Video Books

This is a legit, professional product. If you're purchasing this for either leisure or for study, you'll definitely be getting your money's worth. There's nothing wrong with those screenplays that they sell for a movie that is chock full of glossy, full-color photographs, but those publications change the layout of the script, which is another aspect of scriptwriting a student of that particular art needs to learn. The screenplay for "Batman Begins" has the complete script, a full storyboard collection, and interviews with the director and screenwriter of the film. Black and white. No frills. Professional. I highly recommend this product. You'll love it!

I've always found it fascinating on how they make movies nowadays. I've taken film classes, but it wanted to see the scripts that they use. This is the complete screenplay to the movie " Batman Begins." You not only can read the linings, but you can see how they decided to put together these scenes through the storyboards. This is an excellent item for any movie buff, or any butting filmmaker. It will give you an idea on how to start writing a screenplay, and you can go behind the scenes in see how they put together this blockbuster.

Batman begins is a awesome movie. Sweet special effects, very,very,very,very good actors, great storyline, some good princibles....ect. Don't even worry about rent'n it first, because if you like action, suspense, sweet special effects, and all that comes with a action movie, you might as well buy the dang thing!!! And you won't regret it!!! HIGHLY recommend this movie.

Being a huge Batman fan, I waited in anticipation for this movie to be released. I wasn't disappointed. After seeing it, David Goyer and Christopher Nolan have really "got" the whole idea of the myth that is the Batman.
They have stayed true to the Batman history, and have delivered what many believe to be the "ultimate comic book movie".
While probably not for the kids, this version of Batman is definately what this Bat-fan has been waiting for - tough, dark and intimidating.
This screenplay seems to reveal the original script that Goyer/Nolan pitched to Warner Bros. I say "seems to" because there are a few notable changes from the film version as released. I can only assume that Warner Bros changed certain areas to ensure that the film recevied a PG13+ rating in the US, while here in Australia it received a M15+.
Without giving too much away, the script as presented in this book has a darker edge to certain scenes, and in my opinion, is exactly how the movie should have been done.
I rate this as 5 stars based on the way Goyer and Nolan have finally portrayed the Batman as he was meant to be.
I only hope that Warner Bros can secure both Nolan and Goyer for the sequel.

This is actually a "proper" book, not a money grab replete with pictures and a few snatches of dialougue here and there.

It is the *full* screen play and shooting script, with story boards.

The book also contains interviews with Christopher Nolan and David Goyer who give insight into what they wanted to achieve and how they see the character. I found it interesting how they both mention that the first four films was not how they saw Batman. And they wanted to show a Batman more reminiscent to the character who actually shows up in the comic book. They also wanted to keep the film grounded in reality and hearken back to the grand epic films by directors such as David Lean and John Houston. Which they more than achieved. It is clear that both men took the film seriously and wanted to make a film that audiences would enjoy. Much to my pleasure.


This is a great book for those who loved Batman Begins. Or those who are interested in script writing.

The book features not one but two villains, but they are so beautifully brought to life you can see their characters in the round, as it were, humans with failings just like the rest of us. One was Ian Fleming himself, who comes across in THE BATTLE FOR BOND as a pop genius like Warhol with a great invention, the James Bond character, and yet a weakness for trampling over the rights of others out of his sense of clubby privilege which is fairly sickening after a few chapters. So when he employs others to help him sketch out a screenplay that will feature his Bond character, he doesn't even think twice about novelizing their joint effort and publishing it under his own name. He had what became the modern equivalent of the old fashioned "droit du seigneur," and the others were just pawns in his game.

The second "villain who's not really a villain" was the crazy swinger Kevin McClory, technically he was used and abused by Ian Fleming but he sure wound up with his pound of flesh didn't he! Author Robert Sellers, the one man who was able to pick up and tell the whole wretched and confused saga from beginning to end, makes you eventually loathe Kevin, even though he started out as the underdog. Kevin was the type of friend than which you'd rather have an enemy, so you hold him in your embrace just so you can see what he's doing with his hands.

The hero of the book winds up to be Jack Whittingham, a venerable and talented screenwriter whom BOTH McClory and Fleming took up, then cast aside. AND his daughter, the beautiful singer and office manager Sylvan Whittingham, who kept all the papers together for forty years and then finally, with the help of a faithful lawyer, Peter Carter-Ruck, brought all the pieces together to tell a strange and disturbing story of genius gone mad. As Sellers points out, the saga of Carter-Ruck is like a Shakespearean tragedy, but the same can be said for the sad and wasted life of Kevin McClory. At the very end of the book there's a great photo of a little girl, Jack Whittingham's granddaughter, Aimi, inspecting with all the unconscious grace of a child, the neatly cared for grave of her grandad. It's in Malta, of all places, an island he loved.

