Video Books

This book was interesting. It told of a lot of elements in the Phantom Menace movie like biographies of Anakin, Padme, and Darth Maul. It also went way beyond the movie and talked about things not mentioned in the movie. From shortened biographies on the Jedi Council members to looking inside a battle droid's head, this book has everything any Star Wars fan would ever want. The photography is great and the pictures are labeled showing a lot of the parts of machines and lightsabers. This book is the bomb.

The Star Wars Episode I- The Visual Dictionary is great. It has amazing facts about Star Wars episode I such as all of the members of the Jedi High Council (which I was amazed to find out that there is another one of Yoda's species on it, and her name is Yaddle, and she is young at 477), the species, name, and personalaty of the Trade Fedration leaders, every last detail of a Battle Droid and Droideka, Queen Amidala's dresses and makeup and the reasons she wears them, the sea monsters of Naboo, Gungan warfare, why Jar Jar was banished, Qui-Gon, Obi-Wan, Mace, and Yoda's lightsabers, the Queen's handmaidens, Darth Maul's double-bladed lightsaber and speeder, and much more!

This is a great book and will provide hours of fun for any Star Wars fan (at least, it did (and still does) for me).

This book likewise its similar for the classic Trilogy, is a good buy for a Star Wars Fan. Depicts everything that appears in the movie, except the starships, the only thing I missed, but it is not a major problem.

We have a 4 1/2 year old daughter obsessed with the Star Wars girls (Shaak Ti in particular) and this is good because it tells all about the different charachters, places, vehicles and robots of the movie in easy to understand, yet complete language.

Very good for the little Star Wars fan or anyone who would like to go a little deeper, but not THAT deep.

Bought this book along with Star Wars Episode II: Attack of the Clones, also by David Reynolds. The pages are falling out of both books. I've had this problem with a few DK books, even the children's books. The older DK books are more sturdy. I give this item only 3 stars, and only because of the content. A book with missing pages doesn't get 5 stars.

If you have any interest in human behavior, this is a must read. It is a true story of a man who has to overcome so much to succeed. The challenges he faces are so harsh, as he struggles through life as a foster child.

the ending made me switch to 5. I liked the happy ending. I think what made it kinda bad for me reading this one was that I saw the movie first. So while reading I kept trying to copy parts to scenes in the movie.

What makes this book great for me is the fact that it's written by a black man about his troubled life. Most black men won't even tell the people close in their lives things like this let alone write a story for the world to read.

End child abuse today.

This is an awe inspiring piece of literary work. The narrative from the beginning inspires the reader and allows almost a walk-along journey into the author's life and the actual steps that he took. The movie was good in its setting and up to date account of a life in the 60's. The book adds so much story that went untold in the movie and is that much more moving. Antwone Fisher writes as if he has been doing this since a child.

The novel Finding Fish by Antwone Fisher is a very good book. The book is far better than the movie and i reccomend it to all. It entails his life as well as select readings from his poetry. It is a a story of struggle and beating the odds to become a success

Antwone Fisher is a child who lives from horrible foster home to ghastly foster home and eventually, almost by accident chooses a life that saves him. For someone who cannot have children - I was crushed by the neglect and abuse this poor child suffers by people whose view of children is either as a burden or cash cow. It is not a small miracle that this human being reached adulthood without having killed himself or become a victim of what our society foists upon poor black men.

Although Fish has so much going against him, his ability to keep some semblance of balance inside himself eventually saves him. The tales of his childhood are almost too much to bear, but you will keep reading because you know that it turns out, you are cheered when he is dumped by his foster mother (who insisted he was evil and therefore deserved the horrible treatment he receives, including a denial of Christmas gifts), and you are gripped when he seems to find himself on the streets without a home or a way to make a living. He eventually joins the Navy - which saves him, providing him with the structure he needs to grow into an adult. He has to spend sometime in the military learning to manage his (completely understandable) anger, and he is bright enough to learn how to do that. Lastly, when he is reunited with the family of his mother (who gave birth to him in prison) I had a sigh of relief for the closure this provided him.

