Video Books

There are a lot of reference books out there but this is one that you can tell has been written not by a sales person but by a user of Avid who knows what to say and how to say it in a language that is easy to understand and with examples that can be followed simply.

When I purchased my Avid Express DV software I had zero video editing experience. I knew the software was fairly complex, had a lot of capabilities, and the learning curve would be steep, so I also purchased the Avid turorial DVDs. However, with no editing background, after viewing these DVDs I just wasn't "getting it."

Kauffmann's book was perfect for me. It starts with the fundamentals (video formats, hooking up the hardware and turning the system on, etc.) and goes on from there to cover everything though fine tuning audio and doing color correction.

By reading the book (mostly) though once then using it as a "cookbook" while editing, in just a few days I was up and running and capturing, editing, and fine tuning my videos. Admittedly, Kauffmann does not go into great depth in some areas (which he acknowledges) but for someone who's just getting started this is an excellent book and will get you well on the road. I would highly recommend it to anyone just getting started and trying to learn Avid.

While this book is an excellent guide to what you can do with Avid, it also takes the time to explain in an understandable way editing techniques. The new chapters on HD and 24p filmaking are excellent! It gives a good base to understand these new additions to the independent movie making world. The only knock I would give it is it's lack of explanation on effects editing and the marquee title tool is completely ignored.

This is a great book. I am doing an educational video and had never used the Avid system before. I have Avid Xpress Studio HD and this book taught me everything I needed to know to get the job done.

Highly recommended.

Avid Editing has been a useful tool for me both as a student and as a professional. As a film student, I first picked up Sam Kauffmann's second edition in a production class. Most of us had never touched an Avid before, and yet by the end of the semester, using Kauffmann's text as a go-to guide, my classmates and I were producing dynamic and adeptly edited pieces. Not only does the book provide simple exercises for the reader to try, it also includes a DVD with actual footage to work with. Avid Editing is carefully organized for the beginning editor, but I also use it as a reference now that I am out of college, working as an assistant editor. This new third edition not only expounds upon all the steps, shortcuts and settings covered in the previous editions, but also dedicates entire chapters to editing with 24p and HD footage, making this book invaluable to editors entering the professional world. I strongly recommend this guide for anyone who seeks to teach, learn, or refresh his or her memory.

If you like reading celebrity autobiographies, and you even have a passing interest in this actress, don't miss this book. It really is a very engrossing read. She speaks of her life in a very honest and forthcoming fashion, and she has had quite an interesting life, the most dramatic part being the blacklisting of her actor husband, Larry Parks, in the 1950's, and her "guilt by association."

Also, if you happen to be a fan of either Lloyd, Beau, and/or Jeff Bridges, you should know that Betty and Larry are/were(Larry is deceased) very close to this family -- Betty is Jeff Bridges' godmother.

So, if you know Betty from her movie work (she tells such a funny story about Frank Sinatra, from when they were filming "On the Town"), her stage work, or her TV work on "All in the Family" and "Laverne and Shirley," I think you will more than appreciate this book.

I hope you read this and enjoy it as much as I did!

betty garrett was the best in those mgm movies and she could have been so much more famous

I like Betty Garrett very much! From Laverne & Shirley, All In The Family-very funny! I like that the book is her autobiography! I can't wait to read all about the life & times of the lovely Betty Garrett! I also have David L. Lander's autobiography & the unofficial Penny Marshall book! Any one who's a fan of "Laverne & Shirley" e-mail me @: tiff_lisatony7@yahoo.com. We can chat about Betty, Penny, David, Cindy, Michael, Phil, & evrything else related to "Laverne & Shirley".

I have loved the movies of both Betty Garrett and Larry Parks for years, and now feel that I have read their love story. Betty's descriptions of her multi-faceted career and personal life were written with humor, warmth, and love. She and Larry endured the 'unofficial' blacklist and other obstacles together, and showed what "in good times and in bad" really meant. I admire and adore them both even more now. Her book is a wonderful read and her career isn't even over.

Betty's wit, wisdom and reflections prove that there's a lot more to her than a pretty face and wise-cracks. Talent, sensitivity and grace make her a beautiful author with something important to say. Show business enthusiasts and historians alike will greatly enjoy her story. And, since her career is enjoying a recent resurgence, we can only hope she'll write a sequel, soon!

If you are looking for a small, comprehensive analysis of how to do animation, this is your book. Walter Foster is one of the best companies out there on drawing books, though I wouldn't recommend them all. I highly recommend this one. :)

This is a great way to see how animation starts. I would recommend it to anyone wanting to choose Animation as a career. I am taking Web design and Animation.

