.

3. Thom Crowell is an informative and entertaining scribe.

I had a friend of mine in negotiations with a major studio executive. True story. Wrote a little script called "Balls, No Balls II." Guy tried to get my buddy to sign a contract without an NDA. My buddy stood up, whipped out his Pocket Lawyer and KA-BLAW! Smacked that suit right in the mouth! "You want my high concept? I WILL be signing that NDA!"

Hmmm, actually this never happened. But at least I know what an NDA is now. Do you? Oh, you don't? GET THIS BOOK!

And yes, AMAZON, you do offer a very reasonable price. I suppose buying it isn't out of the question.

This is a really good book with much info, and at a really good price, too!

Mr. Crowell has done the art and legal worlds a great service by distilling so many critical issues of intellectual property into an enjoyable and widely informative format. The index and chapter systems make quick searching easy; and the humorous and humble prose let's you relax while learning. The demystification of legalese is not an easy task, but it's much needed, and Mr. Crowell has thrown a valuable contribution into the fray. Being a film and music artist, as well as a law student, Mr. Crowell's work is a must read for any with a similar background; and it goes a long way to supporting those artists who seem to underestimate themselves when it comes to the legal side of their creative endeavors. The Pocket Lawyer for Filmmakers empowered me, and I'm sure it will do the same for countless others.

My kids love game-boy, my kids love pokemon, if you have kids who love pokemon, they will love this book, it is hard-cover and had great info and illustrations about all the pokemon, KIDS WHO LOVE POKEMON WILL LOVE THIS BOOK!!!!!!!!!!

My son is in absolute heaven with this book. He can read it over and over, each time discovering something new. Thanks!

This is a terrific source of information for anyone interested in Pokemon.

This is pretty useful for checking out movelists for the various Pokémon. However, the information they give on stats is shaky, and sometimes actually incorrect when you do careful comparison between base stats for each creature. In general, the information is still in the ballpark, but the system they use can sometimes make it difficult to get an accurate comparison between two creatures without actually going in the game and leveling them up.

Also, the book really needs a list of the various Natures and their effects.

Overall, it's a nice purchase, though, and the hardcover is a great plus.

I bought this book for my 8 year old nephew who loves Pokemon. He reads this book religiously and often carries it around with him wherever he goes. He has memorized an incredible amount of information that he has learned from this book. At the very minimum, it is highly entertaining. At its best, it is good exercise for his mind.

Growing up in Iowa in the 70s, we didn't have the grindhouses movie theaters of NY nor did we have the drive-ins of the South. Being a b-movie fan at that time meant combing the TV Guide every week to find oddball movies, although if the title was not eye catching (e.g.-The Devil's Rain, Blue Sunshine), it might be missed. This book came out when I was 15, and although horror movie encyclopedias had been published in the past, this was the first really comprehensive tome on what is generally described now as "exploitation movies," "cult movies," or more recently, "grindhouse movies."

The term the author coined, "Psychotronic," became inclusive of not just horror movies, but also biker, blaxploitation, juvenile delinquency, drug, scare, softcore, and any other type of offbeat movie the author happened to fancy.

It was published at the very cusp of the VHS boom, when not only were video shops sprouting up all over the place, but electronic shops, supermarkets, and even convenience stores had huge video rental operations. Michael Weldon's movie guide gave an entire generation of b-movie buffs who did not live in NYC a glimpse into what was out there. This book became a bible to us given that it was first time in our lives that these movies were available to us thanks to the proliferation of VHS rental tapes.

The book is now 25 years out of date and younger audiences might not find it quite so useful (it doesn't list The Evil Dead-that's how old it is!), but on the plus side, there are many listings for movies from the early 80s and before that have disappeared, so it's difficult to write it off as irrelevant even now.

Absolutely indespensible guide to cult, sci-fi, horror and every other offbeat film genre written by people that understand subculture. Never ceases to amaze with the rare titles the Psychotronic folk somehow managed to track down and review years before we mere mortals knew these films existed. I refer to my copy at least once a week which should indicate how valuable a resource book this is to me.