Even though this book is hard to read because of the pain that this child suffers, it is a gripping and extremely well written autobiography and is worth every page. We should all spend more time concerned about what really happens to the unwanted children in our country.

Thank you MR. Simens... I have read many a film production book. None of them compare to this one. This book is clear and the most organized piece of work I have yet to come across. He speaks in terms that is easy to follow and understand, with a large dose of reality. Reality that can get your movie made. He wants you to do it. He has made your production list for you. No need for other books (money saved). Please, if you have read thus far and have not purchased this book, do so now. You will not be dissapointed... And for the expert(s) (with the three stars or less) Get real. Swallow your pride. This book is perfect. Mr. Simens knows what he is talking/writing about. EVERYTHING you need to succeed is right here. Get your first movie off of the ground, then go from there. Again, Thank you Mr. Simens.

I reference this book all the time. From Reel to Deal cuts to the chase and offers no bull. It is an easy read and loaded full of practical and useful information. I have produced eight short films in four years and currently preparing for my first feature-film. Dov's book it geared for those making a feature-film but useful for shorts as well. I always recommend From Reel to Deal to any filmmaker who has not read it already. Do yourself a favor and buy or borrow this book. It is a must-read for filmmakers, or as Dov's says PRODUCERS.

I've wanted to take one of Dov's workshops but they're never close to where I live so I bought this book which I like. However, with a copyright of 2005 I would have thought it would have more web information (urls, etc) in it. I suspect most of the information was compiled before the web got popular which has been a while. Oh well. I emailed Dov last year too and nobody bothered to reply. Still, for the price, very good info.

One of the best books I've read on the motion picture industry.
You could not learn more spending 4 years at UCLA Film School.
Now I watch movies with a different perspective.

I've read every book on Independent Filmmaking that I can get my hands on and this one book has more useful information than all of the others combined. I'm now shooting my forth feature length film and if I'd had this book before shooting the first three I'd be a lot better off today!

Mr. Nerd is apparently illiterate; though Simens does use a million dollar budget as an example of how to allocate your funds as he goes through all of the steps, this book absolutely does address budgets of every size from ten million dollars right down to your five thousand dollar digital feature for the Direct To Video market. I really don't see how anybody who had actually read the book could possibly miss this as the various budget constraints are addressed in almost every chapter as he takes you through the steps. In fact, he even outlines a method for shooting a feature length, 35 millimeter film on a five thousand dollar budget.

The two chapters on screenplay writing have more useful information than any book that I've read on screenplay writing and applying these techniques to my latest screenplay has resulted in the best work that I've ever done! That's one of the beautiful things about this book; Simens is not an egocentric, long winded babbler. He gives you just what you need to know and how to go about it.

This is the first book I've read that actually has useful information on things like fund raising and distribution options and how you might avoid getting ripped off... something that happens to so many of us aspiring filmmakers all the time.

I could probably write twenty pages about why this is the best filmmaking book ever written, but I will just say that every single page is packed with valuable, useful, practical information that actually makes sense.

Anyone who is seriously considering producing or directing a feature film, or even a short for that matter, needs to read this book three times, then use it as a reference when you start filming.

Begnini's account of a father who makes the ultimate sacrifice for his son is beautiful, touching, and, at times, comedic. Family Pick.

Life Is Beautiful the movie concerns the triumph of the human spirit over the horrors and attracities committed against the european jews during the holocaust. It shows the extraordinary lengths that people will go to protect the ones they love. Although the film is set during the holocaust, the film is about compassion and love and desperate forcade one man must invent to firstly protect his son and secondly spare his mental anguish. As a result of having watched this film, I have realised that life is precious and life can be a living hell. Somehow though, life is still beautiful.

