Video Books

THIS BOOK HAS TO BE A CLASSIC AS FAR AS FIREFIGHTING IS CONCERNED. IF YOU ARE A FIREFIGHTER, THIS BOOK SHOULD BE IN YOUR LIBRARY. YOUR LIFE MAY DEPEND UPON IT.

It is widely discussed in fire service circles that this text is an amalgom of FDNY tactical bulletins and other internal documents, such as Ladders 3 and Ladders 4. If so, it offers useful information for fire problems most of us routinely encounter. The 3rd edition has hideously tiny print and is over run by wordiness, but does have additional chapters on WMD issues as well as townhouse/garden apartment fires. There is new text intersprised all through out the book. Norman is a tough read - passive voice, run on sentences and double negatives - but the material is still worth digging through. And hey, the bulding classification codes from the 1st and 2nd editions got corrected.
A must for any working firefighter.

I found this book to be very informative. It helps answer the "what if this happens" questions that every firefighter ponders when they have time to reflect. I definitely recommend picking up this book whether you are an actual officer or firefighter.

I bought this as a text for a class but I'm finding it very thorough and easy to follow with tons of good info.

This book is full of valuable information, and has helped to fill in some gaps in my understanding of certain firefighting tactics that I simply have not learned in my five years in the fire service. This book simply has more valuable, pertinent information than any other fire/rescue text I have ever read. Incredible!

The books only flaw is the photos are of very poor quality.

It is full of a great wealth of knowledge and insight. Awesome text, very easy, interesting read.

I highly recommend this book.

A nicely researched and insightful biography of Florence Lawrence, one of the most shadowy yet important figures of early cinema. Many things about Florence's life and career will perhaps always remain vague, but Kelly Brown gives a worthy account of America's "first movie star." It is refreshing to know that Flo is finally getting the recognition she deserves. This book is a must for the true film buff.

This slender volume is fascinating because it finally paints a well-researched picture of the long forgotten Florence Lawrence. I've always been fascinated by her after seeing publicity stills of her from the mid-1900s. She appeared to be warm, charismatic and fascinating. Her greatest tragedy is that none of her films have been shown in eighty years. I have one of her shorts, "Flo's Discipline" which only lasts about twelve minutes but it gives you a hint of how dazzling she was before the cameras. While her cohort, Mary Pickford, went onto a spectacular career that included mind-boggling salaries and a world-famous Hollywood castle, Pickfair, poor Lawrence was living in a small, hotel room, being paid a few dollars a week as an extra at MGM. Her life would make a wonderful movie--and a cautionary tale about the pitfalls of how fleeting fame is, and how fickle is the public when it comes to remaining faithful to the flavor of the month.

Florence Lawrence was an enigma I had always wanted to know about, having been interested in silent films for many years. Information on her was scarce, save for some still photographs in silent movie history books. Kelly Brown really did her homework, in what must have been a difficult task, digging up information about a star whose heyday was almost 90 years ago! Congratulations, Kelly, on a job well done! I can't recommend this book highly enough!

I always enjoy a good biography, especially those of the nearly forgotten silent screen stars. This biography of Florence Lawrence was well researched and had many wonderful photos. The author did a good job with the resources available. Most of the films and people involved in silents are gone now, so the job is doubly difficult. Although pricey, this biography is well worth reading.

Florence Lawrence was "big" before there were movie stars. She was the original "Biograph Girl" before Mary Pickford was given that name by movie fans. After losing her job at Biograph, she was hired by Carl Laemmle's IMP company (later Universal). As a publicity stunt, Laemmle started a rumor that she was dead. Then she made a personal appearance in St. Louis and was mobbed by fans.

Unfortunately she was pretty much out of work in five years. Poor managemet by her husband Harry, as well as a painful injury forced her into bit parts. She was still acting in very small parts into 1938, when she gave up on life and committed suicide.

Kelly Brown has done an incredible research job. Using Florence's surviving correspondence, as well as trade magazine artices and advertisements, she has reconstructed Florence's life. The book has many footnotes noting sources, and there is a very detailed filmography. Instead of a book full of dry facts, Ms. Brown keeps Florence's story interesting. If you are interested in early cinema, or even important women actresses, you should definitely read this book.

Here is Sinatra stripped of everything who leaves me knowing he has deserved my love and admiration all these years. With Sinatra, he drove himself through life going after whatever he wanted and risking the consequences. We get to look at his ups and downs and his prides and his falls. We see him suffer at love and sing about it. We see him finally, after all the aborted tries, finally sink himself into a relationship with his last wife that kept him happy until he died.

Life for Sinatra was all or nothing at all and he did life his way and fell into lots of tender traps and led some into his own tender traps, like one famous movie star I will let you discover on your own.

What so special about Nancy's book is that she is amazingly organized and objective in her account of her father's life. And the CD, well the CD is everything. You get to hear Sinatra on Sinatra, unabashed.

