Video Books

As a Southern historian I liked the book very much. However, I was and am confused about the hospital where the book began. It seemed to be Chimborazzo in Richmond as he was wounded at Petersburg. However, I thought later that it may have been in central North Carolina as he was traveling west toward the mountains. That was never explained and the map inside the cover helped very little. I felt the book dragged somewhat at times, but overall was excellent.

I also saw the movie and was pleasantly surprised that it was very good and stayed close to the book. I always have problems with movies and found two glaring errors and one significant omission. Nicole Kidman was dressed as a cross between a Gibson Girl of the 1890's and Miss Kitty of Gunsmoke. I never understand why they can't do the ladies' clothing correctly for the 1860's. Renee' Zelwiger was miscast as Ruby. She needed to be much bigger, fatter, and more country. Renee' comes off as a city girl trying to pass for a country woman. They should have had Jude Law go back and kill the guy with the women after he got loose from the chain gang, as happened in the book. Finally, the band was playing "Sittin' On Top Of The World". That song was not written until 1930. So much for historical research.

Avid fans of Charles Frazier's classic novel "Cold Mountain" novel who have followed its translation from book to film now have a keepsake coffee table edition celebrating the move, which is much more than a collection of movie photos. The novel "Cold Mountain" is the story of a pilgrimage, and in the same tone compliments Cold Mountain: The Journey From Book To Film, tracing the odyssey of the movie created by an English directory and his international team of filmmakers: a six-year odyssey. Yes, there are over 185 photos by a number of photographers - but there are also extensive references on pre-production, post-production, and analyses of how the film was created, adding a depth and dimension which elevates Cold Mountain: The Journey From Book To Film far beyond the status of mere coffee table embellishment.

I am a Cold MOuntain fan! I love the book! When I saw the movie, I was somewhat disappointed. Don't get me wrong; it is a great film, but it is so different from the book. When I rated the screenplay, I gave it three stars (out of five), because I felt it "violated" the book in so many ways. This book (Journey from Book to Film), however "redeems" the screenplay, because it explains and illustrates the process of adapting a book to film, and helps the reader understand why the movie "must" be different from the book. This is an absolutely beautiful and essential book for anyone who cares aqbout how the book became a film, and the end result. It is a lovely and well-done book. Highly recommended. By the way, you will want to read the novel again after seeing the movie and reading this book!

This is a beatiful book on the making of my second favorite film of the year, the first being The Return of the King. The book expolres the novel's journey fromm book to srcipt to screen and has over 180 lavish pictures and illstrations. I have not bought any other of these books from Newsmarket becasuse it did not really not what to expect. What i got was a grand expolarartion of what it takes to make a grand film like this. The Music was great in the movie and there is extenisve pages on the making of the soundtrack as well as 32 pages of beatuiful black and white photos taken on the set. If you love movies buy this book, it doesn't even really matter if you have seen the movie or not the book well just make you want to see it a lot more.

Anthony Minghella has become today's poet of images. His films are lyrical and very emotional. They are beautiful, always thoughtful and very touching. That's why I counted my lucky stars when I learned that Minghella would next adapt one of the best and most beautiful books I've ever read, Charles Frazier's Cold Mountain.

Could Mountain: The Journey from Book to Film takes you on the road that everyone involved with this film walked down. First, we meet Minghella and Frazier, as they both discuss the writing of the book and of the script. Then, we meet the producers, the set desingers, the cinematographer, the costume desingers, the actors, the editor... Everyone who played a major role in the making of this film is presented in this book.

I haven't yet see the film and cannot say if the greatness of the book translated well when it was taken to the silver screen. But judging from the interviews and the pictures in this film, I have to say that I don't think I'll be disappointed. The pictures in this book are beautiful and very attractive; you can already tell that this will be one heck of a film to look at (the pictures alone are the kind of visual candy you can't pry yourself away from). And then, the book also reprinted parts of Minghella's screenplay. And like we saw in his other films, The English Patient and The Talented Mr Ripley, Minghella really has a knack for writing engaging and touching dialogue.