One has to admit, Miramax makes a lot of darn good movies, from SLING BLADE to GOOD WILL HUNTING. LIFE IS BEAUTIFUL is another great movie. In fact, LIFE IS BEAUTIFUL is one of the best movies of 1998. However, this is not the movie. This is only the screenplay. Sure you have all the lines that are in the film and a few pictures, but that's it. Frankly, if you haven't seen the film, I wouldn't recommend you reading or buying this: the words on a printed page are nothing like the movie. However, if you've seen the film you're probably a fan and it might be worth your while.

Guido, the central character in Life is Beautiful, is one of the most poignant characters in literature. He chooses to create an illusionary world for his son so that Giosue will survive the horrific conditions in a concentration camp. It becomes clear to the reader that Guido makes a decision as soon as he and Giouse are taken to the camp that he will, if necessary, go so far as to sacrifice his own life for his son's strength and survival. The theme of unconditional love transcending pain, horror, and incomprehensible ignorance is the ultimate message of the book. And, if anything, the reader empathizes even more with victims of the Holocaust because of Guido's presentation of his experiences. There is no "making fun" of the Holocaust in this book; there is only a celebration of love and the beauty of life. Everyone should read it and watch the movie!

This is an insult to the intelligence of anyone that has any knowledge of the history of WW2 and the events of the Holocaust. I guess the allied forces should have invaded Normandy with a bunch of pies, rubber noses and floppy shoes. Sometimes clowns simply don't have a role to play and this is one of those situations. Benigni bringing up the name of Primo Levi was an insult to all of Levi's philosophical attempts to explain what happened to him and Europe's Jews.

I am a 3d professional artist for a long time, I have to say I have read hundreds of books, watched hours of training videos, read pages of internet tutorials anything related to 3d animation. No other training material comes even close to things I have learned reading this book. It is a treasure that you have to keep somewhere close to your desk as a reference, whether you are modeling a character head, building blend shapes or rigging . I have used the techniques successfully in many projects. I thank Jason Osipa for writing this book and for teaching me how to build superior 3D characters. This is my second SS book, I also have the first edition. This 2nd edition is a lot different then the first.

I hate to say this, but didn't learn much more than which I had already been able to get from online tutorials and forums.

Stop Staring: Facial Modeling and Animation Done RightThis book is a very good resource for computer animators.

Have you ever worked with a facial rig that was based on a set of sliders in the viewport? Many of the most popular free rigs use that method these days. Well guess what -- it's sometimes called "the Osipa method," and it was popularized by the first edition of this book.

As a novice character rigger, this book opened my eyes to an entirely new way of looking at facial modeling, rigging, and animation. I can not recommend it highly enough. These days when I create a character, I always have two books within quick reach: The Art of Rigging (by CG Toolkit, only available from their website) and Stop Staring.

I am a professional 3D character artist and I own a previos version of this book.
I am using Jason Osipa's method of facial set-up for all my characters, for animated film and games. Not only it is the system that's easy to use and understand, but it produces very attractive and believable facial expressions. I would recommend this book to anyone who ever touches digital characters, but especially to 3D modelers and riggers.

The photos here are lovingly chosen by her son, and the entire book is an absolute joy.

This book was pleasant and thoughtful, as is its subject. Though admittedly the writing was far less enchanting than I would have expected; I like to think it was kept simple to further emphasize the simplicity and sincerity of Audrey herself. This book did not add any revelation for the reader about her life; but instead, allowed for a glance at Audrey Hepburn's everyday existence. I was constantly amazed at how strong and genuine her character when faced with life's sometimes complicated decisions. This book shows Audrey as a person who effortlessly put others before herself, and seemed to never question her sense of what is right.

Even the idea of such simplicity has become a fairytale in our lives, and it is so refreshing to read about someone who was capable of remaining so solidly pure, that I cannot help but read a little more. One need only look to her work with UNICEF to know how first-rate she truly was.

She has allways been one of my favorite stars.The book has a beautifull
lay-out and is a pleasure to read.Lots of photographs never seen before
and beautifull passages about her work for Unicef and what a wonderful mother she was.I can highly recommend this book.