Everyone on the planet needs to buy and read this book to learn what life can be when you go for it all every day!

Kudos to Nancy for a biography well, well done.

This book has excellent pictures with the most vital information for a biography project. A great buy and great read for interested fans of Ol' Blue Eyes.

No wonder this book is so thick- it's filled with numerous photos of Frank Sinatra, his family, and friends over the years. I love looking at these pics, and so will any other Sinatra fan. There is detailed info throughout the book as well. This is one worth having in your collection.

This scrapbook is a real treat to any true SINATRA fan.It is full of pictures of everybody who was important in his life from his parents to collaborators like arrangers NELSON RIDDLE; all his wifes from NANCY to BARBARA;the legendary LOUIS B. MAYER etc.Better than most biographies because it is based on facts not rumours.The early pictures from his beginnings are alone worth the price.I was fortunate enough to get this book at the third of it's price and i went through it very fast because once you open it, you simply can't take your hands out of it.If FRANK became the singer of the past century, it's not by accident, he worked hard at it.I was particulary touched by his loyalty to his true friends.FRANK SINATRA is a mirror of his country. He was the son of immigrants who lived the AMERICAN dream to the fullest.Where is the AMERICAN dream today now that it's last legend is gone?Let's not complain too much ,because everything that FRANK SINATRA ever recorded is now available on cd.Nostalgia when you think of it is a very good thing.SATURDAY is not the loneliest night of the week anymore thanks to the chairman of the board.If you are not already a fan, this book should do the trick.

I had to get this book after seeing how low the price came down.The original price was 40 dollars. Nancy Sinatra's book on her Father has everything in here.I couldn't believe Frank weighted 13and a half pounds when he was born on December 12,1915.The Doctor ripped and scarred his ear,check,and neck,plus puncturing his eardrum.Frank wasn't breathing,so his grandmother Rose held the baby under cold running water until he gasped his first breath and cried.This book is like a Diary.It goes from year to year,sometimes month to month.All of Franks movies,records,concerts,TV shows,songs,and the name of the songwriters are in here,plus hundreds of pictures,starting with Frank's baby photo, ending with a touching family photo taken in 1996.There's a wonderfull picture of Marilyn Monroe taken with Dean Martin sitting ringside at the Sands..All of the stars are in here,and family pictures we've never seen before.If you are a Frank Sinatra fan,you have to get this Book.Its huge,and the pictures are fantastic.

I admit that at first I was thinking this book would focus more on the game engine part of the toolset development in its title. I knew it wasn't REALLY about developing a game engine but even so, make sure you understand what you're getting.

That said, I really liked this book. I'm halfway through it already (it's a very quick read given how discrete each chapter is and the clear and easy to read print and examples).

I've read a number of game development books and you rarely get everything done right. This book gets close. The author describes the particular problem the chapter seeks to solve (e.g. encryption, batch processing, etc.) and goes through the steps of solving it.

The book is similar to those programming gems types of books that aren't organized in some linear fashion but are discrete chapters on specific topics that can be picked and chosen as you see fit.

The author does a very good job of putting the examples together and many of the chapters have been useful to me (I plan on implementing a number of the tools/frameworks he mentions).

If you're working on a game engine, I really suggest trying this book out. This assumes you're not already an expert game programmer who already built a lot of these sorts of tools before.

If you're looking for something that will help you build a full-fledged game engine, look for another book...then come back to this and get it to help you flesh out your toolset.

I just received my copy of Game Engine Toolset Development and I have been unable to put the book down. The author gives a good introduction to .NET 2.0 and relates it to toolset development for games. The chapters are easy to read and follow and he gives good advice on how to build good tools. He could have looked at other toolsets to make the book more complete, but I see this book as a way to introduce students to game programming who have a basic programming background (Java, C++, C, Alice 2.0, etc.).

I bought this book thinking it would help me write a new tool for, say, building 3d models, or some other general tool. When it arrived I got excited just by the shear size of it, it's huge!

However, I started flipping through it browsing each and every chapter (didn't read them all in detail of course, but quite a few) and it doesn't teach you how to make a NEW tool for your game, it teaches you how to make an EXISTING tool better. While that knowledge is extremely valuable (and the reason I gave it 4 stars instead of 3), it's not what the description of the book stated: "Readers are not required to have any experience developing game engine tools." If you have no experience developing a tool, you're going to have a little trouble getting started. If you know enough math and have good enough coding skills to get a game engine going, you'll be able to write a tool for your game, but you don't need this book to do it.

Now, with that said, this book IS quite good and worth your money so long as you don't expect to read this book and then write a tool, you're going to need more info. Get the book anyway and use it as a guide, it's usefull in that aspect.

This book is so good at making a tool better, most of it's "gems" can and should be applied to ANY application, game tool or not. Also, it covers some good highlevel (or lowlevel, depending on how you view it) .Net functionality such as interfacing with COM and code documentation, as well as few other excellent techniques. These "gems" are quite valuable on their own.

