Video Books

I have been intrigued with the idea of having a meal at The Brown Derby since the first time I saw Lucille Ball dump a plate of spaghetti (a classic Derby dish, as it turns out) on William Holden's head. Alas, the era of The Derby is long gone, but this book, Brown Derby Restaurant takes you on a journey back in time when stars table hopped and coveted having their famous faces caricatured to grace the walls of these distinctive restaurants. That's right, there wasn't just one "Derby" but many different versions of the original, which is something I did not know until I read this book. I'll let the next reader of this book discover for themselves all the different incarnations of "The Derby." That was quite interesting, because they were all so different from one another and completely different from the original. The photographs of the celebrity patrons are wonderful and its fun to see them out socializing and not in character.
In the text recipes from the restaurants are included. I found these recipes to be quite ordinary and not very imaginative, but then you have to realize the era and the clientle. Just because Gary Cooper, Myrna Loy (Native Montanians), Carole Lombard, (Indiana), Clark Gable, (O-o-o-ohio!), and Robert Mitchum (Connecticut), were glamorous moviestars, in the end they were simple folk who probably just wanted a decent pork chop. At the Derby restaurants, they could do that. I wouldn't go out of my way to reinact any of these recipes unless I was babysitting a finicky toddler. All in all, this was a real page turner though and my husband enjoyed it as well.

I have a Brown Derby "LIVE AT CHARLEY BROWN'S" ink stamp in good condition from the legendary club.
This item is circa the 1960's/1970's.
Anyone interested in this item email me at rxeno@radiox.net.

A priceless photo collection of Hollywood Stars that have never been released or seen since the 1940's and 1950's. The photos are from the late Sally and Bob Cobb's personal photo collection and some photos were taken by Geroge Hurrell. The stories are captivating, heart warming and a part of Hollywood history that is a must for movie buffs and the novice a like. Clark Gable and Bob Cobb spent many years together, hunting and fishing. One night after the kitchen at the Durby was closed, Bob mixed a salad together made mostly from left overs. Since that night the famous salad has been referred to as the "Cobb Salad". The story that best describes the Cobbs is the one story about the WWII soldier..very touching! A great gift or a nice coffee table conversation item!

Anyone who is interested in old Hollywood must read this book.It is not only filled with pictures andrecipes, but nostalgia and history ofbygone days.Robert Cobb, not only owned the BrownDerby, but also owned a baseball team.The Hollywood Stars of the Pacific Coast League was in existence from 1939to 1957. The Los Angeles Dodgers cameWest in 1958 and the Stars were gone.The book was co-written by Sally Cobb,widow of the owner. Her personal thoughts and love are written throughout this book. I personally ama collector of old menu's and a historian regarding the Pacific CoastLeague. I certainly was fascinated andwrapped up in the book.

Who today could know anything about the Brown Derby restaurant and not immediately recall what generated its legendary fame? Was it the food? The service? The décor? The clientele? Of course it's a given that all these were truly exceptional, yet none adequately explains how any Tom, Dick, or Harry from Kalamazoo would be so well acquainted with the name of this particular restaurant. After all, they were not patrons. For us non-celebrities, the Brown Derby probably entered our world through the hilarious exploits of Lucille Ball in the television situation comedy "I Love Lucy" in which she starred along with husband Desi Arnaz. Who can forget Lucy's attempts to be "discovered" by a studio executive, or to get a closer look at William Holden, at the Brown Derby?

If you lived in greater Los Angeles at that time, you might have heard live KNX 1070 News Radio broadcasts at noon from the Brown Derby, and the question of the day would always be, "Tell us, George, who's at the Brown Derby today?" That was how Lucy knew which celebrities were at the Brown Derby. And, because Lucy knew, all of America knew: this Brown Derby restaurant was the stars' favorite gathering place.