Bought this as a gift for my daughter as she is a fan and thought that the personal insights were revealing and poignant.

I love everything about this book. I like the photos. I like the interesting story. And how Mr. Sean Hepburn Ferrer includes a reproduction of Audrey's birth certificate. Obviously, this is a
well-documented book. Authentic and sincere. I wish Mr. Ferrer had chosen a more stunning photo for the cover. The cover is kind of blurry and not very focussed I love black and white photos Colored ones are nice too but not blurry, indistinct ones.

I highly recommend this book. It has helped write the Different Flags screenplay. Eugenia RenskoffDifferent Flags

So far the best and complete guide for screenplay that I've read. Very useful for those who wants to start writing a screenplay. I recommend it.

This books is very well written and has loads of information for the beginning screen writer such as myself. The author takes a chronological step by step approach as to how to get started and the proper format for a screenplay. The only thing I'm sort of ad odds with is that the author doesn't say much as to how in the world you get an agent to just read your script, let alone representing you. He sort of glosses over that problem and a real problem it is. I personally have been sending out query letters since February of this year and have received only "polite" rejection form letters or no responses at all. I've even sent out "follow up" queries and still no responses. I assume that agents need postage stamps, they've obviously kept the ones that I've included for return postage, or that in order to get ANYTHING read and actually produced, you have to know someone personally in the business. Don't quit your day jobs and think that you're going to sell a story. It's next impossible, as I've unfortunately realized. You would assume that it's not really that difficult given all the "schlock" that IS produced. Case in point: an independent film maker made a film this last year about zombies attacking a small town and it cost him about $30,000 to make. He released it and it made over $35,000,000 in one weekend! Out grossing the three main stream releases put together! Go figure. Never the less, this book is a good fundamental but just don't depend on it too much as gospel. Keep writing, keep looking for an agent but also keep/find a regular job in the meantime.

Unless you enjoy battering your head against the wall, read Keane's book before embarking on your project. Soup to nuts and three desserts - he gives the reader everything.

As Chance the Gardener says in BEING THERE, "I like to watch." As one who also likes to watch, this 'blockbuster release' time of year always makes me wonder....Could I do 'that'? Just how hard is it to do 'that.? 'That' being writing a screenplay and whatever comes after. A mystery to most of us watchers. This time I decided to seek answers to these questions. I naturally sought a book, which, for this quest, is Christopher Keane's HOW TO WRITE A SELLING SCREENPLAY.
CASABLANCA screenwriter Julius Epstein's foreword to this book closes with, 'Good luck and welcome to the terrible, wonderful world of screenwriting.' Why terrible/wonderful? By the time I finished this book, that was crystal clear. I learned that this pursuit isn't for the faint of heart or the thin-skinned. Screenwriting is demanding. It's daunting. It requires utter focus. It's frustrating. It's exciting. It's lonely. It's rewarding. There are lots of rules....There are no rules...
In this informative, engaging primer one can learn these rules and gain valuable insights into the wild and crazy film business itself. You might learn from this book that your idea is better suited for a play. Or a novel. Or a TV series. It's just as important to know what isn't a good screenplay idea as what is. Saves time! Throughout, I found that this book teaches about writing in the larger sense as well as screenwriting in particular. Chris Keane walks us through the many facets of this discipline that comprise the whole; the all-important story, character, plot, structure, dialogue, format, collaboration and re-write among them. He illuminates all of these aspects with references to specific films. And the book is peppered with personal anecdotes from the author's career. I found these to be invaluable insights. And one learns that once the screenplay is finished, the real work begins. This book will be helpful in the vital hunt for an agent, a key piece of the process puzzle.
I particularly like that this isn't an 'Ivory Tower Theory' book. Though Mr. Keane teaches this art, he also does it. And he has written novels and written for TV. As it's said today, he's been there-done that. I trust and respect this experience above all.
Whether you want to be a Chance the Gardener and 'just watch,' or you want to try actually writing a screenplay, I suggest you have Christopher Keane's book by your side. It's a helpful tool, seems to me. The more we know about the film process the better the 'watching' or 'doing' will be. This book will enhance the watching experience and make the 'doing' more manageable.
I've been trying to come up with a logline for this book....So far? 'The Hitchhikers Guide to the make believe.' Logline? Very important. See HOW TO WRITE A SELLING SCREENPLAY, Chapter 5.....