So, in conclusion, if you know nothing about writing a tool, or you don't know C#, hold off on buying this book (make sure to put it in your wish list however). If you have a tool but find it's difficult to work with, or you want to broaden it's appeal, or just simply make it better, get this book, you won't regret it.

This is an excellent book, which covers a lot of important aspects of game/engine tool development, but it is more like a recipe book, as each chapter subject is almost stands on its own - just like game programming gems series. My favorite is how to integrate native code into a managed application. The book is well written (one of the best I've read recently), and the only thing i missed is a few chapters on how-to integrate into an existing pipeline - like importer/exporter for a common 3d package at least. A better title for this book would be "(game)tool programming gems"

Then, as a hobbyist, I'll just let you know that this book not only teaches, but flat you gives you some great modular code that you can work into many different types of tools.

There's also some great design principles covered that have improved my workflow, even though i'm currently working solo.

Just read what everyone else has written...

She needs to climb out from those piles of ramie/cotton blends and update her book for us!

"If You Ask Me" collects 61 of Libby Gelman-Waxner's (aka Paul Rudnick) comedic movie columns from Premiere Magazine's first 5 years, 1988 until her 5th Anniversary column in 1993. Balancing roles as Assistant buyer in Junior's Activewear, East Side yenta, and "American's most beloved and irresponsible film critic", Libby lambasts movie cliches, aging movie stars, and directors who suffer from Auteur's Syndrome. She swoons over hunky actors and fixates on actresses' coiffures. She keeps us current on the movie-going adventures of her orthodontist husband Josh, perfect daughter Jennifer, tragically single friend Stacey Schiff, and cousin Andrew. Libby is laugh-out-loud funny.

Those who followed Libby's career until the demise of Premiere Magazine in spring 2007 can see how she became the critic we know and love and revisit some long-retired features like "The Libby Awards" and "Letters to Libby". It is amazing and hilarious how seriously some readers took her. Libby's first five years were more manic and plagued with run-on sentences than her later years. This book witnesses the point at which she hit her stride as a critic, about 2 ½ years in, with an article entitled "The Entertainment Factor". Before that, Libby was scattershot and not quite a reviewer.

Of course, Libby's foremost intention was always to entertain. But in those cases when more serious reviewers all got it wrong, which occur like clockwork twice a year, Libby set us straight. Those columns are among her best, and they earned her my respect as a critic. Libby's gossipy wit was also on hand to observe the cinematic transition from the 1980s to 1990s in her column "Making Nice". Her scrutiny of '80s Greed versus "'90s New Niceness", i.e. hypocrisy, is another example of incisive commentary in a deceptively shallow package.

"If You Ask Me" is a wonderfully entertaining volume that no movie buff should be without. Libby could get away with saying what other critics couldn't, because her comments were shrouded in humor. She got even better than this, so it's unfortunate that the other 14 years of Libby are not available as a book. The Introduction refers to this as "Volume 1", so I hope that Paul Rudnick has not completely forgotten about that implication and we can expect the rest of Libby soon. Although the movies are listed under the article titles in the table of contents, an index of movies would have been helpful, as would dates on the articles.

With the demise of Premiere magazine, the time has come to update this hysterical tome and bring every last one of Libby's incisive, razor-sharp observations together into one volume. Surely her devoted fanbase deserves that much...

If you ask me, Libby is the best thing - and sadly often the only thing - worth reading in Premiere. This book is a collection of some of her earlier columns.

I remember picking it up in a bookstore, and reading the part about "Rain Man" and laughing so much I was helplessly bent over and terrified that I would be thrown out or carted away by men in white coats. Luckily, I wasn't.

Hollywood badly needs someone to prick its enormous bubble of egotism, and Libby is always up to the job. Many movie stars are in desperate need of a reality check, a reminder that their hangnails aren't on the same level as say, world peace.

In addition to Libby, we meet her adorable children, Mitchell-Shawn and Jennifer, her friend the terminally single Stacy Schiff, her husband Josh (like Bill Clinton he can balance a budget, then jog over to pick up a bag of donuts), her mother, and her shrink - all of whom contribute columns.

Equally funny if not funnier than Dave Barry at his best, this book is a worthy addition to anyone with a slightly warped sense of humor's shelf.

You'll come for the hysterical observations, but you'll stay for the depth of thought. In reviewing Field of Dreams, for example, in between tart and hysterical observations about Kevin Costner's ambit, we get the incredible telling and onpoint observation that James Earl Jones' character seems oblivious to the fact that baseball was segregated in 1919. Whoa, Libby, you snuck that one in on us. Libby's humor is premised in her unabashed shallowness in movie tastes--she doesn't want to see Calcutta, she wants to see a cut up Patrick Swayze (one of the studs of her era)--and in her understanding of the Hollywood culture that movies reflect. In noting that the jobs women have in movies shift from art gallery director to caterers, she observes that these are great things for Hollywood wives of movie executives to do for "fulfillment" for a month or two, but not the way that the average woman in the real world will be pulling in the bread. Well, she makes that observation in a less heavy handed and much more hilarious way. Libby, forgive me, I lack your craft.