Reading this book only made me want to see the film even more. It's rare that you are allowed to partake in this kind of journey, following a film's progress from point A to point Z. But this book brings you right into the heart of the film's production, discussing all the problems the crew faced, and telling us little annecdotes about the making of this film. Cold Mountain might not end up being the greatest film ever made (although I do wish it is), but I can tell, judging by this book, that it will be a great and very important film.

Mr. Shelton's book looks beyond the technical aspects of good media production and provides thoughtful and practical guidance on how to plan, shape and organize media presentations that will surprise, charm, inform and influence audiences. His emphasis is on informational rather than narrative media. At a time when we tend to be bedazzled and distracted by the remarkable technology now within easy reach we need frequent reminding that the idea is everything and that all that follows must be designed to deliver that idea to our intended audience forcefully, memorably and persuasively. This book will show producers of documentary, sponsored and informational films and other motion-media (Mr. Shelton's term) exactly how to proceed. Particularly valuable are the many examples, format samples, check lists and illustrations he includes. The Communication Analysis Plan is the best and most complete I have seen. This book can teach and encourage informational filmmakers who of late tend to be over-shadowed by our Hollywood brothers/sisters. The fact is, however, our productions can be equally creative, well-crafted and moving if we remember that most of the work needs doing long before we pick up a camera as we ponder and analyze exactly what is to be done, for what audiences, in what way, with what result. Shelton's book will certainly help. I recommend it highly for those who want to become better and more efficient information media producers and as a text book.

Whether you're a motion media professional or a student of visual communications, this book is a "must read" for you. The author - drawing on some forty years of experience as a successful information motion-media professional - writes with clarity and authority about both the theory and practice of communicating ideas through film, video, and multi-media. Shelton argues persuasively that the main objective of all information motion media is to influence the thought and behavior of the target audience, and that all the resources - creative and technical - that a motion media specialist has at his or her disposal must be directed toward that end. But he cautions that creativity used for its own sake may result in failed communications and a waste of the client's money. Building on this theme, the author elucidates an array of time-tested principles that he strongly advocates should be applied in the design and production of effective motion media. Not to be missed is an appendix featuring some fascinating "quotable quotes" that the author has collected over the years (though perhaps some individuals might consider having been quoted a dubious honor). In sum, there is no better book available on this topic, and I recommend it without reservations.

I strongly recommend S. Martin Shelton's book to practitioners of any profession seeking to influence the actions or thoughts of others through the power of media, be it through the written word or the transmission of images. As a Foreign Service officer I should have had this book 30 years ago. Though the focus of his book is film and video, his explanation and exploration of the principles of the communication process has application in all facets of interpersonal dealings. To cite but one example, this is especially true in the field of advertising--print, video, or radio. Much too often, media fails to motivate audiences to do what the sponsor has in mind, from the prosaic act of choosing between competing brands of toothpaste to such altruistic goals as inculcating healthful life choices. Such failure, as clearly expounded by Mr. Shelton, is in large part attributable to a growing lack of understanding of the underlying tenants of the art of communications. For one, the seductive explosion of technology's rapidly expanding capabilities has led to a shift in focus from communicating a message to enthralling with pixel glitz. Incorporating Shelton's ideas garnered and developed over years of practical experience and a background rich in theoretical knowledge, will improve significantly what we see and hear in our daily lives-bringing clarity to much of the "noise" surrounding us. Kenneth Albright, US Foreign Service (Retired)

This book is the distillation and compilation of the knowledge Shelton has gained from many years of experience in tehse fields. It is well written and his comprehensive knowledge of the field is evident. He is sometimes acerbic but his advice is heartfelt and should be of great value to beginnners as well as professionals in these areas. His "FUNDAMENTAL VERITIES OF INFORMATION MOTION-MEDIA" will be of particular usefulness as it is pithy and to the point. The book could well be used as a text in a college-level course. I recommend it unreservedly.

Dr. E. V. Ruhnke, Sr., Professor Emeritus, Texas A&M University-Kingsville

Mr. Shelton's book on filmic communication is an important breakthrough in the understanding of how and why films work with audiences. For the first time in the many years I've been in the profession I've found a book that tells me how motion media works and how to make it work. With masterful insight he analyzes the very foundation of my profession-how to use film and video to motivate our audiences, how to get them involved. To anyone in our profession or to any aspiring students, Shelton's book may well be the key to your success.