So, what's the point of this review? Simply the sad fact that "George," the maître d', radio announcer, friend of Robert Cobb, and the central figure to all the famous patrons at the Brown Derby restaurant, is no where to be seen in any of the multitude of celebrity photographs in the book. It had to be the most deliberative, vexing, and laborious part of Mrs. Cobb's work in producing this incomplete book to find enough photographs that somehow did not show a trace of Mr. George Aguilera among the celebrity patrons. It was no oversight. Word is that following Mr. Cobb's death, major differences arose between the Head Waiter and Mrs. Cobb as to business practices, and that Mr. Aguilera took an uncompromising stand in favor of maintaining the renowned level of quality, rather than to expand the tourist element, and in so doing, risk losing the exceptional level of service of which he was justifiably proud to offer his friends. This book is testament to the bitter parting of ways that resulted. How ironic then, that Mr. Aguilera's face, commonly seen on Brown Derby advertising billboards that said, "Go see George...," appears nowhere in this book of photographs. Nor will you find any evidence that the man who announced to the world the presence of his famous dining guests, his friends, was ever there himself. I rate this book as missing at least one star.

The author says it himself -- he read 500 books about Hollywood, but he didn't interview anybody, as he felt that everybody had already been interviewed and nothing new would emerge. As a readable summary of other people's research, it's pretty good, and it's entertainingly written -- but I question his arrogance in assuming that he did not need to do any original legwork of his own. When he wrote this book (1986) many of the people and events were still within living memory, and the book would have been the richer and more authentic if he had talked to some of them. Even if they *have* been interviewed before.

"City of Nets" is far and away the best popular history of a Hollywood era yet written, or likely to be. Friedrich's rich, evocative overview is at once sweeping and intimate, meticulous and eminently readable, elegiac and hilarious. He captures the studio era on the cusp of a greatness largely undone by war and the elevation of mediocrity, yet limns as well the rise of the great Billy Wilder and others who would continue to nettle and challenge moviegoers -- and the movie business -- for decades to come. (Fittingly, he ends his book with the advent of Wilder's "Sunset Boulevard," the greatest satire on Hollywood ever made.) The book is a must for serious students of the movies as well as the casual reader who doesn't yet know a great deal about the subject. This is captivating stuff. I've never read a book on Hollywood I've loved more or gone back to more often.

This book is one of the reasons why I became a devoted reader of Otto Friedrich's work. Two others were his excellent series in Time about Berlin in the rise of Hitler along with "Going Crazy," a brilliant study of psychoanalysis with analyses of some interesting case histories of individuals who were treated for psychiatric difficulties. "City of Nets" explores the fabled city of lights and dreams during one of its most memorable decades. In addition to receiving all kinds of interesting tidbits about Rita Hayworth's tempestuous marriage to Orson Welles and Robert Mitchum's time spent in a California honor farm on a marijuana possession charge that would ultimately be expunged, Friedrich also provides the broader picture of a town thrown into turmoil and confusion during the period following the war.

Friedrich gives a brilliant account of the tragic blacklist period. As one who has studied this period closely as a historian, I was impressed by the breadth of the author's scope as a researcher. German playwright Bertolt Brecht is colorfully displayed. His offbeat intelligence and unconventional demeanor completely astounded House Un-American Activities Committee members as they sought to interrogate him. Long after the author of "Mother Courage", "Galileo" and many other plays had returned to his native East Germany, committee members and others were still trying to figure him out. Friedrich relates the incident when Charles Laughton threw a wild tantrum at the Coronet Theater as he was rehearsing for the Los Angeles premiere of Brecht's "Galileo." Another interesting character sketch provided by Friedrich is that of Austrian emigre Billy Wilder, who fled Hitler's Germany and became a major figure in films, first as a writer, then as a director-writer.

The anecdotes and richness of the character portraits transpose the reader back to Hollywood in the forties. As revealed, it was a truly fascinating, wildly unpredictable place during a pivotal period of American history.

More than a "portrait of Hollywood in the 1940s, "City of Nets" is a whirlwind tour of the American movie industry during its most tumultuous -and artistically successful- decade. In his forward, author Otto Friedrich describes Hollywood's golden decade as beginning in prosperity and ending with the studio system falling to anti-trust laws, audiences flocking to television, and much of the film industry's artistic talent blacklisted as the Red Scare swept the nation. And yet, during the intervening years, Hollywood produced its smartest and most iconic films ever in the greatest numbers ever. "City of Nets" covers the years 1939-1950. Unfortunately, the book says very little about the city of Hollywood, the economics of the film industry, or the social customs of its population. This is a book about Hollywood personalities of the 1940s -actors, producers, directors, writers, and composers.