The most important thing about this book is that it is always fun and never self-important. Paul Rudnick, the man behind Libby, had fun with it, and so will you. In Libby fashion, I should note that my adorable mother, Mary Christine Motes, recommended this book to me. Thanks, Mum.

In a career spanning hundreds of movies from "Tolerable David" in 1930 up until literally his death in 1988, John Carradine blessed this world with his many florid theater, film, and television performances. His greatest role(in his opinion) was split between major parts in the classics "Stagecoach" and "The Grapes of Wrath", both directed by John Ford. He loved to work. He loved Shakespeare. He loved women. The book details his three marriages, his drunken parties with John Barrymore, and his jail time for late alimony payments. And here, for horror fans, is a detailed breakdown of every film, from "House of Dracula" to "Satan's Cheerleaders". The large hardcover tome is complete with a myriad of pictures and posters. John Carradine is truly part of American cinema legacy. He died in Milan, Italy, attending a special screening of "Stagecoach".

All the other big names of horror-movie-actors have been covered: Karloff, Lugosi, Chaney, Lee, Cushing, Price ... Here is finaly the first book about John Carradine and all his films (and not only the B-Movie-Horrorfilms !)It was time !

German: Endlich ein Buch über den grossen John Carradine. All seine Horrorfilm-Schauspielkollegen sind ausreichend gewürdigt worden, von Lugosi, Chaney und Karloff über Price, Lee und Cushing. Nun endlich gibt es ein Werk mit vollständiger Filmograhie (und nicht nur die Horror-B-Filme) über diesen Altmeister. Wie alles aus dem McFarland-Verlag teuer aber in jeder Beziehung in Topqualität !

Everyone recognizes his face, but few can name him. John Carradine was a memorable character actor who gave rich performances in big and small budget pictures. Finally, a book has been written about him that not only explores his life via anecdotes and interviews interspersed throughout, but his vein of work that stretched innumerable decades and genres. Author Tom Weaver has crafted a fun and lively chronological read, putting together little-known information and revealing asides to enhance our knowlegde of the work of an aspiring actor. Perhaps now, more people will seriously reappraise Carradine's work and give him the consideration he's due.

He's the actor everyone knew, but few knew anything about. Here - finally - is the definitive look at the horror icon's hundreds of films, and his surprising life, including the strained relationship with his sons. Best of all, it's by two of the brightest lights in the field.

John Carradine's career spanned six decades and films thatranged from acclaimed classics (The Grapes of Wrath) to undisputedstinkers (can anyone say anything positive about Billy The Kid Vs. Dracula?). In John Carradine: The Films, author Tom Weaver deftly documents each and every film of the multi-talented actor. Complete cast and credits listings, synopsis and author commentarty for each film are included, as are remembrances from various co-stars, directors, Carradine's sons and even Carradine himself.

Weaver's commentaries on the films spices up the usual dryness found in many "Films Of" books, due to their rather strict cast/crew/summary formula. An opinionated reviewer/critic, Weaver doesn't pull his punches in offering up his takes on Carradine's films. Whether or not you agree with his views, it's nice to hear definite opinions for a change in a book like this, instead of the oft-times "take-no-controversial-stand" approach which, while certainly objective, doesn't always make for the most fascinating or interesting reading.

And for regular readers of the author, not to fear...the classic puns are here in good abundance, and will not fail to make one groan and shake one's head on occasion.

Rounding out this tribute to the "thin" Dracula are recollections of Carradine from directors Joe Dante and Fred Olen Ray, and a mini-biography by Gregory Mank. Carradine's flamboyance, lust for life, and love of Shakespeare, as well as his regrets and resignation to the many poor roles he either chose or was forced to accept in order to "feed the family" are just a few of the many sides to the actor that are captured by Mank.

In all, Tom Weaver has assembled an extraordinarily fine and fitting tribute to a too-long overlooked personage of classic horror history. Par for the course for the author, John Carradine: The Films is thoroughly researched, hugely informative, frequently amusing, and most importantly: simply a must-have book.

"Killing for Culture" is a fascinating look at the subject of death in film and other media. Of particular note is the history behind the "Snuff" film, an urban legend that has persisted for years of movies where someone on-camera is murdered, for real. Of course, not one single frame of a snuff film has ever been uncovered, but that hasn't stopped the legend from appearing, and re-appearing, over time.

In addition to the sections on snuff, other areas of the death genre are explored, from the "Mondo" films of the 1960s, to the present-day "Faces of Death" style gore feasts. It makes for a fascinating, if gruesome, study of the various death genres of film and video.

CREATION books has taken over the world of publishing books about cinema and this is the best one the have released. A very thourough, well researched and fascinating journey into the subterrainian world of the Mondo movie. David and David approach the subject with abject skill and make every word count even when describing films that would send the average person into a coma for years to come.