A wonderful guide book for people new to anime. Includes a overview of anime history; year by year breakdown of TV programs released in the States from the 60's to the 90's; a listing of videos released in the states (both in and out of print), and a listing of anime related clubs, retailers, and conventions. Dated now, but still a wonderful resource.

Trish Ledoux is an absolute genius, and it shows in the amount of information held within this relatively short TPB. I have never seen such a vast amount of information in so few pages. The Complete Anime Guide succeeds is giving a very thorough account of the Japanese artform without boring the reader.

With out a doubt the most complete guide I've ever seen. Not only are most of the Anime tities cover with short synopses but history, fan clubs and retailer addresses are included. A superb book

This is the best book on anime released in North America. The section on anime TV series is interesting as well as informative. It just about covers every series that aired on U.S. television. It also covers the vast genres of anime while it gives informative side notes. It also has brief synopses on a few anime titles as well as a listing of all titles released up to December 1995. To sum it up, I believe that this is the definitive source on anime released in North America. The authors really did their homework in writing this book

This is solid an knowledgeable work, and an excellent resource for anyone new to Anime (Japanese Animation). The first half of the book covers the history and culture of Anime, and is thorough and well-researched. The second half gives quick synopses of the Anime titles available on video in the US. This section is slightly weaker: it is dating rapidly (unavoidable in such a work), and the synopses tend to be back-of-the-video stuff and not always too informative. On the whole, though, well worth buying.

Ever wanted to know neat facts on Adventures In Odyssey? This is the book! Read Today!

This book was excellent! It was loaded with tons of information about the radio series and Odyssey itself. This is a must-have for every AIO fan. The only problem I had with it was it is 6 years old (as of 2002). Other than that it was great! Buy the book!

Have you ever wanted to know when Connie Kindle came aboard. What about Eugene Meltsner's debut? Why does Mister Wittikar walk with a limb? Did you know the top of his ear is missing? Find out all about it, and more in this wonderful collection of memorabillia, Phil Lollar has done a really good job of this book. It is a treasure to the fans of our friends in Odyssey, GET IT!

It's finally out, Phil Lollar's Complete Guide to Adventures In Odyssey! 300 pages of everything you ever wanted to know about the immensely popular radio show that's spun off into books and videos! You'll re-live favorite episodes, learn about Odyssey characters and actors, go behind the scenes of production, and test your knowledge of the show. Summaries of each episode feature faith-building study questions! Look for it at your local Christian bookstore! Or Order it here! Any Questions Ask Here!

The Complete Guide to Adventures in Odyssey is a great guide to all the episodes, characters and story lines of the Focus on the Family Radio Drama Adventures in Odyssey. It has detailed story lines to every episode, bloppers and facts about the episodes and has early photos of the cast and crew. The only downside was the fact there were not many color pictures in the book. But other then that the book was great.

How can any little book presume to be 'complete' when it comes to Alfred Hitchcock?

He practically invented a cinematic language, used his commercial success to at once deflate pretense in others and experiment most boldly with cinematic form, and, in the process, scared the pants off us.

What is complete in this book? Each film is given its own section, which concludes with a "Final Analysis" section. Here's a quick cut from the final "Final Analysis" [Family Plot]:

"Hitch's last project was the most important one he ever undertook, for trying to get this spy story to the screen allowed him to entertain the fantasy that he was both still working and well enough to work, despite evidence to the contrary."

Complete? Even in the last sentence, the authors admit that death cut off what could have been even more from a great twentieth century artist.

As a novice Hitchcock fan, I find this book extremely informative. It gives a good summary of all of Hitchcock's movies as well as a good analysis of the films. It also includes where Hitchcock can be spotted in the movies and little tidbits on the actors and actresses who were casted in his movies as well as behind the scenes information. I would recommend this book for those who are starting to discover Hitchcock.