I did not know a thousand facts that Sellers lets on: that Julie Christie was considered for the role of Domino; that Luciana Paluzzi considered Claudine Auger cold and calculating; that Dirk Bogarde might have been James Bond--or Rod Taylor--both of them I guess, not so bad choices. The angry figure of Sean Connery permeates the flavor of the book like a simmering stew of bad feeling that will not go away. He's great, but like everyone else in the book bar the Whittinghams, his life has been misspent chasing money and licking wounded pride.

A saga big as BLEAK HOUSE and as captivating as CHITTY CHITTY BANG BANG, except for grown ups.

A brilliant, well researched indepth study of a ongoing war between two rival film companies on the greatest film hero of all time JAMES BOND and the movies THUNDERBALL and NEVER SAY NEVER AGAIN. Buy it now...because in ENGLAND the book has been through the law courts and consequently has been banned from sale, it will be reprinted minus a few items that caused quite a fuss. So buy it now from amazon usa

Alot of the history of THUNDERBALL isn't new to me but Sellers writes a really entertaining and fascinating bit of history. I couldn't put it down until I had finished it -- in one seating. Great treasure of previously unseen material (Connery scouting the State of Liberty for the never made WARHEAD, production drawings, rare photos, etc). As it has been pulled off the market because litigation from the Fleming Trust (who could they be? Fleming's been dead since 1964, his wife died years ago and his only son died from a drug overdose in the early 1970's) so it is going to be harder to get. Worth the effort!

This brilliant book by Robert Sellers has finally unraveled the knots surrounding the Thunderball saga.

Concisely written with fresh and accurate information.

An important piece of the jigsaw in place.

There are many of us who do care to know the true story about Thunderball - have a look at the uk reviews! This is a landmark book and contains fresh information on this fascinating subject. Top marks to author Robert Sellers who tells an unbiased factual story about the origins of the Bond movies

This biography of the generally forgotten acting dynasty, the Bennetts, is a tour de force. While father Richard Bennett is long forgotten, daughters Constance and Joan Bennett are still accessible through a number of classic films ("What Price Hollywood" and "Topper" for Constance and "Scarlet Street" and "The Woman in the Window" for Joan, among others).

The author has captured the personalities of each Bennett. So many biographers fall into the trap of providing superficial detail around a chronology of the subject's life, but not so Mr Kellow. He has managed to bring alive the autocratic Richard Bennett and his 3 daughters, the troubled alcoholic Barbara, the mercurial, opportunistic Constance and the refined but passionate Joan. The book moves between each of their lives and Kellow benefited from the co-operation of many surviving members of the family. He has also created a vivid sense of the period in which the story is evolving from the girls rebellious behaviour in the roaring twenties, through career highs for Constance in Hollywood in the thirties and Joan's emergence as a femme fatale in the forties to both actresses move to the stage in the fifties as film work dried up. They were much married and all the details about their stormy relationships are vividly recreated, not in a gossipy tone but creating portraits of intelligent woman who were not afraid to take risks, particularly Constance.

This is a very clever well written book.

At long last, someone has tackled the fascinating story of the Bennett family. The result was well worth the wait. Kellow's book is enthralling, nicely balanced, objective, and well-researched. Anyone interested in Joan or Constance Bennett or even in film history will enjoy this book.

For anyone interested in Hollywood's golden era, this book is a must! Far superior than The Bennett Playbill which was published in the 1970's with Joan and a ghost writer, this book is exhaustively researched and provides a much fuller picture of father Richard and daughters Constance, Joan and the ill fated Barbara. Fans of the tv show Dark Shadows will remember Joan, but probably a lot fewer remember Constance who was one of the top film stars in the early 30's only to be washed up in films by the end of the decade. Joan had a much longer film career, though it took awhile for hers to catch fire. All the marriages, scandals and career highs and lows are covered in depth and Kellow provides a critical evalution of their many film roles. The narrative does skip back and forth between family members, but Kellow does a good job keeping the narrative flowing and after a few chapters the reader will adjust to it. The Bennetts may not have ranked as high as the Barrymores, but they rank right up there with other Hollywood dynasties.

Brian Kellow has done a wonderful job in telling the personal and professional stories of the acting Bennett Sisters and their father theatrical legend Richard Bennett. This book really fills a gap and is so well done that it would be difficult to imagine a better book about the Bennetts unless there were individual books on Constance, Joan, Barbara, and Richard Bennett. I would have liked a listing of the various plays that particularly Constance Bennett starred in. This versatile and glamorous star appeared in the Cole Porter musical "Silk Stockings" and this was not discussed in the excellent text. This is a small complaint and I think this book is a must for fans of Joan and Constance Bennett and for great books about show business. There are also some wonderful photographs and that alone should induce the reader to buy this book!

This well researched and presented book is a fine addition to anyone's library of books about Classic Hollywood or about the Broadway stage. The Bennett family were hard-working and talented performers, extremely famous in their day, but not as well-remembered today as they deserve. Their stories are full of human drama and Brian Kellow tells them in detail, without any wiff of the snide, nasty edge far too many show business books have today. He's honest about the faults of his subjects, yet compassionate about their humanity.

it's just the sort of material a business English teacher needs to meet the requirements of both business classes and executives.it is comprehensive and includes major business communication skills . I have been using it for the past two years. it is just exellent. it would probably be better if an answer key was attached to it.
well Done!!