I am the first to confess that not everyone spends their time wondering if they might like to watch Untamed Women tonight, or have an Ed Wood film festival, but I am one of them. Call me crazy (ahem!), but I like really bad old movies, especially the ones that try to scare/pander you. Perhaps I yearn for the time when showing a bit of cleavage was considered racy. So I nose around the discount rack looking for such gems as Mermaids of Tiburon or The Earth Dies Screaming. I come across a copy of Demonoid. Should I buy it or not? Comes the rescue the Psychotronic guide which safely guides me through these murky dark waters. It and its companion Video guide are essential for those who share my idea of fun, with reviews of 6000 screen gems, such as Curse at Cactus Creek and Robot Monster.

Perhaps my only objection is that the guide makes no pretense at being authoritative. For example, When a Stranger Calls is reivewed (favorably), but its sequel, When a Stranger Calls back, does not appear at all (and is arguably the better movie). There is also a smattering of "legitimate" film, such as Pursuit of the Graf Spee, and Polyester. No matter, all the films reviewed are, at the least, quirky, and there is a pretty good chance, at any rate, that the film you seek is reviewed. If not, you will have great fun just looking for it.

My only grief is that the concordance is limited to an index. After all, what more important thing could there be than a filmography of Barbara Steele, the geratest actress that ever lived?

These things aside, I recommend this without hesitation. There are other books listing gore/sleeze/exploitation films, but you will find none better.

This tome makes one yearn for the good old days, long gone, of the drive-in movie of the 60's and 70's now replaced by video bins. B movie makers of those days- their names are legion - made an honest attempt to entertain their audiences with meagre resources and often more meagre talent(unlike exploitation film makers of today, whose direct to video releases are lazy and witless). Weldon chronicles this glorious time in a very generous compendium, chocked full of wonderful black and white stills and capsule reviews of the inane and the obscure, thw wild and the wonderful, the unbelievable and the unforgettable. A feast for the fan of offbeat cinema.

The Psychotronic Encyclopedia of Film consists of plot summaries of the kind of movies that come on at 3 am. No not porn - get your mind out of that gutter. Weldon chronicles 50's movies with huge mutant animals from the old nuclear test site, vampires, werewolves and anything with killer androids.

Each movie has a plot summary and many have publicity stills or small news articles about the film culled from Weldons home collection. The introduction includes a section on the psychotronic film zine which Weldon ran. The zine included a listing of which weird movies were on that week and included plot summaries of said movies. What I found entertaining about this section was Weldons description of the difficulties getting his girlfriend to xerox the copies on the office copy machine when no one was looking. This book grew out of that zine.

When it was published in the early 80's this book would have been a great idea for any fans of bad movies. It is still a good source for info about bad movies up through the 70's. (I checked it out of the library and kept it for a semester during which I investigated such classics as Doctor Goldboots and the Go-go Girls and found that it was pretty thorough in the bad movies department.) As Weldon points out it was very difficult to find information about the kinds of films covered here at the time when this was published. However with the internet and sites like badmovies.org and the ever handy Internet Movie Database it is possible to get the information elsewhere.

If you have an internet connection then don't bother with The Psychotronic Encyclodedia. If you like bad movies and don't have internet access then this is a very useful reference for plot summaries and information on bad movies made prior to around 1980 and would be worth buying.

I really think they are stretching to come up with more "Essential" books for Star Wars, but nonetheless, this is still a good book full of all the information you knew, know, wanted and didn't want to know about the lovable robotic droids of the Star Wars movies and books. Star Wars fans won't be disappointed, however there is not much here for the non-Star Wars fan, as they probably won't even know what their reading about (or if they did, they wouldn't care). I recommend this to all Star Wars fans.

In the immortal words of Darth Vader..."Impressive. Most impressive." I found this book to be not only an excellent resource but also a great read. It touches on every major detail of the droids that it mentions...which is quite a bit. You can read about anything from C-3P0's internal computer to the technical details of the medical droid. I recommend this book to anyone who wants to scratch the surface of Star Wars and dig a little deeper.