Much has already been said about the quality of the book. I personally find that the book is a due tribute. I also must say that I have not found something on Kubrick of comparable depth.

On the content side, I would have liked to see more info on the projects that were not realized, especially on "Napoleon". And I didn't find a lot of value on the CD, since it's a spoken track instead of some audiovisual material. Nevertheless, as I said before, I haven't been able to find anything comparable to this book on Kubrick. The written material is of excellent quality, as are the pictures and graphics.

I see that Taschen is issuing a new version for it's 25th anniversary. As I understand it, it will be out on Oct/2008.

In conclusion, I am the proud and happy owner of an excellent piece of work.

I have been a Kubrick fan since I was 7 and saw "Paths of Glory" - it was the only film I ever saw that I NEEDED to know who directed it, and, what other movies of his were out there. That was 30 years ago, and I still keep all his films seperate from anything else in my collection! This book is simply INCREDIBLE! Buy it if you can.....no true Kubrick fan should be without this......it is MIND BLOWING! A true work of art covering the work of a true artist. We will not see Stanley's talent and caliber in any other film maker, at least not in my lifetime. Bravo, Stanley!

If it wasn't for its hefty weight, the book is one of the items I'd take with me if my house was on fire - without hesitation. I can't even imagine how long it took for the Taschen team to assemble this incredible book; it tries to do justice to recollect Kubrick's body of work in the form of a portable archive. Seeing this book in person is an experience in itself. The conceptual design is simply impressive: details like the texture of the binding mimicking that of a real archive is a start.

A CD of a rare uncut interview with Stanley Kubrick included in the book is a real gem. The interview takes place during Kubrick's career in its earlier years, and it provides an insight of the director that no other text interview has been able to accomplish - precisely for the reason that you hear Kubrick's voice and his unfiltered opinions. Then, of course, you have a piece of 2001's film strip as an added bonus. It's just too much for a book! And I say that gratefully.

The first part of the book is filled with glossy stills of all the films made by Kubrick. It's nice, and glossy, but the real reason I purchased this book is for part two.

Part two, or "The Creative Process", is filled with a lot of archival materials for each of Kubrick's films - especially pre-production materials: production notes, correspondences, and etc. You learn a lot about how Kubrick prepares for his films by seeing just a tiny fraction (undoubtedly) of what he does before he actually goes into production - it is one of the reasons that explain the long intervals between the director's releases. In addition, the book has an extensive collection of interviews with the director from various sources. But it is little treasures like the former that make this book special.

If you are a serious fan of the master director that is Stanley Kubrick, this is the next thing to have in your possession after the DVDs. Taschen made a serious effort in paying homage to Kubrick's work as a book publisher, and they have succeeded. They could've made a lazy effort in disguise to simply profit off of Kubrick's name, but they didn't, and for that they have my respect.

Amazon now has this book available for pre-order for an October 1, 2008 release date, for $44.10 from a $70 retail cost. Look under 'The Stanley Kubrick Archives [ILLUSTRATED] (Hardcover)'. I would like information on book dimensions as the first print run was on average 40 by 30cm.

Lucky me! I scored a copy of this and I have to say it is the best book on a film artist I've ever seen. The previous reviewers weren't kidding--this thing is huge! Too large and heavy to be read anywhere but on a large flat surface, but that's not a complaint, unless you're lugging it across an airport like I did.