"Business Objectives" is targetted towards adult English as a Foreign Language learners who are currently learning with a trainer.

It is directed towards pre-intermediate/intermediate level learners, and supported by teacher's book, cassettes, pairwork material and lively videos, it is comprehensive and up-to-date.

Topics include: meeting people, telephoning, presentations, socialising, describing products and trends - each in easy-to-use units that can be used as on-going training, or stand alone modules. It makes great use of sketches and role plays, and references to actual companies and situations and for a trainer with little business experience it is easy to use.

Its partner "Business Opportunities" is directed towards higher level learners, and frankly there is not an English training organisation that I know who is not basing it's business English course around this book. A must!

This is the kind of English business book that gives plenty of subject for discussion and giveas the student the satisfaction of knowing that he or she is learning useful English. It is also complete and varied, can be used with any businessperson, no matter the area of interest.

"Business Objectives" is targetted towards adult English as a Foreign Language learners who are currently learning with a trainer.

It is directed towards pre-intermediate/intermediate level learners, and supported by teacher's book, cassettes, pairwork material and lively videos, it is comprehensive and up-to-date.

Topics include: meeting people, telephoning, presentations, socialising, describing products and trends - each in easy-to-use units that can be used as on-going training, or stand alone modules. It makes great use of sketches and role plays, and references to actual companies and situations and for a trainer with little business experience it is easy to use.

Its partner "Business Opportunities" is directed towards higher level learners, and frankly there is not an English training organisation that I know who is not basing it's business English course around this book. A must!

I, just want a audio cassette of business objetives

This is a beautifully written book on the portrayal of New York City in the movies. The author is extremely knowledgeable about the architecture of NYC (in fact, he is a New York architect), about the geography and history of NYC, and about film, both in its historical and technical aspects. The writing is imaginative, lyrical, thoughtful, and intelligent--this is a labor of love that took 15 years to complete. If you have any interest at all in New York City or in film, do yourself a favor and buy this book. It made me want to go out and rent at least 60 of the films discussed in it, and it reminded me of many great films set in NYC that I've enjoyed in the past and will want to see again to note some of the characters, themes, landmarks, or stage sets that Sanders describes.

If there was ever a book that really needed to be written, and was then executed nearly flawlessly, this is it. Documenting the multi-threaded releationship of New York City and Hollywood (the movie biz began in NYC, and the studios' financial offices remained there; much of the writing/directing/acting talent came to Hollywood from NYC; Hollywood's backlot NYC was the setting of thousands of films; the ideas of the Hollywood versions eventually changed the real thing; etc.), this is a heckuva fun and interesting read.

Among its most fascinating parts are information on the techniques used to create believable NYC settings by the studios (e.g., the most detail I've ever seen on Hitchcock's enormous Rear Window set), examples of the vast amount of architectural and local-color detail contained in the studio's art department photographic files (more than in some of NYC's museums!), and its general architectural analysis of NYC's major iconic structures: skyscrapers, rowhouses, tenements, train stations, nightclubs, etc.

But of even greater interest are the detailed treatments of how NYC was SHOWN in films (both well-known classics and obscure titles) of different genres and eras, and how the IDEA of NYC affected the world audience, and eventually changed the city itself as new generations flocked to their city of dreams... A flip through the photographs alone is a total pleasure.

This is a great book for film buffs, fans of NYC, architecture students, and those interested in 20th century social history. (I'm all of those things, and I LOVED it!)

If you have an interest in films, architecture or New York City then the purchase of this film is a no-brainer. The book is packed with photographs of movies and film sets that feature the buildings of New York. Another reviewer mentioned the Alfred Hitchcock set shot from the film Rope. I would add the shots from Fountainhead and Week-end at the Waldorf as being special and stunning.

James Sanders said that he spent 15 years writing and researching this book and it shows. His points are well written and quite informative.

I would strongly suggest the hardcover edition for its slightly larger size and the quality of the Knopf binding.

First editions can be purchased used at a very attractive price. Like I said, no-brainer.

This fascinating exploration of the interrelationship between the city of New York as an urban center and its portrayal throughout the history of moviemaking is filled with perceptive insight and thoughtful analysis. Highly recommended.

How New York is seen (figuratively and literally) by the rest of the world has been influenced more by Hollywood than anything else. James Sanders brilliant "Celluloid Skyline: New York and the Movies" explores the relationship among Gotham, Hollywood, and the rest of the planet. There's a lot here, and a lot of material that has never been presented before.

Each section offers specific insights into the cinematic image of New York: its icons, its myths, its realities. What is also intriguing is how Hollywood's directors manipulated actual city locations to make it look "more like New York". One of my favorite essays has to do with the "domestic" look of New York: its mansions, row houses, and tenements. Also fascinating is the section called "Nighttown"--Hollywood loves the dangerous flavor of New York's streetlife.