This book is simply the best animation how-to guide for the novice or talented amateur. Very well presented and beautifully illustrated. It's a classic book that has been around for many years and should be around for many more.

The book is arranged like this: Drawing principles, character design, then animation. The principles are about constructing forms and wrapping guidelines & features around them properly, facial expressions, building a simple skeletal foundation, how bodies can be drawn, and hands!

The character design section is small, but brilliant. There are great example drawings to work from and trust me when I say the characters are pleasing to look at.

As for the animation section, it's got the essentials for walks, runs, understanding squash & stretch and line of action in movements. It might not have enough movements as one may want, but really, using what you learn here to analyze actions from life will enable you to learn how any movement can be strengthened for animation. I actually haven't started animating yet (still doing the drawing sections), but I know I'll be perfectly fine with just this. Harold Whitaker's "Timing For Animation" does seem like it could be a perfect supplement to this though, so you might wanna check that out as well.

Other pages include things about dialogue phonemes, takes (when's the last time anyone's seen a Tex-Avery-style reaction in a cartoon? learn this and bring it back!) pointers on animation, and, best of all, TONS of characters to practice from.

The book is only eight bucks and, being from Preston Blair, a genius from the golden-age era of animation, you can't go wrong. Buy it, follow everything that he says, draw from each drawing in the book until the concepts seep in, and make some cartoons. Even if you wanna draw comic strips and/or comic books, get this now!

Very informative in the use of art work. Hopefully, this book will help my son in the future with his career in art work.

A theatre writer, Riccardo Molteni, cannot write anymore because his wife, Emilia, does not love him anymore. Moreover, she despises him, all of a sudden.

The search for the reasons which led to this sudden change of feelings, makes Moravia rewrite a modern versin of Ulyse's myth. In a few words, Penelope did not love Ulyse anymore, though she remained faithful to him even before he left for Troja. Why did she not love him? Because the king's behaviour was not masculine enough towards her admirers at the court.
Therefore, Ulyse wins his wife's contempt and consequently leaves for Troja to free himself in a way. After the war, he postpones sine die his return to Ithaca, obessed by the same thing: Penelope's contempt.

When he finally decides to go back home, he knows he has no other solution but to violently kill all Penelope's admirers, in order to get her admiration and love.

And this is how Homer can be well combined with Freud. The moravian style, vivid and direct, manifests itself in this novel, keeping alive the pleasure of your reading.

I think Alberto Moravia is one of the greatest Italian writers of all times. All his novels deal with important issues our society has to face, problems we all have. Many of us will recognize ourselves in his characters.

It will be a very challenging reading that will make you ask a lot of questions about yourself and your life. Enjoy it!

After a second reading of Contempt, I feel compelled to call the short, tautly written novel a masterpiece. Told from the perspective of a neurotic egotist, the narrator accounts how he "sacrificed" his literary writing career to debase himself in the tawdry task of writing screenplays so that he can afford to lavish his wife with a bigger more opulent living quarters. The narrator convinces himself that not only does his wife not appreciate his "sacrifice," but that she no longer loves him. It's horrifying to read this narcissist's account of his marital disintegration because you begin to realize that he is projecting his own lack of love toward his wife (a pefectly fine, loving woman) and you realize that he is so emotionally arrested that he is incapable of loving anyone. Further, a close reading reveals that the narrator never sacrificed his writing career for his wife's opulent tastes, but rather is debasng his writing talents for his own greedy materialistic acquistion.

Many see Moravia's novel as the quintessential example of "modernism," the movement that emphasizes the human limitation for self-understanding and the understanding of others. Also, the novel explores Freudian themes of projection, paranoia, and the powers of the unconscious.

The novel is fast-paced save for a few chapters where the writer and director indulge in long-winded discussions about the mythical exposition of their film but overall the novel is a real page-turner full of suspense and psychological realism.

If you enjoy this suspensful novel told from the point of view of an unreliable narrator, I recommend Asylum by Patrick McGrath, Despair by Vladimir Nabokov, and The Horned Man by James Lasdun.

somehow there is a new found celebration for contempt and everything associated with it. a year and a half ago, godard's contempt was finally re-released; a couple of months ago, two new books about casa malaparte allowed us to view the importance of the film's setting, most notably capri and it's culture, but now this new publication of moravia's contempt will allow everyone to view the masterpiece it truly represents.