I have all of the Essential Guides and have been pleased with all of them to one degree or another. The Essential Guide to Droids, however, is one of the better ones. The author and artists have done their homework in researching the novels, but for all their work-there are some really silly designs in here, usually written into novels or whatever, because the author thought it would be cute, but only comes across as annoying or dumb (the C2-R4 comes to mind). Other designs have not been well thought out-the M38 Explorer droid is too tall, it seems logical that if you want an automated robot for planetary surveys, then something with a lower center of gravity would be a much better design. I would recommend that everyone ignore the fact that Anakin made C-3PO and keep his manufacturer as Cybot Galactica, since that is a little more believable. As always The Essential Guide to Droids would make an ideal addition to the Star Wars role playing table as well, and it has a good spread of robots from domestic, industrial to combat and medical droids. A solid effort with great art work and well written.

This is where I go to get information on Droids. You never seem to get really good description of the droids so this is where reccomend that you go and if you can't find out what you need to know the I would reccomend th Star Wars Encyclopedia.

The Essential Guide to Droids is better than the rest of the EG series thus far. It has good pictures and relatively informative schematic drawings of each of the droids, with better art than has been seen yet in a Guide. It also has the obligatory listing and brief description of all the major droid manufacturors in known. Another helpful feature is that it lists the droids according to their function, rather than in the standard alphabetical order, a la EG to Weapons. But the author goes beyond simply describing each droid and its function. He created background lore about the droids, and their developers. He doesn't make each droid individual, but rather trases entire product lines, for example, he goes from the R1 to the end of the R- series, creating the whole product line development, etc... What he doesn't do is spend the entire allotted text space for each droid simply relating the adventures it has had. This is a very helpful, informative, and readable SW book, and I'm glad I bought it.

I have only lived in the US since 2001, and SNL rapidly became my favourite show. Hence I bought this book to have a peek behind the scenes of the Manhattan studio where it all takes place, and I was not disappointed. Some of the people in it I didn't recognise as they were before my time, but I recognised many faces. Even if I hadn't, it is great to see all the backstage shots. Particularly memorable are photos of a writer hunched over a laptop, with Norm McDonald smiling over his shoulder, and Chris Farley sitting at the head of the table in a crowded writers room. There are also lots of other great shots of people building sets, working on costumes, doing all the pre-show stills for the commercial break etc - all of this exactly what I was interested in.

What jumps off the page for me is the camraderie that obviously exists between everyone on the show - obviously there are rivalries and creative tensions, but you can tell there is a group mentality that connects everyone in the photos. There are some treasured memories in here for the lucky few that were there at the time.

This is the next best thing to actually being involved with the show yourself, and as such, I recommend it wholeheartedly. A flood of images! Lovely stuff to have on your coffee table or beside your bed.

A great book, really good if you only started watching SNL in the last few yaers and would like to know about the earlier years.