I was disappointed by "City of Nets". I had hoped for more information about the city, about different strata of people in the film industry, about the realities of Hollywood social life -in other words, something I didn't already know. What I got was a book about prominent Hollywood personalities that tries to cover so much ground that it is superficial. Most of the stories lack depth or analysis. Readers already knowledgeable on the subjects will spot some inaccuracies and misleading omissions. "City of Nets" is best taken as an overview of the most notable Hollywood celebrities of the 1940s, their films, marriages, divorces, and legal problems. Among them are: Producers David O. Selznick, Howard Hughes, Jack Warner, Darryl Zanuck, and Louis B. Mayer. Actors Humphrey Bogart, Errol Flynn, Charlie Chaplin, and Rita Hayworth. Directors Orson Welles, Fritz Lang, Otto Preminger, Preston Sturges, Howard Hawks, and Billy Wilder. Writers James M. Cain, Raymond Chandler, William Faulkner, and Bertolt Brecht. Composers Igor Stravinsky and Arnold Schoenberg.

I'm giving "City of Nets" four stars because Otto Friedrich becomes more analytical in the book's final chapters, as the decade nears its close and the House Un-American Activities Committee spawns the Hollywood black list, turning an already bizarre culture of make-believe into a "nebulous world where nothing could be proved or disproved because nothing has been officially charged." "City of Nets" is also a good introduction to the personalities of 1940s cinema and how the European émigrés, the War, and partisan politics shaped the films. There is nothing here for film noir fans, as the author does not address issues of film technology, renewed interest in Freudian psychology, or the social environment that might have made audiences hungry for cynical, introverted, uneasy films. Granted, 1940s Hollywood is a subject of more breadth and depth than can be managed in one volume, but "City of Nets" isn't a social, economic, or an urban history. It's a lot of industry anecdotes strung together.

There was a land of cavaliers and studios called the 'Old Hollywood.' Here, in this pretty world, gallantry took its last bow. Here was the last ever to be seen of knights and their ladies fair, of Studio Moguls and actors. Look for it only in books, for it is no more than a dream remembered, a civilization gone with the wind."

Anyone born between 1955 and 1970 HAS GOT TO SEE Dazed and Confused.

And this book adds to the fun. Plenty of real live Mad Magazine stuff, real live ads from the time period, with a bunch of side splittingly funny made up stuff based on the characters from DAC. Enjoyed the heck out of this book. Just wish it was longer so my trip through memory lane could go on another hour or so.

Great stuff! Where's Wooderson today, by the way?

It was in a fit of Dazed And Confused mania that I purchased Richard Linklater's tie-in book to his cult classic 70s adolescence movie several years ago. At the time I basically flipped through the book and then put it aside. Until earlier today when I was going through a stack of old college texts I was planning on getting rid of and wonder of wonders came across this one mixed in among them for some reason. So I decided to take a refresher course in 70s stoner adolescence and then offer up my take on it.

What I especially liked about Dazed And Confused the movie was the way Linklater managed to sneak in some profound truths about life amidst the nostalgia. In the book, the most profound and honest part is Linklater's introduction where he writes: "Let's face it, no matter where you live no matter at what time high school is a light prison sentence to be served. Once paroled, you don't look back".

From that point on, any social observation basically goes out the window as we are treated to a crash course in all things 70s as well as stuff related to the movie itself. All of the major characters are profiled and there are excerpts of a yearbook page from the high school they attend. Although it might seem redundant to most people, die hard fans of the film should enjoy it. Pick up a copy! Also recommended -------> The Losers Club by Richard Perez, an offbeat small press novel that you will truly dig. Like far out!

ATENTION ALL D&C FANS: IF YOU DO NOT GO OUT AND GET THIS BOOK RIGHT NOW, YOU WILL NEVER KNOW THE WHOLE STORY! This book has everything, from Clint's favorite colored muscle T-shirt to Benny's beer limit. It is definantly a must for not only Dazed fans, but to any fans of the seventies!

Dazed & Confused is a classic movie about the day in the life of high schoolers in a small Texas town on last day of school in 1976. This book that is a companion to the movie is just like the movie itself: funny. Designed as part high school yearbook, part 70's era teen magazine, it is a nostalgia filled, quick and enjoyable read. There are tons of pictures (the yearbook pictures of the cast are great) and everyone of the major cast member contributes an "article" to the book. If you are a fan of the movie, then this book is a must for your collection.