Finally, someone had the common decency to reprint Moravia in translation. And they also picked the best titles. Il Disprezzo (The Contempt) is the best, most honest, unflinching look at the disintegration of a relationship that I have ever read. Last released in the States in the 1950's under the title A Ghost at Noon, this is the same excellent translation by Angus Davidson, who translated almost all of the authors works up until his death in 1990. If you've ever experienced the conclusion of a long-term relationship and for some masochistic reason want to remember what it was like, this is the book for you. I guess that's not a ringing endorsement. But trust me, Moravia's penchant for psychological details is so devastatingly on-point, you'll find yourself nodding nauseatingly at the pathetic delusions and convoluted rationalizations taking place between the couple. It should be noted that this isn't the book's only focus. Quite uncharacteristically, Moravia tackles popular culture and the highbrow-lowbrow dichotomy in a darkly humorous fashion. I haven't seen Godard's film adaptation but I understand that it is an incredible achievement in itself.

Moravia's writing which I would not have encountered were it not for these elegant new paperback versions of his work is open to the bone. His honest revelations through his all too human characters are poignant, pointed, and penetrating. To any one interested in looking deep inside themeselves and their relationships: I recommend Contempt. Prepare to squirm.

The "auteur" moniker that seems to hang ominously like a dead albatross around David Cronenberg's directorial neck is an overly misapplied reputation which requires a bit of deconstruction.

Essentially, when you hear the term auteur, the suggestion that typically applies is that the director in question--in this case, David Cronenberg--is a snotty type who doesn't budge not even the width of an atom for his particular creative vision. Everything on-set by definition must be done to the letter of the man himself, an inflexible character. Auteur, in this highly pejorative sense, is the closest thing to a Mussolini-type dictatorship which one could experience on the film set. Horrors.

But I'd certainly have to disagree.

David Cronenberg, according to many of the players who have worked under him (not toiled, collaborated!), especially in the case of Maria Belo and Viggo Mortensen, lately of A History of Violence, have nothing but rave reviews for the man. Even former porn-star Marilyn Chambers in The Brood had fantastic things to say about the Toronto-based director.

Few so-called auteurs seem to be as democratic as Cronenberg. He places a great emphasis upon his actors' appearance on screen, and much is discussed of how he generally will permit heaps of retakes for various scenes if a given actor feels as though they didn't pull off a scene correctly, or with particular aplomb.

He's one of the smartest directors in Hollywood. He's extremely well read (evidenced by his fluidity of speech during interviews--I've watched them), he's maginificently outspoken, and he knows his material so very well, especially when he writes the scripts himself. What's more is that he's adamant about shooting his films in his native Canada. In a North American industry where most Canadian would-be talent darts south of the border faster than Scotty's teleporter might, Cronenberg has stuck it out in places like the old movie studios at Kleinberg, Ontario and in the provincial captial, Toronto to establish a solid reputation north of the 45th parallel.

If you've never had the chance to hear Cronenberg speak on screen, you're really missing out. See if you can pick up the film called Spider...which starts Rafe Fiennes and Gabriel Byrne, which also contains an excellent segment on the director speaking about his various travails in attempting to land 11th-hour financing for that picture (which nearly capsized because they couldn't land the cash). I'm not raving for nothing--he doesn't miss a beat, this Cronenberg guy. He knows his stuff cold, and so do the people who entitle him to do what he does. They know they're in good hands, and Cronenberg always seems to deliver the goodies.

In terms of the book itself, I've fallen head over heels in love with this "directors speaking about themselves" series. After having first read Cassavetes on Cassavetes in New Zealand, Kieslowski on Kieslowski in the Czech Republic, and now Cronenberg on Cronenberg here in Prague (with Herzog on Herzog waiting anxiously in the wings), you're going to be hardpressed to find better biographical data on these giants of indie cinema other than what you'll read here. Martin Scorsese has even been profiled in this series...from what I've heard, it's one of the thickest of them all. Oh poor bank account...

This book rocks (!!!) because you're getting an uncensored take on the author's views. The book is Cronenberg at his vintage best, cussing, intimately describing various details (especially the final insert on his film CRASH, the "real" CRASH, not the Oscar-winning impostor!) of the sex scenes between his actors Holly Hunter, James Spader, and Elias Koteas, and some keen insider details from the period of cinematic history in Canada back in the old "tax shelter" days, when finance was freely available. When guys like David Cronenberg were only looking for scripts to fit the bill, because they were swimming in Canadian dollars. Those were the days, and Cronenberg pays due homage to the era -- it's what made him who he is today, and without the access to the money back in those days, his destiny might've turned out slightly differently. It's what he describes as his transition from "filmmaker" to "movie maker," a la Hollywood, bigger budgets, bigger stars, and box-office coups.