A spectacular book that you'll refer to repeatedly. I pored over it for hours. The first half is devoted to an incredible array of pristine stills from each film. The second half is focused on every film with a plethora of on-set photos and interviews with cast & crew. The book is helpfully tabbed by film.

A stunning look into one of the greatest of all filmmakers. So well designed that my friends were awed by its beauty. And that 70MM film strip--holy cow! IMHO, it's worth the price for just for that.

This is an excellent book. It was recommended to me by a friend and worth every penny. Extremely motivating. I have two other books in the series that I enjoy just as much.

If you're looking for more of a closeness and intimacy with the Lord, this is a good book to read. I also recommend the power of a praying wife.

I cannot recommend this book enough. I have had it for two years and I'm STILL reading it and praying the prayers almost every week! Stormie's story is so inspiring and will bring hope to anyone in any situation. I have so much respect for her and her writing because of the suffering she went through in the first part of her life (before she knew God). This book has been life-changing for me and I whole-heartedly encourage you to read it!

Good study to help get you praying. Great for fans of the Power of the Praying... books.

This book has helped me grow as a praying woman. It does a great job explaining things like true repentence, sin, letting go of your past, etc. I have enjoyed reading this book and I refer back to it in my times of need.

A good film comes at you slowly, like a work of art, creeping into your soul through metaphors and meditation. That is how Suber's THE POWER OF FILM comes at you. Start anywhere and read a little or as much as you want, in small bites. Then stop and meditate on what you just read. Better yet, think of the film you're working on or just watched, and note in the wide margins what you now understand anew. A good scene in a good film should be watched time and again. Each page of this book is like a good scene. Underline it, mark it up -- and then, later, read it again, and add to your discovery of why film is so powerful.

Howard Suber is a legendary film educator at UCLA, and has taught dozens of courses on every aspect of filmmaking (except for animation). In The Power of Film, he commits his wisdom to paper, gathered over many decades of teaching.
The Power of Film is not a how-to book or theoretical treatise, however. Rather, it is a lexicon of movie storytelling concepts. The topics range from Accidents to Writing What You Know, and cover such things as the most important word in storytelling (it's `but'), the `real' American religion (individualism), the characteristics of the Hero (someone outside of society who sacrifices personal happiness and contentment for the greater good or goal) and whether happy endings are really mandatory. Suber also talks about genres (the essential characteristics of each), dramatic structure (some), and specific narrative tools such as the Macguffin. Throughout the book the emphasis is squarely on the mainstream American film, so you will be able to find many exceptions to the `rules' Suber mentions here, though `rules' isn't the right word. Rather, they are `insights' or concepts which work and have done so for ages, but which are just some of the possible narrative solutions to the problems cinematic storytelling poses.
This is a book to dip into, and which is intended to spark the imagination of the reader. Not all of the topics are equally enlightening, and I disagreed with the definition of the Crisis Point, but as an encyclopaedia of Hollywood storytelling it is currently without equal.

I found The Power of Film truly refreshing and unusually spiritual. Suber compiles years of teaching experience into a few hundred pages loaded with wisdom and wit. While not a believing man himself, his reverence for world scriptures and figures of faith who have changed the world, from Moses to Jesus to Gandhi, is rare in books on film.

Also, Suber's coinage of "Aristolatry" sure could have come in handy in film school (I went to USC, grad level), along with many of his paradigm-shattering concepts. I only had one professor who dared say that some films may have four acts -- I think he got fired!

The Power of Film is a great book that will take a prized place at the top of my list of books about filmmaking.

Howard Suber delivered a lecture to a large gathering in a theater in Kansas City this spring. What was striking about the experience was how Professor Suber turned this theater into a classroom and, by asking questions, made us active participants in a search for answers to the question: "What makes a film great?".

Suber's book, "The Power of Film", uses this same Socratic Method but the technique is necessarily different. Instead of asking questions, a writer can only pose riddles, and to this end Suber employees wit and irony to provoke careful and thoughtful reading of his concise dictionary like definitions.