Let me just start by saying that I just bought this book no more than an hour ago. As soon as I got home I picked it up and didn't put it down forr the next hour. As a huge "Dazed and Confused" fan, I was extremely happy when I saw that there was a book to go along with the movie. But the book is not just about the movie. It starts out with a great introduction by the director and writer Richard Linklater. In this intro he explains the time period, the pros and cons of the 70's, and where the idea for the movie came from. Also in the book are synopsis's of all the basic charactar (the best is Clints, the guy who beats up the nerd). This book doesn't just follow along with the movie, it is an explanation of the 1970's, I enjoyed it considering I wasn't alive yet. So if you are a hardcore fan of "Dazed and Confused" or a collector of 70's memorobilia, than you need this book.

It's fairly well written and the author you can tell has done a lot of research and field work. What throws you off at first is her dying love to Michael Moore to my opinion which is a fact that he doesn't make documentaries. The guy makes blockbuster films. I don't know, anyway, good for the entry level documentary filmaker.

In short, this book is a profoundly useful tool to help you develop your film's narrative structure (even if you don't think you need help in that department, you might be surprised by the useful tips and strategies offered here); it is worth it for that alone. The fact that it also offers in-depth advice on writing effective scripts, proposals, treatments, etc. make it impossible to resist. Clear, concise, and intelligent writing offering real-world examples from wildly diverse filmmaking approaches.

In response to the reader who says the author loves Michael Moore - I disagree. Moore is used a few times as an example but I'm guessing that's because she's guessing most people are familiar with his work. She uses him as a negative example, as well, describing how Roger & Me manipulated the chronology of events it "documented" in a way that was misleading and disingenuous.

This book was great for me as I am very new to documentary filmmaking. It was methodical but without being boring and Ms. Bernard has a very clear and deep understanding of what makes documentaries work and not work. Her experience shows throughout and having actual documentaries as reference points was tremendously helpful. I recommend this book.

This book should be in every screenwriting curriculum in America. Sheila Curran Bernard knows what she's talking about, and, unlike others in this field, she is eminently capable of conveying that knowledge in a clear, unassuming, generous manner. Five BIG stars for this excellent guidebook.

Bernard's professional expertise shines through in this unique book. The book is balanced, insightful, and thorough. Bernard examines a wide range of filmmakers, bringing a critical and perceptive eye to their work. A must read for anyone interested in learning more about storytelling, structure and other essential aspects of documentary filmmaking. A practical and readable guide that is also the perfect text for upper-level college courses. Highly recommended!

I was so excited when my package arrived and couldn't wait to open it.
What i got is an unbelievable box that holds a mass of little treasures, beginning with the little piece of Darth Vaders Cape and continuing with the book itself, the fabric samples or the also included DVD.
Everything is done with so much care for the details and you also get a certificate plus a little card with your book's collectors number. I don't regret my purchase at all. Even though it was a lot of money, it's totally worth it for every fan of the Saga who doesn't just like the ships, battles or lightsaber-fights. Also i have a little suggestion - be careful carrying it around - it is really heavy :)

Ever since I saw Episode One I have been fascinated by the costume designs of the Star Wars universe and finally here is the book that shows just how special these costumes are. With large photographs of the costumes and detailed close ups that show the attention to detail.

Finally my time in a galaxy far, far away has an end?

This book is above and beyond excellent. From the way that the book is packaged, presented and written, not to mention the tangible supplements that are exclusive to this edition - such as the cloth swatch from Darth Vader's cape - what a thrill it is to actually own something that has literally been a part of the Star Wars universe!

This book is highly informative, insightful and entertaining.
Packed full of sumptuous photographs, illustrations, fold-outs, cloth swatches and an exclusive DVD - ANYTHING a Star Wars fan or those with only a passing interest in film costuming could ever want.

This publication is a must. It is simply an absolute joy to behold and a treasure trove for one and all who read it. I'm sure it is destined to become a crown jewel in many a Star Wars fan book collection!

I cannot recommend Dressing a Galaxy enough - go buy it, and May The Force Be With You!

You can buy whatever book you want on the Star Wars films, but not having this one is a crime. Photography is amazingly clear and detailed, the inserts are awesome, and the swatches...forget about it...they are priceless.

This is, by far THE package of the Star Wars empire. Destined to be a classic and one "to die for" in the Star Wars ranks. Don't, let it pass you by.