I bought this book sight-unseen, knowing absolutely nothing about it (which is why I'm now writing this review; maybe you'll be more willing to try it once you know what it has to offer). It's a thorough, well-nigh encyclopedic look at Hitch's work, with a brief chapter (averaging about 4 pages) on each major film. The chapters include complete cast and credits --including "uncredited cast" -- plus a synopsis, and sundry comments on each film under such headings as "cruelty to

animals," "mysogyny," "ice maidens," "roots," and a "final word" with a critical appraisal including a rating on a scale of 1-10. While examination of each film is necessarily brief, it's quite thorough and absolutely chock-full of cool trivia. Every now and then there are sidebars on stars with whom Hitch worked; there's also an amazing appendix listing every single episode from Hitch's TV shows (not just the ones he directed -- but ALL OF EM). Only negatives: could use an INDEX, plus I noticed several careless spelling errors (actors' names and so forth) of the type that tend to make one a bit suspicious. On the whole, however, this is THE place to start for the Hitchcock novice, and a real treasure trove for the seasoned fan like me. Highly recommended.

I see that the other reviewers have pretty much said all there needs to be said about this book and I doubt I will say anything new here. All I want to emphasize it that this is truly THE book to get for a quick, easy, complete understanding of Alfred Hitchcock's movies. I have read other,longer, deeper books on his films which were very good, yet this one is nice when you are new to Hitchcock or just do not have the time to devote to much reading. These authors have a good sense of humor as well, and it always is fun to read a book where you can get a few laughs. They have some good trivia in the book, spotlights on certain Hitchcock actors,a few pages of pictures showing some poster art and movie stills, and they tell you where to find Hitch in the movies where he had cameo appearances. Hitchcock's movies are among my favorites, and this book is among my favorites about them. Get it and read it, you won't be disappointed.

After having read this book from stem to stern I would recommend it to new Hitchcock fans and more experienced fans alike. For the new fan it offers a clear synopsis of each film as well as offering many interesting points to look for. For the more experienced it makes for a convenient "turn to" source so as to better avoid the mountains of heavy, sometimes overly self satisfied observations that many resources tend to become, thereby saving wading through chapter upon chapter in order to reach simple facts.

I must respect the authors for their understanding that an enjoyment of film does not require a degree. I always commend a person for having the ability to transfer complicated observations in the simplest of English without the use of parables and without patronizing tones. Paul Condon and Jim Sangster have managed just that and not without the occasional bit of side splitting humour. Even if you are not watching the films in question it is more than a worthy read. That said, it may help to be familiar with some English terms such as "send up" as the average American does not know what it means to send something up so may be left wondering.

However, with the authors sardonic senses of humour being clear I would have liked to have seen further elaboration of the "goofs" section. There are so many Hitchcock bloopers worthy of a mention. I am certain it was a deliberate omission (perhaps for the next book) but nonetheless I was left wishing that they had made note of the obvious ones if only to give the new viewer that added bit of fun and sport.

Despite taking umbrage at the use of the phrase "just a smathering of dull brunettes" ahum, I would gladly purchase any other offerings from either or both authors and very much look forward to a second volume of "Complete Hitchcock," contradiction that it may be. Hopefully with an eye to the slip ups and perhaps more production details (locations, circumstances, first hand anecdotes, etc.) If that isn't a hint to get writing I don't know what is : )

In short I thoroughly enjoyed this book and would not only recommend it but have already bought several other copies for friends and family. Enjoy.

The book came amazingly fast and was in great condition!

Thanks!

It's a great book. The authors explain step by step from tutorials to simulations.

This book should be on the shelf of very instructional designer and course developer responsible for creating computer-based training or web-based training. The book stands out for three important reasons: (1) if offers concrete directions regarding how to develop instruction at the lesson level; (2) the recommendations are based on research findings and when research findings are contradictory the authors acknowledge the divergence; and (3) the book is well written, it is accessible to the average reader. The first chapter **alone** makes the book worth the price - it will help you answer the question "What is the difference between information and instruction?"