See if you can also catch a special "director's series" DVD from the American Film Insitute (AFI). It's called "The Directors: David Cronenberg," and he's one of (I believe) several directors profiled, with clips from their various films (I've watched most of 'em). Catch some early clips of Canadian actor Michael Ironside, who is still stupendous, IMHO, even in his later years. That infamous "head exploding scene" from Scanners, still to this day, is something else. It's buried somewhere on that DVD I'm talking about.

So I think I've said enough about completely irrelevant things. If you're looking to be entertained, see if you can pick up a copy. It's not heavy lifting, reading-wise, and it's packed with factoids, anecdotes, and details.

--ADM in Prague

Dude, it's really hard to stop David Cronenberg from yapping about his films. this, though, is a good thing. The man is very well spoken ,even if he doesn't think shivers and videodrome aren't comedies. this book, my friend, make me feel good.

Or at least I did until I gave away the second edition as a gift but it meant a lot. The current edition is fourth and came out after The Crash. To the people who know only his films it will be surprising Cronenberg came from a literary background and how much his films are intellectual. The man also possesses mean dry wit which shows up when talking about his ex wife and personal enemies like censors or would be do-gooders (fellow Canadian writer Margaret Atwood). To those who do not know about the author as much as they should this is a great book. Those who love Cronenberg's films probably own this already. I am waiting for a new edition to come out, the one to include the making of Existenz and his new film Spider and I'm buying!

"Cronenberg on Cronenberg" is a great start for anyone who wants further insight on David's work, specially his early films. One musn't hesitate, this is the basic fan purchase.

A semi-autobiographical look into the world of David Cronenberg and how he came to make films of grotsque, yet, captivating life of media, biology and society. You will read about his influences in his early childhood life and then, eventually, virtually being the only Canadian film director with a promise. Cronenberg seems humble in his writing, yet, you get a sense of high intelligence. Definately reccomended! It is a good read, moves along nicely and you will be quite fascinated by his personal accounts of his world and what inspires him.

"Anoop Chandola integrates a whole world of Hindu mythology, and a good sampling of Sanskrit and Hindi languages, into the unique English narrative of THE DHARMA VIDEOS OF LUST AND BUST. The action of the book takes place mainly in the U.S.A. Perhaps what is most compelling about the novel is the point-of-view of the professor-priest who describes his relationships with the exemplary characters in the novel. For them he had performed rituals of marriage and other ceremonies, according to the ancient Vedic rites that he learned in India as the son of a Himalayan, Hindu, Brahmin priest. The touching, sometimes comical, or even tragic impressions of these relationships and their contexts have been captured on individual videotapes (a device of the plot) which the professor reviews at his leisure, while offering trenchant commentaries. The Hindu priestly, scholarly and human experience of such an individual has never previously been recorded in literature. Rarely, has anyone penetrated to the heart of his own cultural heritage--particularly as experienced in exile--the way Professor Chandola has done in this novel. Yet, his skill as a writer creates in the reader a sense of being carried easily along the pathway of his wonderful storytelling." -- Charles S.J. White, Professor Emeritus and former Chair, Department of Philosophy and Religion, American University.

Although the work is subtitled "A novel of religious Mysteries," it reads more like a series of discrete vignettes, each revealing another facet of traditional belief or practice juxtaposed with the realities of modern life. While the author illustrates how rituals serve as the glue of family relationships and social values, he also narrates several messy collisions of religious tradition with contemporary lifestyles. The expansive scope of the work is impressive, covering a wide range of human relationships and life stages. His compass includes life from birth to death, commitment and infidelity, feminism and patriarchy, humor and sorrow. But even more remarkable is how he is able to use these situations to shed light on an equally broad range of Indian religious beliefs and practices, from Vedic cosmology to classical aesthetic theory. While the work stands well on its own, I can imagine that it would also make fine reading in an introductory course on Indian religions.

David C. Swain, Ph.D., South Asian Languages and Civilizations

Book Review from Hindustan Times, March 27, 2006
Reviewer: Arup Chakraborty (Lucknow, India)

An authentic tang of religious mysteries

Dharma Videos of Lust and Bust is a novel that offers an authentic tang of religious mysteries. Written by Anoop Chandola and published by BookSurge, an Amazon.com Company USA, it is a piece of writing as dense as the jungle and foliage of the Himalayas and packed with action, learned allusions and philosophies. The plume of Chandola, a noted scholar, touches the rims of Hinduism, Sikhism, yoga, rationalism, religion and 9/11 and pierces through his readers' mind with alacrity, lucidity and vivacity. In fact, when a reader picks up this book and begins to plug away at it, he cannot but stop only at the last page. Every word, every leaf and every chapter of this novel springs into life and forces a reader to finish it at one go. He proves with adequate reason that rationalism is nothing but the child of faith.