This is a marvelous book with a marvelous look. Take one of the other reviewers' advice, however, and get the hardcover. The size makes a big difference.

I LOVE THIS BOOK! IT'S COOL HOW THEY PUT THE SCRIPT IN THE BOOK.
I've seen the movie 5 times, and I can't wait until August 19th when it comes out! I'll be sure to be it.

It took 10 days for it to arrive, but it was worth the wait! I ordered used. But it was in perfect condition.

I've seen this movie 8 times, so it's just natural that I bought this book. The book cover was damaged, so I told amazon, and they sent me a new one, free of charge, within days! I love the pictures, they are amazing, and I love how the lyrics and script is included. This book tells the story of the movie with pictures. I also loved the behind the scenes information they had. This is a must-have for any die-hard Chicago fan.

If i could i would give this book more stars. This really captures the movie well. You need to buy, The Soundtrack & of course The Movie if you are a fan of the movie! Im only on page 37 and i just LOVE this book! To anyone who has not seen Chicago yet i say this to you "what the heck are you doing on your computer you chould be out going to see it"

I've been dying for this book to come out! Finally, I get it. I love it. I have to express my feelings for this great film, play and book. First of all...this is probably one of the most lavish musicals ever made. Second of all...if you have never seen the film, Do! Third of all...buy this book! It includes the complete screenplay (with some cuts from it) and an in-depth behind the scenes section with picutures of the 1975 Broadway play, the making of the film and real life "murderer's row."
If you love Chicago, buy this book! It rocks!

If you liked the movie (and, didn't we all?) you'll love this lavish, razzle-dazzle book. Some 183 eye-popping full color photos and illustrations are reminders of what a treat for the eyes this film is. It's hard to believe that pages can contain those glamorous larger than life screen figures - Renee Zellweger, Catherine Zeta-Jones, Richard Gere, Queen Latifah - but, they do with photographs that sizzle.

In his intriguing introduction Director Rob Marshall relates his fascination with Chicago: "I was fifteen when I first saw Chicago on the New York stage. After seeing the performance, I listened to the album over and over and loved this musical more than words can convey. For me, Chicago was Broadway. So it's a dream come true for me that I've come full circle, going from that little kid, the 15-year-old at the stage door, to directing this movie. Please forgive me for believing it's destiny."

Marshall goes on to explain both the difficulties and joys of adapting Chicago from stage to film.

An especially absorbing section of this volume is devoted to the genesis of Chicago which was originally based on a real murder which took place in the city of Chicago in the 1920s. A man was found shot to death in a car owned by Mrs. Belva Gaertner, a cabaret singer with two ex-husbands. At first the woman denied any knowledge of the crime but later admitted that the gun found in the auto was hers. To every question asked of her she replied, "I don't know. I was drunk."

It comes as no surprise that she was acquitted. Following this announcement she laughed, hugged her attorneys, and thanked the jury. You know what they say about truth being stranger than fiction!

Remember Ginger Rogers? She came on screen as Roxie Hart in 1942.

The book Chicago is filled with little known facts, such as for the film's closing number when Roxie and Velma shoot out lights to spell their names over 10,000 light bulbs were used to create the 20 by 30 foot wall of bulbs. And, find out how and where Rob Marshall auditioned Renee Zellweger.

There's no place like Chicago that toddlin' town, and there's no book like Chicago!

- Gail Cooke

What Else can be said. The book is awesome, you get to see not only the clay puppets but parts of the scenery, stroyboards, concept boards. I havent seen the movie yet, but cant wait to do so. For my students it has been a very interesting approach to Claynimation, now I just have to find the Wallace and Groomit videos to add it to my library.

Anyone who has the slightest interest in knowing how an animated movie is created will love "Chicken Run - Hatching the Movie." by Brian Sibley. Even the design of the book is whimsical in style and lush with color illustrations from the new movie as well as from other films from this animation house.

A lighthearted introduction written by Mel Gibson (who is the voice for Rocky in the movie) sets the overall tone for the book. In this overview there is a brief history of the animation process with some really slick photos of the British Aardman Studios that both Nick Parks and Peter Lord, the directors of "Chicken Run," help to put on the map with several Academy Award nominations for their past films.

Animation and story development is not just fun and games as one might think but envelops serious thinking and work. The book is sprinkled throughout with wonderful idea sketches, watercolor paintings, storyboards and outlines showing how script and plot ideas for "Chicken Run" were developed.

A wonderful chapter on the actual making of the physical characters gives an inside look into the art studio itself where molds, paint, and artists bring these figures made of a clay-like substance called plasticine into existence. In a chapter called "Making the Right Moves" Sibley details the various problems that animators had during production. Trying to give the human characteristics of anger, hate, love, fear, and happiness in front of the camera is a major feat in itself. The difficult task of lighting a scene along with making the miniscule movement of each figure to create the animated move almost sounds like torture. And when one realizes that the largest film shoot in one work way was a mere 26 seconds you wonder if it is. The animators say their work normally floats along on inspiration but at other times when they are tired, getting the job done becomes a matter of will. They are so involved with their work that it is only when the camera isn't running that they realize that they are only working with a lump of plasticine.