This book breaks the barriers and dispells the myths makig it an essential purchase for anyone interested in the darker regions of cinema.

Autopsies. Car crashes. Suicides. Executions. Horrible accidents. Human remains. Assassinations. Welcome to the horrifying and disturbing yet often weirdly fascinating world of death in film. Face it, most people are strangely attracted by images of violence and death - just like stopping and watching when an accident has happened.
KILLING FOR CULTURE concerns death in films. The book starts with the story of an obscure movie named SNUFF in 1976. Originally titled SLAUGHTER, this 1971 ultracheapo horror flick about a MANSON - style murder spree was considered unwatchable and remained unreleased for several years until movie producer Allan SHACKLETON got an idea: He shot a new ending, where an actress was seemingly "killed" on camera for real (though the basement special effects clearly proofed otherwise). Cleverly promoted with the slogan "shot in South America, where life is cheap" SNUFF turned out to be a huge success. This was how the concept of snuff movies (where people are killed for real) was introduced. Other feature films like EMMANUELLE IN AMERICA or LAST HOUSE ON DEAD END STREET further elaborated on this concept. The authors review the above mentioned films and many more in great detail and with much knowledge.
Further chapters revolve around the socalled "mondo" (shockumentary) film and how this genre evolved, starting with MONDO CANE in 1962. Writers KEREKES and SLATER show in a very detailed way, how mondo directors faked and re-enacted death footage, which was allegedly "real". I found this making - of approach particularly interesting. Many of the horrifying mondo films (like THE KILLING OF AMERICA and the infamous FACES OF DEATH series) are dealt with in lengthy reviews. Considering the subject matter one might expect that the book is written in an exploitative way. This clearly is not the case.
Further chapters concern films where real atrocity footage was used - like the US porn movie FORCED ENTRY about a posttraumatic stress disorder suffering Vietnam veteran rapist, whose "activities" are interspersed with actual combat newsreel footage. The last chapter details how tabloid papers and feminists are propagating the urban legend of snuff films.
The sheer amount of facts concerning real reel death the authors have crammed in the relatively small book is amazing:
Hospital documentaries like the 6 hour long NEAR DEATH. Nauseating underground films. The famous ZAPRUDER amateur film of the assassination of president John F. KENNEDY. Autopsy films like THE ACT OF SEEING WITH ONE'S OWN EYES. Driver education films depicting the daily carnage on the streets. Incidents where people committed suicide live in front a camera - like Pennsylvania state treasurer Budd R. DWYER, who blew his brains out with a .357 revolver during a press conference after being convicted of bribery. The GIMME SHELTER concert film, where a camera by accident caught some Hell's Angels stabbing a man. (Please note that these are only a few examples of what to find in this excellent book.)
The book is illustrated with dozens of highly interesting pictures (video covers, stills, posters, ad material, newspaper clips).
And, yes, the infamous Japanese GUINEA PIG series is covered as well. On a lighter note, the authors also review a hoax autopsy film of a Roswell alien (!)
As you can image this book is disturbing, sometimes revolting and could be offensive to some. Clearly it is only for the most devoted fan of extreme and obscure cinema/film and the most hardened horror buff. But for these groups it is absolutely indispensable. I can't praise it high enough.

A much-needed, carefully researched book that looks into the darkest of cinematic shadows. I especially like that they debunk the snuff film industry. Also commendable are the copious footnotes and the exhaustive index that lists movies by their alternate titles, directors, and years of production--very helpful when scouring the video stores for "Guinea Pig 2," "Man Behind the Sun," or even "Gimme Shelter." Certainly it gets into some stomach-churning descriptions, but I appreciate the dispassionate approach to a topic usually dealt with by pandering, slavering idiots. These Creation books, man I love 'em.

Killing for Culture is the first and most sought after of the Creation Cinema series. It covers all types of death in film looking at how it is portrayed and why. Nothing is left out from the real death seen in the Faces of Death video series to the elaborately staged "real" killings in fictional films to the wanton slaughtering of animals in the Mondo series. Yes, even "snuff" films are discussed in various sections first looking at their depiction in Hollywood films such as Hardcore (1979) and then speculating on their existence.

The chapters on snuff films is definitely the most interesting if for no other reason than this is probably one of the only available filmic studies of it. Kerekes and Slater share the opinion that while there probably ARE a small number of snuff films in existence, it's highly unlikely that there was ever any sort of underground market for that sort of thing. They define snuff not as a film of someone simply dying, but as a film made for the sadistic pleasure of the viewer. In that sense, TV news clips of plane crashes and such do not constitute snuff. Along the way, they examine some films rumored to have actual deaths onscreen. Films like Last House on Dead End Street (1977) and Snuff (1974) were made with the entire cast and crew using assumed names. Thus, they are sometimes seen as obscure films made by a bunch of psycho killers. Kerekes and Slater do a great job of finding out who actually made them and how they staged what many thought to be real murders.