Thus in chapter 2 (Illusion of Sacred Sex), he writes: "In this video, the Vedic marriage known as Prajapatya, the most common among the traditional eight types, reveals fascinating mantras and rituals. They are performed in front of God Agni, which comes the same root as the Latin word Ignis (fire).

Why Agni? Scholars of the Rig Veda, the oldest living scripture in the world, created around 1500 years before Christ, have figured out a lot about ancient Vedic beliefs and practices." This and many such references emerge from this marvelous novel as if from a dream. Like a scholar-adventurer, he wanders from one place to another and establishes a fine cord with the universe and gives the message of oneness to the world.

On page 107, he writes: "So what did Hindus call their religion?"

"Several names. The most common is Dharma. But the westerners liked to use the word Hindu or Hinduism... Remember, Hindu and Hinduism are not Indian in origin."

"You mean these are foreign names forced upon you?"

"Yes. But when Muslim rule came to India, many Hindus gladly adopted Arabic, Persian, and Turkish names. You know the first Prime Minister of India, Nehru? His name is Arabic based." In this way, Anoop Chandola weaves together personal lives and public events. This novel is ambitious, poignant and remarkable. He evokes things Indian with an inwardness that is lit with wit and humour. To top it all, it is intelligence, manifested in a brilliant handling of language that leaves a permanent impression on our mind.

Where does our mythology, religion, and belief system end and where does culture, social custom and individualism begin? Is there any distinction really? In the novel "The Dharma Videos of Lust and Bust" author Anoop Chandola, PhD, explores this notion and allows readers to take what they will from the wisdom he shares.

A Sociolinguistic professor and Hindu priest, Dr. Chaube, upon retirement as a professor in America, is given a package of video tapes from the people he has assisted over the years in various ceremonies. Each tape shows the ceremony and evokes the professor's memory of the personal interaction. His help goes beyond performing the specific ceremony and includes helping the participants to fully understand the meaning of it and what it represents in life. The narrative memory then becomes a lesson in mythology and religious belief instruction, complete with tales of old. It is a rich lesson, and each video, each chapter of the book, becomes an interesting contemplation of how our beliefs, customs, and social interactions shape who we are, as well as how they affect the characters in the book.

At times the professor encourages the people he is helping to turn away from certain beliefs and customs, inspiring them to think for themselves with the benefit of knowing the background of tradition, thus reinventing it. It is an honor to the old ways with respect to conventional thought. There are discussions of recent and current politics, attitudes towards women, human rights and much more. All are presented in such an enlightening way that the book could really be used in social study aspects. The professor also gives continuing lessons in linguistics, which is very interesting indeed.

I found the book refreshing in its exploration of Indian mythology and tradition and also in the social influence these things have on us. The political message in the last part of the book, that "no war is holy," is one that I agree with and feel must be highlighted as one of the greatest wisdoms in the novel. There is so much more to say about this book but I feel that giving it my highest recommendation will have to be sufficient.
Review by Heather Froeschl.

A Himalayan Brahmin priest reflects on his life in this dense novel.

Professor Chaube has led a dual existence?one as a Ph.D. in socio-linguistics and the other as a priest performing marriages and sacred ceremonies and offering advice. At a surprise party thrown in his honor, he receives a box of videos containing the footage of the various rituals and rites over which he has presided. The ensuing trip down memory lane is a cathartic process full of stories of happy couples, painful breakups and sordid scandals. In order to better interpret the experiences of those he has helped, the professor expresses his views on a broad variety of topics, including the origins of certain religious rituals and Ayurvedic practices and the rich folkloric history of Hinduism. He also examines the importance of the cooperation between different faiths, adding a unique cultural perspective to his study. While his insights are often fascinating and informative, they cast a heavy academic shadow over the narrative, and the religious anecdotes and linguistic histories often drown out the character development. Still, "The Dharma Videos of Lust and Bust is an engaging, educational read, particularly worthwhile for its extensive discussions of the Hindu faith.

More a combination of memoir and textbook than fiction, but enjoyable nonetheless.?

--Kirkus Discoveries

If you are searching for a book to inspire, inform and clearly break down the making of a film and the relationship between the many creative entities that go into that process, look no further. Mark Travis has written a literate, thoughtful and experienced guide to how to approach issues relating to written material, casting, performance, production values...really everthing you need to work intelligently on a project. Whatever stage of your career you're in, you will find yourself referring to this book again and again.