I was beginning to think this book wouldn't come, because the release was put back twice and then it seemed to be unavailable. Well, I guess with limited editions of this price band it's understandable. I was kind of starting to not care, because at this price I was starting to think I should save my money. Then today, my other half called me at work to say this huge parcel had been delivered. Yes!
I got home an hour ago and, well, it IS huge. Extremely well packed, a box inside another box, and then the fabric-covered clamshell box with the fastended silk wrap. Lovely. I almost didn't want to unseal it any further, but carefully I did. The fresh print smell hit me first, and within seconds I got a headache from it. Opening the box gave me that geeky excitement I haven't had since, I don't know when. I'd made sure to wash my hands first. Then I opened it. The book is outwardly the same as the regular version, set into the right-hand side of the clamshell with a red silk pull underneath to help lift it out. On the other side, there was the replica wookie belt buckle, a certificate of authenticity, a companion DVD, and a special sealed sample of Vader's cloak fabric. All looked pretty good.

I lifted out the book with the pull, and noticed it's thicker than the regular version, with lots of the special inserts I'd read about. Nice and weighty, I put it aside, because underneath is a gatefold supplement containing a dozen or more fabric samples from the costumes pictured next to them. Lovely. Really lovely. And then, underneath that, a thicker booklet showcasing digital creatures from the prequels and their costumes. I then opened the main book to find the limited edition number. There are 2,500 of these books, and I got number 2,479. I think I was lucky getting this!

So often these collectors pieces are disappointing, but I have to be completely honest with this. It's a beautiful book, and I haven't even started reading it yet, which isn't going to make a lot of difference because of the quality of the whole package. If you can get hold of a copy, do it. I know it's pricey, but you'll get over that soon enough, and you'll have what I think is one of the best pieces of Star Wars memorabilia ever made.

I found this book to be really helpful when I started using FCP. Everything was written in a manner that was easy to understand, it also contains everything you can do with the program. The instructions include editing, tools usage, transitions, capturing, etc...The book is thorough and the author isn't boring, which is great since there's a lot to remember!

This book is well organized and easy for folks new to FCP. It has the basics and some advanced features. I had to learn FCP quickly as I was responsible for making my son's varsity basketball highlights video. The book covered file organization, how to insert video and stills into the timeline, add audio, make special scenes of B&W to color, slow motion, transitions, credits, and export the movie. The video was a hit. It was very gratifying to see the kids and parents reaction.

Clear, precise and comprehensive. I found the exercises and tutorials well-conceived and appropriately entertaining. This text and DVD companion (tutorials) made learning a software, especially one as technically complex as FCP, a wonderful experience.

I was editing with FCP in under a week with the help of this book!

I used to think the Apple training books were the best, but the HOT (Hands On Training) books, especially those authored by Larry Jordan, are even better. Mr. Jordan explains everything with such ease that it put other authors to shame. And the graphic design and layout of the book, coupled with the use of color in just the right places and a very legible typeface, makes reading these books a joy. Yeah, that's right...a joy to read a 'how-to' book. Who would have thought?

I'd give this 6 stars if I could, just to send a signal to other 'how-to' authors and publishers that this is HOW IT'S DONE.

Summary: A fine companion for the beginner or intermediate Final Cut Pro 5 user.

The Book:
Final Cut Pro (FCP) is a complex swiss army knife of an edit program and can be very intimidating to a beginner. There seems to be way too many layers, windows and other sharp objects on which to cut yourself. But once you appreciate its potential, you will put imovie in your old cigar box of treasures and only bring it out to share with the grandkids.

This book guides you through the maze with agility and style. The author, Larry Jordan, is an Apple Certified Trainer who specializes in FCP and DVD Studio Pro. He is a veteran producer, director, and editor of corporate and network programs. He prides himself as a teacher and it shows in the more than 70 step-by-step Final Cut tutorials and fourteen quicktime movies. He has refined his teaching in his workshops and takes pride in presenting the information in a friendly, organized manner. Larry seems to be one of those tireless types. I'll leave it at that.

The book is part of a H.O.T. (Hands On Training) series presented by publisher lynda.com/books. The founder, Lynda Weinman, a web graphics and design veteran, wrote the very first industry book on web design, Designing Web Graphics, way back in 1995.