This book is definitely written for the connoisseur of animated films and filmmaking but children could also enjoy the "fun" illustrations from the movie, which are a large part of this publication.

The seriousness of this studio's filmmaking makes for some very interesting reading. A quote by one of the directors, Peter Lord, not only sums up the animation process but could be the kernel theme of this book. "We make films and by the way, they happen to be animated."

Ron Harmon rohar@msn.com

*

How did they do that?

"Chicken Run: Hatching the Movie" provides an engaging, behind the scenes examination of the workings at Aardman Studios, offering insight into the personalities and technologies that brought us Wallace and Grommit, as they work towards the completion of their first feature-length animated film.

There are plenty of photos from the final movie, but more importantly, the book is stuffed with the artifacts of the animation process- the sketches and drawings, storyboards and photographs that record the way the film was developed from idea to story to finished storyboard and characters.

The book stops short of offering specific timelines, technical details or recipes for plasticine, but the aspiring animator is given ample opportunity to read between the lines. There is a wealth of information and inspiration to be had; something to learn on every page.

Sibley's narrative follows Nick Park, Peter Lord and others as they discuss, revise, and rethink their ideas, meet with Hollywood moguls for the first time, hire and then change writers, and work their way through the transition from commercials and short films to producing a two-hour, animated movie.

The writing is open and lively, describing the time involved and the twists and turns in production as the storyline is developed and revised, characters and ideas introduced and then axed. This frank discussion of the creative process at work is perhaps the book's most valuable asset.

"Chicken Run - Hatching the Movie" is an ideal companion to Aardman's earlier book "Creating 3-D Animation".

One book gives a superb, do-it-yourself introduction the techniques and process of model animation, while the other provides an in depth study of the creative process in action during the production of a single feature.

Together, these books provide the most useful resources on claymation and model animation to date.

If you haven't seen Chicken Run you should go see it. It is a family movie in which their are chickens who try to escape from the farm where the live. They try to learn to fly, but they keep failing. If they don't escape soon they will become chicken pie. Can they learn how to fly or find a way to escape soon enough, or will they become chicken pie? Watch the movie and find out.

This is the most delightful book about the making of a movie I have ever read! The text is full of funny stories and interesting details about the process that went into hatching this chick flick!Being a published cartoonist myself, I found reading about the process the Ardman folks went through to be fascinating.Also good were the photos showing the different animators at work making the models of chickens and other assorted poultry items.This is a must for any fan of Ardman! Viva Wallace and Grommet! Viva Rocky the Rhode Island Red and his favorite chick, Ginger!You will not regret buying this book! Myke Feinman, publisher and cartoonist for Ink and Feathers Comics

How many times have you watched a movie and then asked yourself, "How did they do it?" Filmmaking can seem like a mystical task to the average movie viewer. What flies by in two hours on the screen could have taken two years to produce. While we were raving about The Lion, the Witch, and the Wardrobe in 2005, Director Andrew Adamson, Producer Mark Johnson and their vast team were already hard at work on its sequel, Prince Caspian. And author Ernie Malike had probably already started writing this book, a look at the making of Prince Caspian.

If you read the official movie companion for the The Lion, the Witch and the Wardrobe you have an idea of the visual and textual delight awaiting you in the companion book for the latest Narnia movie. Think of it as a 4 disc DVD collector's edition, only on paper. Which is better in many ways. You can take your time reading and feasting your eyes on the behind-the-scenes and on-the-set photos. Between the leaves are the nuts and bolts of making installment #2 of perhaps the largest movie franchise ever.

Kicking things off is a Foreword written by Andrew Adamson, Douglas Gresham (step-son of C.S. Lewis), and Mark Johnson that whets your appetite for the meat to come. And then we're off! Chapter One, titled "The Journey", sets the scene and explains Adamson's approach. "This time out," Adamson says, "I wanted to do it better."

For those unfamiliar with C.S. Lewis' book Prince Caspian (first published in 1951), Malik summarizes the story and includes numerous movie stills. The "Chronicles of the Chronicles" sidebar takes on the question, "Is Prince Caspian Book Two or Book Four?" of the series, a sticky wicket for some. So far the movies have followed the "by publication" route thus far to take advantage of the natural aging of the actors playing the Pevensie children.

Next we're shown what exactly goes into a screenplay, storyboarding, and previsualization. We also tackle the schedule, editing, and much more. Then we embark on an exhaustive trip through the beautiful locations of the film. From New Zealand to Poland to the Czech Republic, we learn of the difficulties filming outdoors and of the nasty critters who haunted the crew (snakes, ticks, sand flies, etc.).