There is a nice history of Mondo film and it looks at various cultural implications of Italian and, later, American film crews invading other countries, exploiting and terrorizing natives, and slaughtering animals senselessly. It will make you think twice before buying the new-to-DVD Mondo Caine series.

For anyone who has read a Creation Cinema book, this is not much different. There are many black and white stills of varying degrees of quality. The writing style is fairly sloppy. Kerekes and Slater are not cunning linguists in any respect. They are, however, good researchers and excellent film buffs. Their enthusiasm for these films are evident on every page. Their descriptions of the terrible plots, acting, and directing are quite funny, but it's always clear that as technically lacking as the films are, they still love them. As a fan of "bad" movies, I understand where they're coming from.

If you like films such as Thriller: A Cruel Picture, I Spit on Your Grave, Toolbox Murders, Nail Gun Massacre, etc., you'll find this book is an amazing resource. It's great that somebody is looking at these films in a somewhat academic way without forgetting that they are, above all, entertainment. This book has been out of print for a while now and as a result the price is fairly high (and getting higher). I recommend picking up a copy at any price before it's too late. Enjoy.

"The Making of the Wizard of Oz: Movie Magic and Studio Power in the Prime of MGM--And the Miracle of Production No 1060" is just downright enthralling. It is an expose' that breaks down the machinery and the machinations of what it took to get a major movie made in the days of the autocratic studio heads. The book offers an entertaining and totally engrossing look at the legendary film. Judy, Ray, Jack, Bert, Margaret, and Toto, too, are all analyzed in this brilliant work. The songwriters, the respective directors, the many other craftsmen, as well as the "little people," in more than the figurative sense, are all here. Vividly embellished with stills from the production, the book's text is just as captivating. The familiar as well as the unfamiliar stories about the production make for a most satisfying read for any "Oz" fan. It is also a good primer for anyone with an interest in pursuing film as a career.

It doesn't matter unduly if you didn't grow up watching MGM's 1939 color movie "The Wizard of Oz" in re-release or on TV. You might think that a "Munchkin" is what used to be called a "doughnut hole." You may think of Judy Garland only as Liza Minnelli's mother, and avoid prewar movies like the plague. Maybe you didn't feel that shock of recognition that "Cora the Coffee Lady" in Maxwell House TV commercials was none other than Margaret Hamilton, the green-faced Wicked Witch of the West.

Of course, if you love "The Wizard of Oz" you've love THE MAKING OF THE WIZARD OF OZ all the more. I just read this book for the second time (the first upon its initial publication), and was astonished and pleased by how well it has held up. Author Aljean Harmetz has crafted a book relevant not only in terms of one particular "prestige" movie off the Hollywood assembly line; but indeed her insight, research and friendly presentation make the book stand as a metaphor of all Hollywood filmmaking during the height of the Studio Era, ca. 1940. Perhaps the late Irving Thalberg was one of the few Hollywood insiders who could "keep the whole equation of pictures inside his head," but Ms. Harmetz opens up this world for us, and shows us both its realism and its wonder.

We return to an era in which studio moguls were as eccentric and powerful as today's software barons, when studio hands were nonunionized yet intensely loyal to their studios, when no movie studio even thought about a future containing broadcast TV, when movie stars were better known than Presidents or Kings, and when Technicolor would give you any color except the one you wanted. Nonetheless, solving the creative problems inherent in bringing L. Frank Baum's novel "The Wizard of Oz" to the screen was seen as an invigorating set of challenges to be met and conquered.

Back then, MGM had a real "can-do" attitude. So no one had
ever created a moving tornado for a film? After two tries the MGM tech people got it right, and the depiction of that horrendous twister so set the tintype for what a tornado ought to look like that it persists in our collective consciousness today, despite today's ubiquitous video cameras.

There were no tape recorders. How, then, to raise or lower voices artificially for dubbing? This book tells how. What happened when Buddy Ebsen almost died from an allergy to aluminum dust he had worn as the (originally intended) Tin Man? Why was Margaret Hamilton burned severely and ignored, yet Billie Burke turned an ankle and was whisked off the set in a white ambulance? Why did the film need four directors and half a dozen screenwriters, yet was fondly recalled as a labor of love by practically everyone except a prematurely embittered Judy Garland? Was the film the great commercial and critical success you might think it would be? And, by the way, what about those Munchkins' alleged sexual proclivities? Excellent answers provided by excellent research present a fully-formed world view, warts and all.

THE MAKING OF THE WIZARD OF OZ would be a wonderful companion to the new restored DVD version of the film, which is so crisp you can count the gingham checkers on Dorothy's blue dress (which was actually violet, to fool the Technicolor process). How were the ruby slippers made? What about that poppy field? Read on. Some critics have said that Harmetz's later work is not as excruciatingly well researched as THE MAKING OF THE WIZARD OF OZ, but I don't care. This book and the movie are not only as much fun as ever, but a great education in the good old/bad old days of the Hollywood "Dream Factory." Don't miss it!