If you're at all serious about directing, look no further, this is the book. Mark Travis will guide, inform, inspire you...and all done with such a light and humorous touch, as well as great enthusiasm, you can't wait to try it yourself. Really, of all the 1000's of books out there on the subject, this is the best. The information is presented so clearly, you wonder why everybody doesn't work this way. Mark Travis obviously has a deep respect for actors and writers, and how best to work with them in a collaborative spirit . He also appears to have a great wealth of knowledge from years in the business, which he openly shares. I loved this book, and often refer back to it. I'd highly recommend it, and would give it to anyone interested in directing.

I've read many books on filmmaking, especially directing. But Mark is one of the few authors that actually was able to talk to me directly. This book has a way to surpass the bull#@!% and talk straight. It shows me how clear directing can be when understood on the level that Mark writes about. I would recommend - and for that matter already have - this book to anyone who's interested in getting down to the core of directing.

I love this book! I'm going to have to buy another one, because I've bent the pages all over in returning to refer to advice again and again. I'm an emerging film-maker, and this book is the secret key that unlocks to door to the skills and steps crucial in directing. It's pragmatic, comprehensive, and applicable. I applied Mark's advice on rehearsals, collaboration, pre-production, and script breakdown to my film and saw immediate deep improvements. The Director's Journey is more than a manual for making great films though, it's a support to the person going through the process. Mark Travis illuminates the psychology, relationships, objectives and pitfalls inherent in this work, and he offers the creative traveler excellent personal guidance.

About 12 years ago, my directing partner (who is also my wife) and I attended an incredible, intensive directing workshop. For three days we ate, drank, slept, and lived filmmaking from script analysis to post-production, under the tutelage of a very intimidating instructor - Mark Travis. I say intimidating because this guy was direct, succinct, focused and INTENSE. Not only that, but he was brilliant. His insights, technique, innovations, and even the simple fundamentals were so solid, and straight-forward, there was NO way you could have walked away from the experience without being a better director. If there every was one, Mark Travis is a virtuoso director... a Mozart of actors, stage and celluloid, if you will.

Now, 12 years, 4 films, 19 theatrical productions, and a handful of awards later, we use this book nearly every day. Be it on the set or stage, or just from inspiration and brush-up, this magnificent book encapsulates everything about Mark's talents. He is no primadonna, unwilling to divulge more than a few vaguaries of his techniques, nor does he preach to you about his own successful career and how wonderful he is. What he does do if layout technique, approach, execution and adjustment in a no-nonsense fashion that yields one of the best "How-To" books on directing (not only film but more specifically actors), and achieving the vision of a director, ever written.

If you are looking for a book to keep in your hip-pocket on the set, or something to refer back to for inspiration, ideas, and fixes, then look no further. This is it.

I originally read about this book in a review from animation world network (www.awn.com) It is everything the review said. Great information about the start of the industry fighting for its rights. A great read if you are into animation history. All of the animation old masters are involved, and speaks of even though they were in competition, they all had the same goal.

As a Disney enthusiast, I have found one of the most delicate and hard-to-research periods in Disney history was the 1941 studio strike. Tom Sito fills this gap by providing a comprehensive narration. But more important to others, he provides a complete history of labor developments in the animation profession. I had no idea there had been so much turmoil! His account is very up-to-date, too, covering the most recent developments, like computer animation. This is a key reference tool for anyone seriously interested in the business of animation.

Mickey Mouse, Popeye, Bugs Bunny, Tom & Jerry, Mr. Magoo, Fred Flintstone, the Pink Panther and Bart Simpson, are the biggest stars in the business. But they couldn't make the slightest move or even open their mouths, without the help of the animation worker. Meaning no disrespect, I say worker and not artist, because that's what Tom Sito's book "Drawing The Line" is all about. The eternal labor struggle of men and women in the animation industry and their right to be recognized and treated as artists. Of course Hollywood is not the kind of town where that is ever likely to happen any time soon. And for all those that scoff and think that anyone who gets paid to simply draw for a living, let alone getting to work in Hollywood at all should be forever grateful. Well -you're about to have your eyes opened as you turn the pages of this well written and lovingly researched history, that dares to speak the truth and document it in precise detail. Through first-hand accounts of the animators that struck the studios, were fired and blacklisted, Sito has chronicled their plight and shown the effect it has had on working conditions today.

As an animator himself and a former declared labor cynic. Sito learned from personal experience why their really was a need to be unionized. So much so that he later went on to become an active president of the screen cartoonists local in Hollywood. Yes, animation was and still is a labor intensive assembly-line that even in this digital computer age, still relies on the artistic and professional skill's of it's of workers. It's a "must read" not just for anyone with the least interest in animation, Hollywood or social and labor studies, but for anyone who's keen to know just how their favorite cartoon characters came into being in the first place. Believe me, you'll never see them as just simple drawings ever again!