Seen from the point fo view of a non-expert readers, and comparing with <10 other books on similar subjects, the book looks quite good. It covers most of the basic types of learning activities (tutorials, drills, simulations, educational games and tests), plus a detailled overview on more organisational issues (analysis, design, ...), some chapters on technology for implementation of CBI as well as more advanced topics as instructional modelling, computer managed instruction and AI-techniques. Good reading, no hyper-specialised vocabulary. Happy that my holiday in canada brought me back this good reading to Flanders (Belgiium/Europe). Coming from an IT background (engineering & computing), it gives some goods clues on project management for development of CBI products. Les solid on educational/didactic theories.

Hesitating between 3 and 4 stars (don't feedl myself sufficiently qualified to give higher scores).

This book is excellent. There are many sections, in fact, which I will refer back to later as job aids. This book reinforces and elaborates on many concepts and methods that I, as an instructional designer, have been using intuitively when developing courses. It provides a structure to the process of organizing content and developing computer-based training. The only drawback to this book is that it is slightly out of date from a technology standpoint. However, it is so strong in every other area, including instructional design, interface design, interactivity design, and project management, that its strengths far outweigh its weaknesses. I would definitely recommend this book to anyone who designs or develops CBT and WBT, I think it will prove to be a valuable resource.

This is a great way to learn about Woody Allen, his craft, and his films. Organized thematically and chronologically, you see what films Allen really cares about and what he did just to fill the time. Some of his films were clearly throwaways for him. He made them because he's always working, but hardly remembers them and doesn't care to (Scoop, Small Time Crooks, Sleeper). Others are passions, like The Purple Rose of Cairo or Husbands and Wives. Allen is also, not surprisingly, self-depreciating, believing that his career is mostly self-indulgence that only a small audience appreciates. Of course, this underestimates himself and how impressive it is that he can have a regular output of one or two movies a year that, regardless of whether they are one of his best, are always well made, well acted, and interesting. The insights into how Allen works and how quickly, are interesting for fans. It also makes those of us who fancied ourselves writers realize what a true talent is. The best part of this book, there is no diversion into Allen's personal life which may be of interest to some, but not this reader. This is a great way to read about Allen's career, his collaborators, and his methods.

If you are a die hard Woody Allen fan you will love this book. It's a ringside seat to what goes on in his brain from writing to casting to directing to when the film is released. If you aren't a die hard fan, but simply like some of his movies you will appreciate him as a writer and a filmmaker. It's a really interesting book about Woody and his movies over a 30 year period!!

This is one of those rare books where we actually get a clear insight into the creative process of a great filmmaker. Techniques, style, philosophy and approach are covered in great detail. Gives awesome insight into the man and the movies he made. I really enjoyed it.

For sheer inventiveness and variety of films, the work of writer and director Woody Allen is unmatched. Their number, also, is impressive, almost forty movies since his first one, the hilarious fake documentary (it was made before anyone had coined the word "mockumentary") _Take the Money and Run_ in 1969. Not every one is a classic, but some certainly are, whether comedy (_Annie Hall_), comedy with a dramatic edge (_Manhattan_), fables (_The Purple Rose of Cairo_), comic intimations of the godlessness of our universe (_Crimes and Misdemeanors_), or drama (the recent _Match Point_). So if you are familiar with the movies, you will be fascinated with _Conversations With Woody Allen: His Films, the Movies, and Moviemaking_ (Knopf) by Eric Lax. Lax was a reporter in 1971 when he was assigned to check out the new director. The conversation didn't turn into an article, with Allen replying just "Yes" or "No" too often, but Lax tried again, this time for just a chat, which grew into more formal interviews, and as the years went by, discussions about his projects as Allen was working on them. Allen has participated in recent conversations with Lax just to make this book current, and has clarified and added to the text, so that the work is a unique look into the mind of one of America's great filmmakers. Because the conversations are with Woody Allen, too, they are funny and self-deprecating, but also generous in giving credit to others.