I'm sorry to say that this book was published a year too early. It went to press after the 1993-94 season which was SNL's 19th. Were the authors and publishers so anxious to get it out? I guess they were. Anyway,this book tells about the amazing history of Saturday Night Live. Every overall cast member,director,writer,producer and everyone else involved. We'll never forget October 11,1975,the day of its premiere. The premiere episode began with the late John Belushi and the late writer Michael O'Donoughue in a sketch called "The Wolverines". O'Donoughue played a psychiatrist and Belushi was the patient. At the end of that sketch and before the pre-taped opening montage played,Chevy Chase came out yelling "LIVE FROM NEW YORK,IT'S SATURDAY NIGHT!",which is said at the beginning of every show,even to this day. Chase didn't stay very long on the show. Before the end of 1976,Chase,the first Weekend Update anchorman,went to Hollywood. Jane Curtin,another original cast member succeeded Chase on Weekend Update. Shortly after Chase's departure,in came Bill Murray from Chicago. After 1978-79,Belushi and Dan Aykroyd left SNL to go Hollywood and concentrate on their Blues Brothers act,initiated on SNL. They filmed THE BLUES BROTHERS in '79,a year after Belushi's first starring film ANIMAL HOUSE. In 1979-80,Harry Shearer joined remaining original members Curtin,Garrett Morris,Laraine Newman and Gilda Radner. After that season,all five were gone. The 1980-81 season began unusually late due to the actors' strike and Presidential debate between Jimmy Carter and Ronald Reagan(the SNL studio was used for the debate). That season brought an entirely new cast,one of them being Joe Piscopo who stayed thru 1983-84. Eddie Murphy,then age 19,joined the show and departed with Piscopo. Another member was Gilbert Gottfried who was then not-so-famous. Jean Doumanian succeeded original producer Lorne Michaels,who had left with the remainder of the original cast. Gottfried was let go after 1980-81. In 1981-82,Piscopo and Murphy had new castmates,some of them Canadians. Robin Duke and Tim Kazurinsky are Canadian like original member Dan Aykroyd. Later(1984-85) came Billy Crystal who almost became an original member,and James Belushi,John's brother. Also joining in 1984-85 was Martin Short,who'd go Hollywood himself later. The following season,things finally settled down in studio 8H. Lorne Michaels returned,triumphantly(Doumanian was fired after 1980-81 and succeeded by Dick Ebersol) to serve as producer like he did for SNL's first 5 seasons. The new cast members were Nora Dunn,Dana Carvey,Kevin Nealon,Victoria Jackson and Dennis Miller who'd become the next Weekend Update anchorman. Mike Myers joined in 1989. Myers and Carvey became Wayne Campbell and Garth Algar,two hard-rocking and babe-loving buddies on the sketch Wayne's World,later inspiring two films. Chris Farley and David Spade later came and also went Hollywood. Another big SNL star is Adam Sandler,another film star. Sandler previously worked for NBC,guest-starring on a few episodes of The Cosby Show. Every show had a guest host and musical guest(some shows had more than one of each). We will never forget the Coneheads,Emily Litella,the Festrunk Brothers,Ed Grimley and Wayne's World(sorry if I forgot anything). We also won't forget John Belushi,who died in 1982 of a drug overdose and Gilda Radner who died at 42 of ovarian cancer. Farley fatally overdosed on drugs in 1997. O'Donoughue succumbed to lung cancer in '94. Oh, by the way,Bill's brother Brian Doyle Murray was an SNL member from 1981 to '84. This book should have been updated in 2000 for the show's 25th anniversary. After nearly 29 years on the air,Saturday Night Live continues to pull in tens of viewers from 11:30 PM to 1 AM,EST.

Since its television debut in 1995 few will argue the fact that Saturday Night Live was a cultural, comedic, and TV phenomenon.

Here in one volume is a collection of the sketches, characters, performers and phrases that first appeared on the show that kept many of us up late.

It's also a visual reminder of some of the great comedians who were first showcased there and the once shocking catch phrases that became a part of our collective vocabulary.

This book is an awesome book! you can learn about every castmember in the show up until 94'. You can learn about all the hosts, all the years, all the musical guests, all the backstage info, all the famous songs(including Adam Sandler's Songs), and much much more. Not only will it let you know your facts, but you will enjoy it! Trust me, buy it!!!!!!

I have collected and used books on sound system engineering for many years and this book has quickly become my favorite. Mine has been borrowed by other engineers so often that I have purchased a second copy. Don and Gene are among the most experienced in the field. They have also both tried to share thier knowledge with others throughout thier careers. This combination of knowledge and desire to share it has produced a book that explains complex ideas in a way that leaves the reader with few questions. It is clear and concise, and is supported by a great number of charts and diagrams. I can't imagine a better way to capture thier knowledge and share it with others. A great number of professionals are going to benefit from this book, and I expect it will be the industry standard for many years to come.

One of the better books in my collection, and I have many on acoustics and audio from the highly technical to hands-on.

I owned 1st version before and the 3rd revision is a more complete version and gives more information on digital processing aspect.

Sound System Engineering, 3rd Edition contains a wealth of information on the design, implementation and testing of sound reinforcement systems. Don Davis' section on audio and acoustic measurements is a must read for anyone serious about performing such tasks. The concepts he discusses about signal delay/synchronization and room acoustics will help the reader to understand what is at the very basis of these topics.

Similarly, Eugene Patronis' section on loudspeakers and arrays is not to be missed. It will have you going back again and again to find that piece of information you need about horns, direct radiators, crossovers and arrays. His presentation of signal processing starts with basic sampling and progresses through system theory and digital audio.