"The best tip in the book is that FCP gives you lots of different ways to accomplish the same task... just learn the ones that make you productive so you can forget about how the tool works and concentrate on telling your stories."
Larry Jordan

The book's chapters walk you through the entire process, from organizing and editing to outputting your project. The title page of each chapter shows a table of exercises and a summary of what you'll learn. You follow along with each exercise with the FCP project files and media located on the companion DVD-ROM. Each chapter closes with a list of helpful keyboard shortcuts and a summary of what was covered.

Throughout the book are shaded boxes and pointers identifying features that are new to FCP 5, power tips, warnings, etc. The graphic design, layout, paper texture, etc., are all very pleasing and evoke the attention to detail found in every aspect of the book.

Also on the companion DVD are the fourteen movies of Larry talking us through various aspects FCP, including capturing media, filters and multi-clip editing. Each one is about fifteen minutes and all are helpful in grasping some of the more complex features of FCP. One of the movies I especially liked was Larry's demonstration of slip/slide and ripple/roll edit features. His description helps differentiate the tools and describes when to use each.

Even though there are brief exercises on bringing files into Soundtrack Pro and LiveType, the 478 page book deals only with FCP not the other applications found in Final Cut Suite.

This book is for beginner and intermediate users of FCP. It provides a solid foundation and fills in a lot of holes if you're self-taught. It is written as if you are attending one of Larry's classes, very conversational and punctuated with his opinions and personal preferences. If you like his style, you'll like the book.

I highly recommend Final Cut Pro 5 Hands-On Training to anyone wanting to learn Final Cut Pro.

PRO: Best book I've seen for beginning FCP training. A treasure.

CON: Who has time to go through it all, plus the movies. Just have to pace yourself.
NOTE: This is written my Jim Jewell and I'm posting it

the guide helped me alot with the game and also has greatly detailed maps

the guide helped me alot with the game and also has greatly detailed maps

the guide helped me alot with the game and also has greatly detailed maps

the guide helped me alot with the game and also has greatly detailed maps

the guide helped me alot with the game and also has greatly detailed maps

Great book. Great detail.A must for anyone who has seen the film. Gives you a 100% more info and detail.

Turning dense, non fiction material such as Nick Pileggi's 1985 best seller "Wiseguy," into a cohesive screenplay is no easy task, but Pileggi and the brilliant Martin Scorsese pulled it off beautifully in 1990 with the script for "Goodfellas"

"Goodfellas" remains America's penultimate crime film; the "Godfather" is Hollywood's version of what wiseguys are like; "Goodfellas" depicts them as how they really are.

This Faber paperback edition of the screenplay, with a foreward by David Thompson ("Scorsese on Scorses") reproduces all of the dialouge verbatim (including the scenes that were improvised on the set such as the famous "what's so funnny about me" sequence between Joe Pesci and Ray Liotta).

The book serves as both as written testamint to what great movie making is all about and as a primer for budding screenwriters.

As a bonus, there is a listing of all the music Scorcese used on the soundtrack (no small part of what made the movie a classic),including those selections that were unfortunately deleted from the commercial issue on Atlantic records).

As Joe Pesci's character might say--"this is one great -------book!"

Though Nicholas Pileggi's source book, Wise Guy, gave this screenplay both its voice-over and its final conclusion, the screenplay to GoodFellas is an essential addition to any screenplay library. If not for the fact that Pileggi and Martin Scorsese have pulled off the mammoth task of interpreting the detailed-packed, wide-scoped vision of the book into cinema-speak, then for the writing itself. GoodFellas is a screenplay that can be read as entertainment -- fast-paced, crisp, clear, and exciting. The published version of this script is mostly in master-scene form, giving only the most evocative details, beautifully paced. This is one of the crowning entries in Faber and Faber's superb screenplay series, ranking right up there along Paul Schrader's Taxi Driver and Odets/Lehmann's for Sweet Smell of Success. To any upstart screenwriter or serious student of film, this series is invaluable.

Sure, if you're not into the film "Goodfellas" that much or if you don't care for screenplays, then chances are that this would be rather worthless to you. Might as well find something else to buy, because this isn't going to do anything for you.

But, if you DO love the film and would like to read the screenplay, then this is just the thing for you. Written by Martin Scorsese and Nicholas Pileggi, "Goodfellas" is an amazing script that sucks you in right away.

Henry Hill has always wanted to be gangster, as he states in the very beginning of the film. This is his story of how he became one and everything he had witnessed and experienced. It's a tragic story of how good things always have to come to an end. It's also about how power and money can grab hold of your life until it's too late to turn back. A tale full of crime, murder, paranoia, and greed, "Goodfellas" is a trip down Mafia Lane that you will never forget. This is Mr. Hill's story.