The films Suber examines are American films. Without being jingoistic, he says that over the decades American films have been the most popular not only in the U.S. but all over the world. The American films he focuses on are those that have maintained their appeal ten years after they were released those, in other words, which have stood the test of time and remain perennial favorites.

The question he asks is: "What makes these films classics?"

Some of the answers are surprising. The notion, for example, that Hollywood films, to be popular, have to have a happy ending, Suber demonstrates is not true. Think of the Godfather films, Lawrence of Arabia, Chinatown. Even "It's a Wonderful Life" journeys through some very dark regions before emerging with a comic ending.

So why do people go to see these films? Suber suggests that going to the movies is akin to going to church, that what people need and want is to experience time honored rituals that put us in touch with our humanity.

As a practicing filmmaker, I have spent many hours over the years thinking about how to use the power of film to move an audience and I am always looking for help. Of the many available, I have culled a few "essential" books on film theory and aesthetics. Eisenstein's "Film Sense" and "Film Form" are two, Pudovkin's 'Film Technique and Film Acting", Mascelli's "Five C's of Cinematography" and a few others. Suber's "The Power of Film" has already taken its place with these.

Why? Because first of all, the book is packed with information and insight covering every subject about American film, literally from A to Z. Second, the insights are uncannily precise. A brief example: I don't like using flashbacks because I feel they are too easy but I find I must at times because they are sometimes necessary and I haven't been able to think of anything better. This is in Suber's definition of "Flasbacks":

"The reason flashbacks came back is that they are not merely
stylistic flourishes, like iris shots; they are necessary tools
that, so far, cannot be replaced by others."

The authority of this statement is reassuring, but notice the two words: "so far"; this tiny insertion leaves open the possibility and, indeed, ecourages the search for other ways.

How to transition to a flashback?

"The camera moves to a tight close up of a character's eyes, they
glaze over and we hear an echo chamber voice..."

I fear that every time I use this device that someone in the audience is going to yell out: "Visual cliche!". It never happens and I continue to use it because, as Professor Suber says: "no one has come up with anything substantially better.".

This is a sampling of some of what can be considered Suber's practical advise; but this book is very rich and has a broad range and covers everything from the technical to the philosophical.

The entry for "Tragedy" is three pages long but delivers a store of wisdom. One paragraph in this concise definition is about "impulsivity", and the final line reads:

"Impulsivity we see over and over again leads to tragedy."

The philosopher Martin Buber in his book "Good and Evil" devotes pages of discussion to the tendancy to impulsivity and how it is an aspect of evil. Suber's book is obviously a distillation of years of thinking and study not only about film but also about human nature.

The entries that make up this book are cross referenced. This cross referencing, like the use of wit and irony, is not only an practical aid, but also an encouragement to explore the connection of ideas.

Suber has carefully culled the essential ideas of what makes a film "great" and this selection reveals that the subject in Suber's mind has a unity, that it constitutes an aesthetic, an interlocking system of ideas. It is an indication of Howard Suber's wisdom as a teacher that he does not expound this system but only indicates it; and because this system must be discovered and recreated by every reader, it will always be new.

Getting the book and reading all of the blurbs on the cover written by film experts like Coppola and several successful Hollywood screenwriters, I was a bit concerned that perhaps I had purchased an insiders handbook, which might prove too esoteric for the casual reader. The 'power of the book' Prof. Suber has written, is his ability to take substantive information and make it enjoyable reading. The book is written in bite size stories, alphabetized by topic, each insightful and entertaining. I often sat down with the intent of a quick read of one or two articles and discovered I had read seven or eight. The topics are easy to digest, yet informative enough to go back and read several times.
Certainly as Bill Cosby used to say, "Be careful or you just might learn something". Film students and pros, no doubt already know about(and swear by)this book, this review is for the rest of us, those who just like films. The Power of Film would make a terrific gift for lovers of films of all ages and is certainly a must read for anyone with film career aspirations.