All of the sections are fascinating, but I'll bet most of us will find "The Cast" chapter the most entertaining. How have the actors who played the Pevensies grown up? What have they been doing between films? Here many of our questions are answered. William Mosley (Peter) talks about his chance to do some of his own stunts and how he particularly relates to his character in Prince Caspian. Anna Popplewell (Susan) is now a freshman at Oxford's Magdalen College, the same college at which C.S. Lewis spent much of his career. "When I picked that college, I didn't know that," Anna says.

Skandar Keynes (Edmund), now 16, has grown probably the most notably of the cast physically, though he apparently hasn't lost his youthful, daredevil ways. And twelve-year-old Georgie Henley (Lucy) comes across as inquisitive as ever, but she hasn't let fame taint her sweet spirit.

We're given an inside look into the selection of Ben Barnes as Prince Caspian, as well as the film's two dwarf stars Trumpkin (Peter Dinklage) and Nikabrik (Warwick Davis). Ironically, Davis already had ties to Narnia. He played Reepicheep and Glimfeather the Owl in the BBC productions of Prince Caspian and The Silver Chair.

Really, I could go on and on here about the cast, but it's important to note that much time is given to the building of the sets, the armor, and how the musical score was created. Not to mention the vast special effects which exceed those of the first movie. Narnia afficionados will probably wonder the most about the gallant mouse, Reepicheep. Apparently much care was taken with his character. Because he's over a foot tall, they didn't want him to look like a rat. They also had serious difficulties finding the proper person to "voice" the creature. The final product is something all seem happy with. We'll see when opening day comes around May 16th.

Profusely illustrated, this movie companion can be read either before or after watching the movie. If you read it before, you'll find yourself on the edge of your seat in anticipation. If you read it after, you'll know exactly what they're referring to when they reference scenes. I read this one before, but I read its predecessor after. Both ways have their merits.

As Ben Barnes says in the Afterword, "Every day on set uncovered fresh challenges working with our one-thousand-strong crew guided by Andrew Adamson. The talent, focus, enthusiasm, and kindness of everyone I met was truly overwhelming." After reading this companion you'll feel the same way. Further up and further in, Narnia fans! This book is a keeper.

--Reviewed by C.J. Darlington for TitleTrakk

My daughters each bought this and have spent hours reading the articles and pouring over the pictures. Of course, they are hard core Narnia fans. Both loved it. Can't wait for the movie to release! Only 25 days left!

I know I am bias, but I highly recommend this making of book as it is extremely well written and the photos are just wonderful and draw you into the personal journey of the making of this film.

My favorite chapter is on the Special Makeup and Creature effects, what a surprise.

Get this book now beofore the film hits theaters May 16th as you will truly love it!

One of the few fantasy movies that was good enough to deserve a sequel was "The Lion, The Witch and the Wardrobe," and the second Chronicle of Narnia is due to show very soon.

But in case you're simply dying to catch a few glimpses of what's in store, Ernie Malik's "Prince Caspian: The Official Illustrated Movie Companion" gives a pretty clear picture of the movie's quality. We get background information, actor interviews, and intricate studies of everything from the CGI to the costumes, the weapons to the color of Miraz' beard.

It begins at the beginning -- the adaptation of C.S. Lewis' novel into a script, the visualizations, editing, and choosing appropriate locations for shooting (in three different countries). There's a lot of detailed recounting of how they shot this scene, or the impact of that scene -- and quite a few interesting plot developments are given away along the road.

There's also studies of the four original actors from the first movie, complete with relaxed interviews about their goals and thoughts on their characters. And then there's the new cast -- Ben Barnes gets several pages on working with the Pevensie actors and on his new role as the heroic young prince, as does Sergio Castellito as the villainous Miraz. There's also Peter Dinklage as the grumpy Trumpkin, Warwick Davis as the far grumpier Binabrik, and a variety of other colorful side characters.

And then it's into the creation and details of the cinematic Narnia -- production design of castles, caves and clearings, intricate costumes (including the Sardinian-Spanish flavor of the Telmarine clothes), musical scores, action choreography, cinematography, and creating the widespread CGI necessary to bring Narnia's inhabitants to life. There's an entire chapter from Weta Workshop on the evolving Narnian and Telmarine armor and weapons -- and the final touch is an afterword by Ben Barnes about his experiences.

Basically, Ernie Malik's guide answers just about any behind-the-scenes questions that a person could have about the upcoming "Prince Caspian" movie, without giving away too much of the plot. In fact, it's best to know what the story is beforehand, lest the bittersweet flavor of some character storylines hint at whether they'll be returning.

And Malik has a very pleasant style, able to transform the slow-paced, dull work of filming into a conversational "you are there" series of anecdotes. He includes bits of relevant information as well, such as the crush that Susan and Caspian seem to have going on, the river god, the ruins of the once-proud palace, and the gathering of Narnia's hidden peoples deep in the woods.

And you can really feel the enthusiasm and dedication of the people who worked on this movie, just by the amount of effort put into making it feel as realistic as a fantasy movie can be. For example, Barnes got the role of Caspian partly because they were able to work a Mediterranean look into his makeup and hair, while Richard Taylor gave a lot of thought to how Narnia's "look" would have evolved over the centuries.