The script is based on Nicholas Pileggi's novel, "Wise Guys," which is also based on a true story. The dialogue is sharp and very realistic and gives us a window into the lives of people in the Mafia. It is a very quick read, only about 130 pages. That's pretty short, considering that the movie was at least 2 and a half hours long. But, it's just dialogue, which is why it is very easy to read it quickly. I finished it in less than a day.

If you love the film "Goodfellas," and are interested in reading screenplays, then this is the perfect book for you. Here's your chance to relive some of your favorite moments, this time in writing. A very fine screenplay, it is.

Martin Scorsese's "Goodfellas" is, hands down, the best gangster film ever made. "The Godfather" created the mythical imagery of mob families that was forever buried by this gutty, bloody real life drama. Based upon the true story as told by the film's main character, Henry Hill, "Goodfellas is the best filmed example of the real life glamour and woekmanlike drudgery that goes with being a wiseguy. It is difficult to imagine a show like "The Sopranos," for example, had not "Goodfellas" reinvented the gangster film genre.

Ray Liotta is excellent as Henry, but the movie's real showcases are the performances of Joe Pesci and Robert DiNiro as his partners in crime. Pesci in particular gives a tour de force performance that is downright frightening. Other first rate performances come from Lorraine Bracco as Henry's Jewish wife and Paul Sorvino, whose performance as a real life Godfather could not be more different than Marlon Brando's.

This film is a must see for anyone who enjoys gangster movies. It also has to rank as THE best American movie of the 1990s.

This is a very nice reference work for image processing professionals. It is a collection of articles by various experts in aspects of image processing, reporting on the state-of-the-art in their particular domains. The coverage is broad and deep. However, it is not for everyone. The writing style is that of a refereed journal. If you are not comfortable with that style of exposition, or if you are simply trying to find a snippet of code to implement a particular algorithm, this is not the book for you. At the other extreme, do not expect to find new and startling insights into the field that you did your dissertation on. However, if you want to understand the current state of the art of a colleague's field, or if you need to expand your expertise into a new area of image processing, this is a very good place to start.

This is an encyclopedia of image processing topics. It contains some introductory material to help people understand what images are and how to process them. The majority of the text, however, is for experienced people wanting to look up topics.

This book is big. It is about 8"x11" by 900 pages. It contains material from 100 different professionals on 50 different topics.

The style is academic. The editor is the editor of the IEEE Transactions on Image Processing. The page style is similar to what you would see in an IEEE Transaction.

There is plenty of math. The text explains the mathematics, but not to the depth I would like to see.

The authors illustrate the techniques with many images. If there are no "before and after" images in an image processing book, reject it. Well, this book has plenty of images. That is a strong point.

A week point is there is no source code illustrating the techniques and algorithms. I find this a major weakness, but one that is not unique to this book.

The authors leave much to the reader. This is not a read from cover to cover book. The reader must go slow, take notes, study, and read again to understand the material.

All in all, this is a good source of knowledge on image processing. If you work with images and write software to process images, you should have this book on your desk.

This is the book to have on the subject! It covers almost any aspect that you can think of in image/video processing. This is a MATH intensive book and it will not tell you how to directly implement any of its concepts in code. The author assumes that the reader will be able to do this on there own. Topics are very well explained, but sometimes I needed to reread a topic 3 or 4 times and go over the math a couple times to fully understand. Great book to have as an encyclopedia like resource on the shelf.

There is a 2nd edition of this book that was published in July 2005, so all reviews earlier than that are referring to the first edition. Regardless, the second edition of this book is just as good as the first. There are many texts that do a good job of covering image processing, but few do such a good job of covering all of the aspects of video processing - motion detection and estimation, video enhancement and restoration, and video segmentation. There is an entire section on video compression which discusses the H.261 standard, wavelets and video compression, object-based video coding, and the various MPEG standards. There are also articles on video indexing and retrieval and a unified framework for video browsing and retrieval.
In the area of image processing, there is much good information here, but the basics are better explained in "Digital Image Processing" by Gonzales and Woods. Once you master that book, this makes a good secondary reference on image processing. Although this book does go over some image processing basics, it is better at explaining more advanced concepts such as multiframe image restoration, wavelet denoising, 3D shape reconstruction from multiple views, and statistical methods for image segmentation. There are many bad books out there that are collections of articles, but don't let that scare you off. This really is a collection of very good articles published together in a coherent fashion.
There are plenty of equations, example images, and instructive figures in the articles to help explain each concept. Highly recommended.