Two of the latter chapters on equalization and "putting it all together" are true gems. They yield practical information that you'll be using the next time you're faced with the issues covered.

Sound System Engineering, 3rd Edition takes all of the knowledge contained in the 2nd edition and augments it with up-to-date interface methods and advances in the field of audio and acoustics since its last publication. This text is equally suited for both the novice and the veteran audio practitioner. It is written in such a manner that each time you read a portion of it, something new will come to light.


Charlie Hughes
President
Excelsior Audio Design & Services

Congratulations to Don Davis and Eugene Patronis, Jr. for writing the most informative book on sound system engineering ever. The book contains all of the elements of theory, design and practical installation. The book is an excellent reference for the sound system engineer.

Sound System Engineering, Third Edition is the most complete technical book on sound system engineering I have ever read. It is a concentrated capsule of knowledge that gives the theory as well as instructions of how to implement the theory. Don has recorded for us how to do the installation process. Dr. Patronis has given us the physics back of the theory and he added the mathematics so one can reporduce the results. There are places that Doc uses the "It is intuitively obvious..." leap of knowledge that some might have trouble working through but it can be done.

Thank you for such a great work

Don Eger, Owner, Don Eger & Associates

This book wasn't at all what I thought it would be, but I loved it. I finished it within a day.

Don't buy this book if you are expecting someone to tell you the steps involved in making an RPG. There are many better books for that. S&C doesn't tell you how to make a game. It tells you how to THINK when making a game. It also goes quite in-depth about what it's like to be in the role of a game designer.

So the two scenarios in which this book would be most useful are:

1. You have a game already designed in your head and just want to make it more fun or more professional.

2. You are considering whether you want to become a game designer as a career.

If you fit one of these two, buy this book right away. If not, it might still be worth a look. It's interesting, well-written, and you may just learn a thing or two.

First and foremost I have to say this book is very well written and easy to read. The only real mistakes I noticed were with release dates on some of the games in a timeline.

The concepts covered in this book will help not only individuals trying their hand at designing RPGs, but other games as well. The information is also presented in an interesting and entertaining way to keep the reader doing just that, reading.

Having recently entered the video game industry, I would recommend this book to anyone seeking to get a start in the industy or anyone just curious about game design in general.

I really don't know where to begin in thoroughly recommending this book. If you have any interest in designing RPG games (or any game at all, for that matter) this is the best book for your bank. Neal Hallford lays it all right out in front. From story design to gameplay mechanics to writing your pitch documents, this book will show you the most important stages of game development. More importantly, this book is down to earth and easily digestible. The chapters and subsections were written in a very clear and concise manner. I've seen other game design books that failed to educate or even entertain.

Neal Hallford writes this book not only from the point of view of a veteran game designer (Betrayal at Krondor, Dungeon Siege, and others), but also from the point of view of a GAMER. It is from that point of view that really makes this title stand out. You can tell how much he enjoys his work, and his excitement for the focus medium (RPGs) is infectious as you read. He really helps you to craft a world in your own mind (and helps you think `outside of the box' as you design). Each chapter is complete with a handful of exercises to help the budding game designer expand the way in which they think about games

This title is also rife with interesting tidbits and trivia about past games and game development. Neal Hallford never forgets that, even though this is a billion-dollars-a-year industry, we make GAMES. Even though the process should be taken seriously, you should work very hard at both doing it well, and having fun while you do it. The process itself is, in fact, one of the strongest aspects of this title. Neal takes you through every step of the process including writing your design document (the game designer's bible, as it were). He points out critical features, and common oversights. Again, he does all of this in a way that is very easy to understand.

Finally, the appendix to this title is a treasure trove itself. Included in the back of the book are interviews with some of the top game developers in the business. And while many other books have included `fluff' interviews with game designers, this book actually focuses on the critical topic: game design. You learn about how different game designers work, how they approach certain problems, and where they get their inspiration. In addition to these interviews, you can also find sample design documents, descriptions of levels, and charts for gameplay mechanics.

I don't recommend this book. I demand that you buy it. If you have even a passing interest in game design, this book was written for you. Professionals should own it. This is even a great resource for mod authors who are looking for help in creating their own worlds within other game titles. You won't be sorry.