The one disappointment, honestly, is Reepicheep. He's one of the most memorable characters from the Lewis series, and he only gets a few pages at the end. I wanted less concept art and more photos to show how they're pulling off a swashbuckling mouse.

Fortunately the rest of the book doesn't have that trouble -- it's overflowing with photographs. We've got Caspian cornered by dwarves, surrounded by "centaurs" and "fauns in green tights, Miraz's masked army, New Zealand's gorgeous rivers, Peter's stunt riding, and the climactic fights. There's also plenty of concept art, clay models, makeup-trailer shots, big hulking stand-ins, and a lot of men running around in bright green tights.

"Prince Caspian: The Official Illustrated Movie Companion" gives a pretty clear picture of the care and intricate work put into the forthcoming movie. An excellent behind-the-scenes guide.

With the movie adaptation of Prince Caspian hitting the theaters in May, I jumped at the chance to receive a review copy of the illustrated companion. I didn't think it was possible, but this book made me even more excited to see this classic children's story brought to life! There are behind-the-scenes insights, interviews, and gorgeous photos to accompany everything about the movie.

Director Andrew Adamson discusses the changes he made to the movie screenplay from the original story. There are interesting interviews with the entire returning and new cast of characters. There is even a section dedicated to the development of the brave mouse, Reepicheep, a favorite character and a lead in the next book/movie - Voyage of the Dawn Treader. With gorgeous photos on location in the exotic locales and fabulous sets, it looks that the backdrop for Prince Caspian will be just as visually stunning as The Lion, the Witch, and the Wardrobe, if not more. And there is even a section on the music and auditory elements of the film, which was one of my favorite things about the previous movie - the incredible score.

The talented visual artists that bring the creatures to life have special sections detailing the special effects, make-up, costuming, weaponry, etc. The book is so chocked-full of information, photos, and other interesting tidbits, that I haven't even listed them all.

This fantastic companion would be a wonderful addition to any Narnia fan's collection.

"Cinema By The Bay" by San Francisco-based film and culture writer Sheerly Avni is a profusely illustrated survey of influential, full-length, post-1960s feature films produced by five movie studios located in the San Francisco Bay Area (American Zoetrope, The Saul Zaentz Company, Lucasfilm Ltd., Pixar Animation Studies, and Pacific Data images), or which were directed by independent filmmakers living and working in Northern California (many of whom were recent graduates of the California Institute of the Arts and Stanford - where they had studied experimental animation). Enhanced with the inclusion of an informed and informative introduction by film critic Michael Sragow, filmographies, an index, credits and acknowledgments, "Cinema By The Bay"is a welcome and strongly recommended addition to personal, academic, and community library Cinema History reference collections and supplemental reading lists.

The pervasive influence of the San Francisco Bay Area on the American film industry certainly makes for a rich pictorial of quite a tapestry of movies. At first, it seems like the commonality of location would make for a contrived listing, but this book is not just about filming locations. What local arts writer Sheerly Avni does is a solid if rather lightweight job of capturing the frenzied spirit that has marked Northern California's moviemaking scene since the early 1970's. Unsurprisingly, she tends to get effusive about her publisher, George Lucas, and his limited output as a director, but it is a forgivable breech when one considers the breadth of films, both renowned and almost forgotten, that she writes about here.

The book is divided neatly into two sections, the first devoted to the five studios based in the Bay Area (Francis Ford Coppola's American Zoetrope, Lucasfilm and the Saul Zaentz Company, as well as the CGI powerhouses of Pixar and PDI) and the second to the filmmakers who are either from here or have chosen toe base themselves here. They include not only Coppola and Lucas but also Carroll Ballard, Clint Eastwood, Phil Kaufman, Michael Ritchie, Chris Columbus and Wayne Wang among others. A complete filmography is included for each studio and director, and Avni provides plenty of interesting information about the productions. The best part of the book is really the treasure trove of production photos provided for each major film presented, many rarely seen before. I also like how certain overlooked films of quality, such as "Tucker: A Man and His Dream", receive renewed attention here, as well as vastly talented filmmakers like Ballard, who do not usually receive much media attention.

Michael Sragow, film critic for the Baltimore Sun, provides the book's invaluable introduction, which summarizes the long history that Northern California has had on cinema starting with Charlie Chaplin's use of Niles in the East Bay as a shooting location for many of his early silents. Alfred Hitchcock is another filmmaker known for his love of Bay Area locations as seen in "Vertigo", "Shadow of the Doubt" and "The Birds", a topic covered thoroughly in Jeff Kraft and Aaron Leventhal's entertaining "Footsteps in the Fog: Alfred Hitchcock's San Francisco". In the meantime, this is a worthy coffee table book providing ample evidence of how San Francisco has been an enduring creative touch point for much of the best of American cinema.