MGM's movie,based on the book by L. Frank Baum,"The Wizard of Oz,"is nearly 70 years old. But its stars, Judy Garland, Bert Lahr, Frank Morgan, Ray Bolger, Jack Haley, Billie Burke and Margaret Hamilton, still shine brightly as ever, and the movie continues to be a particular favorite of young and old.

Aljean Harmetz is the daughter of a woman who worked backstage at MGM. Harmetz's mother worked in the Wardrobe Department; she was able to estimate sewing costs on thousands of costumes, from 1937 to 1951 --including the nearly one thousand needed for "The Wizard of Oz,"alone.

So starting from this birds' eye view, Harmetz is well able to explain how "movie magic and studio power in the prime of MGM" resulted in "the miracle of Production #1060." To that end, she did hundreds of interviews, with actors, singers, songwriters, cameramen, screen writers, costumers, directors, and technicians. She succeeded in bringing the great glory days of MGM, under its sentimental czar L.B. Mayer, to technicolor life.

Harmetz explains how the Emerald City was designed and built; how the cyclone was created. She tells us how Judy Garland's immortal "Over the Rainbow" was nearly lost, as envious, nitpicking producers responded after the film's first screening: "Why does she sing in a barnyard? Take it out!"

The author gives us fine portraits of Margaret Hamilton, who played the Wicked Witch of the West--"she enjoyed every moment screaming about those slippers." Binnie Barnes, who played the Good Witch Glinda, retiring to her pink and blue dressing room to await her next call. Bert Lahr creating the endearing cowardly lion-- his costume weighed over 50 pounds. "It was like carrying a mattress around with you," he said. And he could only sip liquids once in full makeup. Ray Bolger, the dancer who created the Scarecrow, " I have no bones. I have nothing inside me. It's just the wind holding me up." And Jack Haley who inherited the Tin Woodman's part after an allergic reaction to the aluminum paste makeup, put Buddy Ebsen, first cast for the part, in hospital.

You should find you read these marvelously detailed pages with great enjoyment, and if you're as sentimental a fool as I can sometimes be, even with emotional involvement. If you love the movie, you might want to try to find this book.

The making of the Wizard of Oz is a wonderful book to anyone who has grown to love the Wizard of Oz. You don't even have to be an obsessive fan of the movie like myself to enjoy it. It is extremely well researched. If information is not known the author says it so and does not attempt to recreate history as some nonfiction works do.

Perhaphs what makes the 1939 movie so wonderful is learning all the behind the scenes things that went into making it. This book gives respect and a knew sense of understanding as to what movie making was like in the biggest studio of that time. It is written so that it doesn't need to be read front to back. You can start in the special effects section and finish in the chapter about the script, or the music, or the directors (did you know there were four?).

Did you know that the movie had the work of 10 writers or do you know how the surrender dorothy scene was done? Well, in this book you find out his and thousands more did you know facts to impress friends. I recommend this to anyone who has watched the Wizard of Oz. And if Oz didn't win an academy award for best picture in 1939 than that was because the academy didn't have this book to help choose.

If you're a die hard fan of this classic film then you'll want to read this well-researched "making of" tome. The book is filled with all sorts of wonderful trivia tidbits but most of all it gives an insightful review of those behind the camera in a way I've yet to find in other "OZ" related books. The one and only shortcoming of this book is to be found in the number of pictures, in my opinion there could have been more, otherwise it's a behind the scenes look that most OZ fans won't be disappointed with.

As previously said, this is a very well and beautifully writen errr... memoir. The cover tells you the whole story of what to expect inside. At first glance Alec dancing appears as a comical figure almost, but as you look closer you can see he is in some sort of agony. And as the book moves on, it is hard for him to not show his melancholy.
Despite being a bit of a emotional downer, this is still a very worthwhile read for any of his fans.

The journal of an extraordinary gentleman, one of the greatest actors ever to grace stage or screen. His reflections on his career are moving and perceptive, totally lacking in self-aggrandisement. His thoughts on the whole "Star Wars" phenomenon are particularly witty but smack of the desperation of being hounded by that film's fans. It's tragic that this great man may only be remembered by modern generations for his appearance in that opus instead of for his work in the Ealing comedies, "The Bridge on the River Kwai", his lengthy stage career and his magnificent turn on TV as George Smiley.