DRAWING THE LINE: THE UNTOLD STORY OF THE ANIMATION UNIONS FROM BOSKO TO BART SIMPSON provides the first comprehensive history of animators' unions in modern times, from silent cartoons through today's big movie hits. Any involved in cartooning will find the business and industry insights essential to a thorough knowledge of their career choice: history and cultural observations blend with a survey of the entertainment industry as a whole, making for many important insights on how the business evolved and how it affects today's working animators.

Diane C. Donovan
California Bookwatch

Yes, this is a history of union activity within the American animation industry, but don't think for a moment that it is a dry, dusty treatise on labor practises. Tom Sito has written a lively, anecdotal, funny, hugely entertaining and magnificently informative history of the animated cartoon -- where it came from, who was responsible, and how far it has come. At a time when legendary figures like Walt Disney tend to be Rushmoreized, Sito presents them as real, living and breathing people -- enormously talented, even brilliant, and sometimes conflicted, yes; but real. In the process he tells the stories of these cartoon creators that are often as funny and endearing as the cartoons themselves. This is not simply the story of animation, however. It is also the larger story of Hollywood and how its traumatic, sometimes even violent unionization efforts reflected what was going on everywhere in America.

Sito has written an important story with panache, wit, and a unique insider's perspective, and has created a book that everyone interested in classic Hollywood and the Golden Age of animation must have.

"Eternal sunshine of the spotless mind!/Each pray'r accepted, and each wish resign'd... Desires compos'd, affections ever ev'n,/Tears that delight, and sighs that waft to Heav'n." The original Alexander Pope poem suits the movie whose title it inspired, "Eternal Sunshine of the Spotless Mind," a unique, surreal film about memories, love and sorrow.

"Eternal Sunshine of the Spotless Mind" deals with timid, conservative Joel, who bumps into ex-girlfriend Clementine at a store -- and finds she doesn't remember him. He finds a notice in his mail that she has had him erased from her memories, and angrily decides to have the same done. But during the procedure, Joel revisits the good times they had together, and finds that he doesn't want to lose his memories with Clementine.

This movie, by Michel Gondry and Charlie Kaufman, was one of the best of 2004, and one that isn't quickly forgotten. The screenplay is an excellent accompaniment; if there is a line or an image that didn't seem to make sense, it might make more sense here. "Eternal Sunshine" fans will also like the scenes that never made it to the final cut, and one scene got shuffled around.

Additionally, there is an interview at the end with Kaufman. In it, he describes his writing background, his collaborations with Gondry, clashes with Ben Affleck's horrific "Paycheck," memory, and that wonderful "Velveteen Rabbit" scene. Although, it could have used more of Kaufman's thoughts on the final product and the actors.

The stumbling blocks? Don't try reading the screenplay BEFORE seeing the movie, or you will be hopelessly lost. The script cuts wildly from the past, the present, inside and outside the characters' heads. It works wonderfully on the screen, but on paper it's hard to visualize just by the words alone. That, and this richly visual film is only represented by some murky black-and-white photos.

"Eternal Sunshine of the Spotless Mind" is a wonderful script, which spawned a wonderful film. And for fans of that film, this is an excellent accompaniment and resource.

this is a brilliant affecting screenplay..like much of kaufman's work it combines inventivness and originality with the creation of well drawn poignant complex characters trying to make sense of and live as best they can in this world we live in. amidst all the craziness and surreal aspects of his work there's a real humanism that shines through...i once read in an interview charlie did that he consider's himself primarily a book person not a film person..i loved that...the world needs more screenwriters who look at themselves as primarily book people particularly when they can team up with such visual artists as michel gondry or spike jonz..no wonder these collaboratons produce such great films..these artists perfectley complement each other..nonetheless this screenplay stands on it's own as a work of art..

A Hollywood film script book from Academy Award-nominated screenwriter Charlie Kaufman (whose previous credits include "Being John Malkovich" and "Adaptation"), for the very highly acclaimed film "Eternal Sunshine Of The Spotless Mind", this provides the reader with a 165-page shooting script in book form and will prove to be a welcome addition to the growing library of Hollywood film scripts and "must" reading for aspiring film students. Enhanced with a Q&A with Kaufman, black/white movie stills with commentary, and complete cast and crew credits, Eternal Sunshine Of The Spotless Mind will also prove of great interest to the legions of Jim Carrey fans who enjoyed his performance as Joel, a young man who wants to have the painful memories of his girlfriend Clementine (played by Kate Winslet) erased from his mind.