This book sums up the last four decades of filmmaking that has come out of the Bay Area. When you see all these films collected between the covers of this book, one realizes just how much Coppola, Lucas, Eastwood, Kaufman, Saul Zaentz, and Pixar have contributed to our collective movie consciousness. The writing is crisp and lucid, but the images [many never seen previously] and page layouts are astounding. This would make a wonderful gift for *any* movie lover, but even those with a casual interest in film will find it captivating. I am pretty sure this is the first book from Lucas Books, and I applaud it.

From the founding of Francis Ford Coppola's American Zoetrope to Pixar's struggles to stay fresh, I learned so much about the Bay Area's contribution to American film reading this book. (And who knew film producer Saul Zaentz discovered Creedence Clearwater Revival in a prior life as a record producer?) I always thought of "The Godfather" as the region's major movie claim to fame, but this book covers five studios, and 12 independent directors, most of whose names even the most casual filmgoer will recognize. Of course, "Star Wars" and "Amadeus" are covered, but so are less likely suspects such as "Rumble Fish" and "A Perfect World."

The photographs and images are amazing, but Avni's spunky text really makes it. I will be giving this book to my dad, who has lived in the Bay Area for more than 30 years, for Christmas.

From the very first spread, I knew CINEMA BY THE BAY was going to be a very special book. The helicopters flying over the beach in APOCALYPSE NOW is one of the most referred to scenes in modern film history, for all of the elements of war and tragedy that it evokes, but also because it is a scene that demands watching on the big screen. Not only the big screen of a movie theater, also evocatively referred to by the layout of the first page, but the big screen of the imagination, which all good movies reside on.

With that one choice Sherrly Avni brings home not only what is special about the filmmakers covered in her well-researched and totally accessible book, but what was important about the studios founded and fueled by the creative and business efforts of those men and women: that the works created by those artists and companies were defiant, revolutionary, often strokes of genius that come on like an invading army going to war full of dreams to change the landscape while at the same time shackled by the politics of an industry rooted so deeply in its old ways that breaking free was sometimes an impossible task. That all these studios were born in the same area of California amongst a group of creative people who alternated between being mentors and students of each other's work was hardly an accident, and as I made my way across the pages of the book, first learning more about the films of American Zoetrope, The Saul Zaentz Company, Lucasfilm, Pixar, and Pacific Data Images than I'd ever learned in a thousand books and magazine articles, then delving into the meatier director biographies, it was clear to me why these filmmakers have been the people who have shaped the way we all look at movies for most of the last century.

The book's layout is great, the writing crisp and direct, and filled with first hand observations from the people who lived the challenges of making the movies what they are today. I can't recommend the book more highly. If you're a fan of movies or just a fan of people and companies that defy the odds, you have to get this book!

This work contains the details of classic horrors. i.e.
- Phantom of the Opera
- The Magician
- Dr. Mabuse
- Frankenstein
- Dr. Jekyll and Mr. Hyde
- The Mummy and White Zombie
- King Kong
- Cat People
- Hauntings and Possessions

Photos by Boris Karloff, the Bride of Frankenstein and Son of
Frankenstein provide an historic dimension to the overall
presentation. Lesser horrors are included; such as, the Creature
from the Black Lagoon , The Mole People and Monster on Campus.
The photos of Fredric March and John Barrymore depict the
Dr. Jekyll and Mr. Hyde characters in all their glory. A first
edition rendition of this work will be treasured most by
horror enthusiasts. The cost is modest for the value provided.

i like a comedy and sports and ect..... then, i want to show your videos but you may not accept my opinion....uhm.....

Having owned this book since the first printing in 1975, I have used it as a guidance tool to track down and watch over the past 29 years the excellence that is horror films outlined in this book. The late author clearly has a firm grasp of the element of a successful horror film; i.e. lighting, timing, musical score (or lack thereof), delivery, etc., and contained within this volume are critically acclaimed classics as well as little known "nuggets" worth searching out, such as "Murder in the Zoo," "Strangler in the Swamp," and the last of the great horror films, "Night of the Demon." Since the book's release, many of the titles have become increasing accessible both in video and in DVD, which allow for a greater enjoyment by the classic horror audience. You won't find any of the latter day slasher, gore-fest "movies," but you will find a careful synopsis and examination of each film contained in this volume. My recommendations to watch after reading this book are: Night of the Demon, The Uninvited, The Devil Doll, and The Man Who Laughs (silent).

Having grown up watching classic sci-fi, horror and monster movies on Saturday afternoons, I couldn't wait to read this book. It's a well-researched, enjoyable history of Classic Horror Films, from the 20s through the Exorcist. Everson does a fine job of covering the well known films, as well as pointing out a few classic sleepers (e.g., Murders in the Zoo) If you love these films, this book is a must read. Lots of great photos as well!

Having grown up watching classic sci-fi, horror and monster movies on Saturday afternoons, I couldn't wait to read this book. It's a well-researched, enjoyable history of Classic Horror Films, from the 20s through the Exorcist. Everson does a fine job of covering the well known films, as well as pointing out a few classic sleepers (e.g., Murders in the Zoo) If you love these films, this book is a must read. Lots of great photos as well!