Neal and Jana Hallford, Swords and Circuitry (Prima, 2001)

A word to prospective buyers: Swords and Circuitry is not a book about coding games. If that's what you're looking for, Prima has a number of other titles you can go to. This one's about designing games, and there's nary a line of code to be found.

Okay, now that that's out of the way, this book does have a lot to offer both for those who plan to specialize in game design and those who are running (or trying to run) one-man shops. The Hallfords offer a good deal of advice regarding the whole process of game design, from defining what it is (and having others interviewed by Neal Hallford do so as well) to details of design documents, proposals, etc. The benefits for the aspiring game designer are obvious; to the one-man shop, reading this may help clarify some things that will help when programming time comes, or shed a different light on things that may not have been thought of in quite that way. Definitely worth checking out, but know what you're getting. *** ½

This book provides a clear outlook of how to design an RPG though I wish there was a reference book to go with it. It even could be used as a text book for a class. It does everything it says. Includes other designers perspectives to broaden your perspective on design including designers from Might & Magic, Neverwinter, Star-Trek, and a few others.

Since this is "The Wizard of Oz: The Official 50th Anniversary Pictorial History" of the beloved 1939 film, it is not surprising that John Fricke, Jay Scarfone, and William Stillman have put together the book that tops the "must have" list for fans of the film (after, of course, L. Frank Baum's original novel, which just had its centennial edition come out in 1903. After an introduction by Jack Haley, Jr., the volume's prologue, "The Marvelous Land of Oz," begins with the story of how Baum came up with the name for Oz and looks at the history of his stories prior to the movie. Also included in this prologue are stills from some of the vaudeville and silent movie versions (the 1925 film had Oliver Hardy as the Tin Woodman), the original book covers for the 42 Oz stories, and Technicolor test shots of the movie cast, which includes Judy Garland wearing a blond wig as Dorothy. By the time you finish this prologue you will know that this book is going to be everything that you would want as the table of contents indicates:

Part One - The Oz Diary: Creating a Classic: (1) Acquisition and Casting contrasts the signing of the cast with W.W. Denslow's first pictures of the characters; (2) Scripts, Songs, and Staff focuses on early drafts of the scripts and ideas for song more so than what actually ended up in the movie; (3) Wardrobe and Markup details the evolution of the look of each character with corresponding photographs; (4) The Thorpe "Era" is about Richard Thorpe's short tenure as the film's director, when Gale Sondergaard is the Wicked Witch and Dorothy is a blond; (5) There'll Be Some Changes Made is short but sweet and is about the changes George Cukor made as a stop gap under Victor Fleming was signed to direct the film; (6) "The Wizard" Comes to Life is a lengthy chapter covering the making of the film with its various legendary stories; and (7) Post-Production and Previews, which details what was cut (including "Over the Rainbow" at one point), when and why.

Part Two - The Oz Diary Continued: Promotion and Reception: (8) The Oz Campaign contains everything from Judy Garland telling Frank Morgan "Anybody can be a wizard at Jelly-Making" for a newspaper ad for Certo (never heard of it either)to a two-page full-color spread in "Life" and a special "Wizard of Oz" ad for the Sunday comics; (9) Hollywood Party is about the movie's gala premier; (10) "Capitol" Times in Manhattan is about the show at Loew's Capitol Theater In New York City that showed the movie along with a life performances by Garland and Mickey Rooney. This chapter also shows some of the first product tie-ins for the movie; and (11) From Coast to Coast is a brief look at promotion of the film across the nation and includes what might be the first editorial cartoon that used the Oz characters to comment on a real situation (Hitler is the Wicked Witch of the West and Mussolini is a winged monkey, while Dorothy is European civilization, the Scarecrow is Poland, the Lion is Britain, and the Tin Woodman is France).

Part Three - Raves and Accolades looks at (12) The Reviews, which includes a look at foreign books and domestic record versions; and (13) The Twelfth Annual Academy Awards, where the film won Best Song for "Over the Rainbow," Best Original Score for Herbert Stothart's underscoring and adaptation of the Arlen/Harburg songs, and Garland for best performance of a juvenile during the past year.