This is a truly beautiful movie. I seriously think it is one of Jim Carey's best films. The cinematography is provocative and intelligent. The acting is flawless. And the plot is a well devised mesh of fantastical conception and blatant realism mixed with subtle humor. It should have one an award. It was certaintly better than Million Dollar Baby.

This was a movie I didn't expect to like. I hadn't heard that much about it and wasn't all that enthusiastic about seeing another Jim Carey movie. Boy, was I pleasantly surprised.

First of all, this movie is truly original. That's rare these days. It revolves around the premise that you can erase someone from your memories. In this case, the "someone" to be erased is Kate Winslet's character of Clementine. She is wacky and artsy, and plays against Carey's straightlaced character Joel perfectly. I had just seen an interview with Winslet before this movie and was amazed at her accurate American accent. Very well done.

And Carey is brilliant. His toned down, not over the top portrayal of Joel was delightful and wonderful. This is the first time I actually thought of Carey as a very good actor. Both Carey and Winslet deserve an Oscar for this film.

In addition, the film is beautifully shot as well. This could have been a very goofy movie, with a premise that was hard to actually get into and believe, but this film worked perfectly on all accounts: writing, cinematography, acting. I would recommend this film to anyone that wants to see a thoroughly enjoyable, funny, sweet, interesting, wonderful film that is unlike any you've seen before.

From the author of The Difference Now, A New Dish, and At the Coffee Shop. (www.thedifferencenow.com).

If you are a filmmaker Mark Sawicki's book is a must for your arsenal. The book will give you much needed fundamentals of how visual effects shots are done. Dont try to "fix it in post". Do it right the first time in your camera.

Finally a book which analyzes FX effects non only in CG but in old fantastic and "Handy" method!!!

I read this book a couple of months ago and thought it was amazing! The book focuses more on technique and fundamentals, rather than any specific technology, so it's very, very useful if you're trying to get an overview of effects work. Personally, I think the best way to come up with new ideas for effect techniques is to study the past and use that as a jumping-off point.

The author does a great job of using layman's terms to explain the complex techniques used by effects cinematographers over the years and then uses solid examples of how those same techniques are used with all of today's digital bells and whistles.

For both effects wizards looking to brush up on technique and budding film students, I couldn't recommend this book enough!

Mark Sawicki's book, is a wonderful resource for those interested or involved with the history and creation of visual effects for film and TV. This book would be a great addition to a visual art students library - teachers will also find the practical exercises excellent, while film industry professionals will find the advice and commonsense approach to making visual effects invaluable. I should stress that this beautifully illustrated book is different to the glossy (and all too common) "how we made the effects for such-and-such blockbuster", Filming the Fantastic is much more real and practical, always encouraging the reader to learn by trying things for themselves.

Filming the Fantastic is about creating visual effects - not just those made by computers. The use of miniatures, matte painting and clever planning demonstrate how time and money can be saved while producing outstanding results. Marks professional effects experience provides the framework for the book, backed up with interesting anecdotes and exercises for the reader make their own special effect shots. A really unique feature of this book is showing how to deal with the inevitable situations where there has been little or no planning prior to filming.

This substantial book is crammed with photographs and diagrams, illustrating the text and clearly explaining concepts for the reader. There is considerable depth to the theory sections on colour, perspective and lighting, making the book a fine reference work for any filmmaker. The exciting thing I found about this book was sections such as "So you don't have a million dollars" - which go into making effects with a low budget or if you are challenged for time. Effects are created using home video equipment with simple props - ideas on how to create you own blue screens, superimposed backgrounds, stop motion animation, people falling out of buildings, crowd replication and even a pan across an airplane crash scene, can all be created with a few dollars and a few hours. This may make the book sound too simplistic for a professional, however "in camera effects" (as they are called) are becoming more rather than less common in feature film production. These "tricks" are recognised as time savers in the professional industry.

In summary this well written book is very easy to read with clear thought out examples for students, teachers and professionals. Great illustrations and photos explain the key concepts thoroughly while the broad topic range make the book relevant for many people and situations.

A great gift for yourself or anyone interested in the magic of movie making. My advice is to dust off the camera and try the effects for yourself!

Mark's book is so much more than another cg text on doing effects. He has endeavored to share many traditional methods which are at the source of how a very experienced professional translates them into cg. But the beauty of Mark's book is that he doesn't just mention some vague concept. He gets in there with very specific details and examples of traditional work, as well as cg work. There is so much specific info that you will learn a great deal of practical application in your own work...traditional or cg. But more importantly, you will see and appreciate concepts and methods that can be (and are) applied in the cg world, which have grown out of traditional hands-on, real-world effects work. This is a book that students and the industry both need.