This book is just GREAT.
It covers almost every single ascpect of image and video processing. Everything is in deep and very good explained. A lot of before-and-after example pictures (important ones in color) are provided too. But beware. You need a fairly good understanding of math to read the book. It is not intended to explain how to use Photoshop, but rather how to write your own ;-)
This book is not a read-along book. Sometimes you have to read a section 2 or 3 times to understand it.
I think sometimes a good Snippet of C-Code would help to understand, but this is acceptable.
Again: A outstanding book, which fully covers all my needs.
The price of 100 us$ is ok, because it's a lot of a book...

"How to Write a Screenplay" is a superb guide to the craft of cinematic storytelling and the process of rendering that story into the standard screenplay format. The book also includes detailed guidance on the pitch and development stages of the screenwriting process. Schwartz effectively delivers his lessons because "How to Write a Screenplay" seamlessly marries form and function. The book itself is in the form of a screenplay, and therefore serves as an ongoing example of the points it presents. This is an extremely effective pedagogical approach because the reader's attention is not divided between separate narrative text and examples, but fully engaged at any moment in an interesting story that illustrates its points in concrete terms.

In the introduction to his book, Schwartz states he has seen the quality of his screenwriting students' work dramatically improve after utilizing this approach; I have no doubt that this has been true for him, and will also apply to those who read his excellent book.

This is by far and away the best book I've read on screenwriting. It's really insightful, informative, and entertaining. I found myself laughing while learning! As others have noted, this clever little gem is a fast and fun read, a how-to book that is actually written in the form of a character and story-driven screenplay. Like a good movie, I kept turning the pages, wanting to "see" what would happen next. Before you get to the feature length screenplay (titled Screenwriting for the Hell of It!),it has a funny short script about pitching, and takes you by example through the steps of development. I can see why a great director like Wes Craven recommends it. Very cool!

The latest edition of HOW TO WRITE: A SCREENPLAY appears in its revised, expanded edition to add a chapter on 'The Pitch' and features a screenplay-like format which sets it apart from others on the market. Danny, the hero in this story, is hopelessly in love with a star who won't date him until he proves he can write an outstanding screenplay for her. Learn the basics of writing and marketing a screenplay through a format that lends to lively insights: perfect for any public library or school collection catering to aspiring screenwriters.

Diane C. Donovan
California Bookwatch

The addition of a section on "pitching" in Mr. Schwartz' Second Edition is the icing on the cake of his excellent guide to screenwriting. Having worked inside the studio system for several decades as a story analyst, development executive, and producer, I've seen many cases where a screenwriter had a good story and/or script but failed to sell it because he/she blew the "pitch." As he did with screenwriting in the First Edition, Mr. Schwartz provides the keys to successful "pitching" in his user-friendly format: keep it simple, clear and entertaining. I will continue to recommend Mr. Schwartz' book to writers, producers and development execs as a very useful tool in developing, and NOW in selling screenplays.

In summary, like a good movie, this is highly entertaining and educational!
There, now that that is out of the way, let me say I was initially skeptical about this book and its overwhelmingly good reviews. The reason is a character flaw (I think): I don't trust positivity.

However, it wasn't too expensive and Amazon would ship it to me in record time so I thought, what the heck and ordered it. It's a small book, and I was expecting it to be. After all, it's in the format of a screenplay and those shouldn't be more than 120 pages or so, right?

On starting to read, straightaway, I was hooked. The story used is a bit corny, but--I couldn't believe it!--I wanted to know more: what did Virgil want? Who was the stranger in Bebe's apartment? Does Danny finish the screenplay? And right along with all that, I was actually learning about structure, character, theme, dialog and exposition; all in a way I never would have thought possible.

And at a speed I never thought possible either! I was learning how to write a screenplay and how to make it interesting and watchable, without the impediment of translating jargon and quasi-indecipherable jibber jabber. I blew through it in less than two hours and I thoroughly enjoyed every minute. One of my highest recommendations and kudos to the author for finding a pleasant, funny, and incredibly insightful way of transferring knowledge.