Part Four - Oz and Ends, includes brief looks at (14) Original Ozzy Merchandising; (15) Oz Abroad; and (16) Theatrical Reissue.

Part Five - Television Perennial covers how most of us first saw the movie, including (17) Guest Hosts on CBS (I always liked Dick Van Dyke); and (18) NBC Interlude/CBS Comeback.

Part Six - The Legend is another set of brief chapters on (19) Reunions and Reminiscences; (20) Merchandising; and (21) Icon, which ends the book on a perfect grade note with editorial cartoons on the death of Garland in 1959, Jack Haley in 1979, Margaret Hamilton in 1985, and Ray Bolger in 1987.

This volume includes more than 400 illustrations, half in color and many never before published, including over seventy makeup and costume portraits, behind-the-scenes and production photos, and not only stills but script pages from the musical numbers and segments that were filmed but cut from the release print (including "The Jitterbug," Bolger's extended solo dance to "If I Only Had a Brain," and the "triumphal return" sequence). The photographs of all the movie posters, toys, and other items associated with "The Wizard of Oz" can be found throughout the book instead of being collected all at the end of the book corresponding with when the movie came out. The last three parts could essentially be individual chapters to avoid the sense that you are racing through the end of the volume, but that is a minor complaint all things considered.

If you only buy 1 Oz book for your collection, make it this one! In Oz circles, this book is known as "The Green Book" and it is a virtual encyclopedia of Oz information. The research and work that went into the writing of this book is truly astounding!

The rare photographs will amaze you (including Judy Garland in her blond wig and Buddy Ebsen as the Tin Man).

This book is full of little-known trivia. After reading this book, you can wow your friends with your new-found Oz knowledge!

There have been a few books that have given us all a look into the making of MGM's movie version of "The Wizard Of Oz!"? But The John Fricke,Jay Scarfone manuscript surpasses all of the other books.Because it's filled with wonderful photos and info that takes us beyound the making of the film and gives us a look into the continuing popularity of the Oz characters.Using rare photos,extensive research and interviews from the people.Who were involved with the project.Messers Scarfone And Fricke.Show us the early stages of the making of the film.From the many drafts of the script..to the problems with the changes in cast,storylines,music,mishaps with props and special effects.To the promotions of the film on radio(NBC Radio's "MaxwellHouse Coffeetime")and at stage shows to the many other interpretations of the story that appeared on tv,in the movies,on radio, in the theater and at parades and theme parks.The book even gives some more biographical info about the cast and crew and some more insight into the man.Who created this legendary tale:Mr.Lyman Frank Baum.For the fans of this classic story.Who want to know the full extent of it's geniss? This is the one book to have.Kevin S.Butler.

There have been a few books that have given us all a look into the making of MGM's movie version of "The Wizard Of Oz!"? But The Jay Scarfone,John Fricke manuscript surpasses all of the other books.Because it's filled with wonderful photos and info that takes us beyound the making of the film and gives us a look into the continuing popularity of the Oz characters.Using rare photos,extensive research and interviews from the people.Who were involved with the project.Messers Scarfone And Fricke.Show us the early stages of the making of the film.From the many drafts of the script..to the problems with the changes in cast,storylines,music,mishaps with props and special effects.To the promotions of the film on radio(NBC Radio's "MaxwellHouse Coffeetime")and at stage shows to the many other interpretations of the story that appeared on tv,in the movies,on radio, in the theater and at parades and theme parks.The book even gives some more biographical info about the cast and crew and some more insight into the man.Who created this legendary tale:Mr.Lyman Frank Baum.For the fans of this classic story.Who want to know the full extent of it's geniss? This is the one book to have.Kevin S.Butler.

There are many, many books out there about the making of everyone's favorite film, "The Wizard of Oz". There aren't any I've seen that I wouldn't recommend, but if you are looking for pictures, pictures, and more pictures, this beautiful coffee table size book is a great place to start. Pictures, both in color and black and white, of every aspect of the making of the movie fill this attractive volume from cover to cover, and the text, by Oz authority John Fricke is all-encompassing. Although released for the 50th Anniversary of the film's 1939 release, it is still relevant 13 years later, and a great book for the collector or casual researcher. It has yet to be topped.