Alec Guinness is undeniably one of the most gifted actors of our times, and now, with his offering of "A Positively Final Appearance," we get to know something of the man behind the mask. This journal, kept between the summer of `96, and 1998, is chock full of insightful musings, reminiscences and anecdotes that are a delight. He shares his love of the theater, discussing many of the plays he attended during this period, and gives comments on recent movies, as well. An avid reader, he talks enthusiastically of favorite authors and books; his love of literature is unmistakable. The stage is his first love, however, and he speaks fondly, and frankly, of many of the plays he's done, and of his experiences with many of the actors and directors with whom he has had the privilege of working. He invites you into his private life, discussing the love of his life, Merula, and discoursing on their life at home, as well as their many travels. You learn what the greatest regret of his life is, who some of the people are he admires most, and a few of whom he could do without. He explains his negative attitude toward the "Star Wars" phenomenon, and addresses many of the events, large and small, that have in some way affected his life, and helped mold his perspectives. His concern over world events and the human condition is poignantly evident. Guinness writes so fluently, you can almost hear that distinct, familiar voice; you seem to be listening, rather than reading. There is a dignity and charm to his words that reveal, to some degree, the man behind them. That he values his privacy is apparent, and it becomes very clear that he is not the most accessible person, yet without any rancor; he holds his fans in high esteem, but there is a sincere humility to the man, who simply doesn't feel worthy of all the fuss. In a world seemingly rife with crass sensationalism and indifference, "A Positively Final Appearance" is like a tonic to the soul; it is so refreshing to discover that somewhere elegance and refinement still exist. My positively, final word on this book is that it is a joy, and should not be missed.

I picked up this book because I like Alec Guinness' work in "Lawrence of Arabia" and his other David Lean films (not because of "Star Wars" which I can take or leave). To be honest, I was worried it might be kind of boring.

Well, it was not boring -- it was delightful. The man was full of many profound observations about life that he communicated by writing about everyday things such as the birds in his yard or the weather. His vivid memories of his stage career and the people he knew were vastly entertaining. I was surprised to find him to be a humble, not-too-well-off everyday kind of man, not some fabulously rich egomaniac as I had supposed him to be.

Even though I could not be more different from him politically, I still enjoyed reading his views on politics. It was like talking to a dapper, well-bred older gentleman you bumped into on the street. His writing was assertive, yet polite and genteel.

If you miss reading this book, you've missed a simple pleasure that will make you smile. It's worth buying!

The late Sir Alec Guinness was a lovely writer, and with this, his final memoir, he improved vastly over his previous gift to us, MY NAME ESCAPES ME. Whereas the latter was strictly a selection from his diary, with this Guinness moves beautifully from journalistic descriptions of day-to-day events (from eye surgery to walks with his wife, Merula, to the indignities of moving slowly in an ever fast-paced and impolite world) and wry reflections on current events to anecdotes spanning his entire career in theatre and film. Each chapter is arranged by a theme, mostly seasonal, but they meander charmingly.

Those interested in his encounter with the church and his beginnings as an artist should find his autobiography, BLESSINGS IN DISGUISE. Those who might want reflections on STAR WARS will be disappointed. When one gentleman asked Guinness for an autograph from Ben Kenobi immediately after mass, Guinness admonished him, "Not in front of the parishioners!" and disappeared as nimbly as a young Jedi.

Since I have taken Final Cut Pro, I have found Premiere Pro to be more than a little intuitive. Every few months Premiere seems to update itself and I wanted to be able to keep up correctly and this book has done it. Unfortunately, I have not had the chance to look at the included DVD. If the included DVD is anything like the easy to read, great pictures and the researchability of this book's contents, we all will be Premiere Pro 1.5 experts very soon.
I have enjoyed reading the book and implementing the procedures. If you want to learn Premiere Pro 1.5 from scratch on a professional level, this is your book to use to get you up to speed.

This is the best basic training book I have ever used. Schell and his editors have done an excellent job of providing the reader/user with precise hands on training. If you have Adobe Premiere Pro 1.5 and install the included lesson examples, you are in for a immersive fascinating and at times funny learning experience.

I knew absolutely nothing about Premiere Pro, and within hours I was on my way to creating video. The lessons are very easy to follow in step-by-step format with illustrations. The book also contains sidebars that go into greater depth on the information presented. I totally recommend this book as a first course in editing with Premiere Pro 1.5.

I needed a way to cut together my commercial demo reel, but I didn't have the cash to drop at an editorial shop. So, I picked up Premiere Pro and this book. Within two weeks I'm well equipped to cut together my own reels for years to come.

The book is extremely well written and has a nice conversational tone throughout. The exercises were easy to understand, but are good building blocks for more complex projects.

I generally hate "teach yourself" books, but this one was a rare exception. I can't recommend it enough!

This is my second Hands on Training Book. The first one was very good but this is the best and is the one I was waiting for (This is my first experience with Premiere Pro). It is the ideal self teaching program for learning Premiere Pro 1.5 especially if you have not given the first steps in using the program. After reading the first four clear and easy chapters I could make my first video program. The readings are light and clear and when I start reading a new chapter, it's really difficult to stop reading, especially because you are fascinated with the exercises you are completing with excellent results.

Before ordering this book I ordered "Adobe Premiere Pro 1.5 Studio Techniques" which is an excellent Reference Book, but not the most indicated book for a newbie self paced training program. If you have both books I think you will have the best of both worlds.