It is fun to learn where he gets his ideas. "When I go to sleep at night, put my head on the pillow, or walk down the street, I like to be thinking of story ideas. I'm always thinking about new plots. I would do anything to avoid that horrible moment of What do I do next?" It is a fruitful method; he knows he will have more story ideas than he can ever get done (he is now almost 72). It is part of his work, and it keeps the existential despair away: "To _practice_ the clarinet, to _get_ on the treadmill, to _get_ in the room and write - all that stuff helps. It helps militate against giving oneself over to the horrid gloom of reality." Allen has much to say about himself as an actor. He knows he has a narrow range: "I can play some versions of what I am, a New York character." He may be modest about his own acting talents, but over and over he praises the actors he has worked with. There have been many great ones, often repeatedly, and they must love working for him, since with his budgets (around $15 million a movie) they cannot expect star wages. "You hire Ian Holm and Gena Rowlands, what does it take to get superb performances out of them? Nothing. You just have to tell them what time to show up and provide the coffee and doughnuts." He praises his audiences, too, and frets about over-explaining: "You think the audience is not going to get it, so you explain it, clarify it, but the truth of the matter is, they're _always_ far ahead of you. [_He smiles._]"

There is so much here about the making of specific films and specific techniques. It is a revelation, for instance, that a climactic scene within _Manhattan_, in a classroom where he chastises a buddy over moral issues and makes references to mortality based on the display skeletons in the room, that the skeletons just happened to be there in the classroom for the filming. "I would not have thought to write them in." Here is his one-word explanation for why he so often uses long master shots: "Laziness". Shooting over and over again from different angles to be combined in the editing room is not (usually) for him: "We'll be here all day today and all day tomorrow doing this scene. I don't have the patience or concentration... I design a shot and will get all the information in and we'll finish it and move on." Long master shots are not from any artistic need, and he doesn't think of himself as any sort of artist. "I see myself as a working filmmaker who chose to go the route of working all the time rather than making my films into some special red carpet event every three years. I'm not cynical and I'm far from an artist. I'm a lucky working stiff." I don't agree, but I do think his audiences are lucky to have such a great body of work to enjoy and to think about, and that they are lucky to have this book as a guide to his own interpretation of a long and successful career.

Ok I don't like Mr. Allen...I simply thrive upon his presence in this universe.

I never just saw a Woody Allen movie, read a Woody Allen short story or listened to a Woody Allen monologue...I was a participant in them. No I don't think I am psycotic, maybe a semi-adjusted bipolar person, who is cynical and overly critical about most things in this life, however swimming in the wake of Mr. Allen I somehow manage to smile at the "awful grace" of this existance. I do feel guilty since he does the heavy lifting and I benefit from it.

Recalling his movies is like recalling my first kiss, scoring my first touchdown, pineing my first broken heart or noticing death for the first time.

I recall each flick; when, where, who I saw it with, and the state of mind I left the theater to pursue the endless nuances of the adventure.

To the book. I hesitated picking it up as it is four hundred pages and did I really want to be mesmerized by Mr. Alllen and Mr. Lax during this very busy time. I resisted for almost four days then I was seduced, trapped and on my way to an intellectual orgasm that seems to continue when I turn each page.

These two guys are like friends you wish you had who made you totally comfortable hearing them talk and thilled that you are allowed to just be in the room and honored to be listening.

If you are an educator you must study it, if you are a doctor you must examine it, if you are performing artist you must value it, if you are a writer you must consume it and if you are, like myself an everyday person you gotta love it.

Bravo guys you gave me a great holiday gift.

This book is great, if you want to be a costume designer or just interested in it this book is for you. It has a lot of good pictures and just really awesome!

The most recent book in Focal Press' Screencraft series, this book is a revealing look at the job of a film costume designer, told from the point of view of the practitioners. The names, faces and stories behind the most famous costumes from cinema are represented. From period films to contemporary, from mainstream to art films, from stylized costumes to naturalistic, the designers interviewed reveal their design process and the purpose of costume design, as well as what it's like working with stars and directors. The Academy Award nominated (if not winning) designers interviewed include: Theodora Van Runkle ("Bonnie and Clyde"), Italian designer Piero Tosi ("The Leopard"), Jeffrey Kurland ("Erin Brokovich"), the books author Deborah Nadoolman ("Raiders of the Lost Ark"), Ann Roth ("The Hours"), Japanese designer Eiko Ishioka ("Bram Stoker's Dracula"), Anthony Powell ("Tess"), Albert Wolsky ("All That Jazz"), Sandy Powell ("The Crying Game"), Gabriella Pescucci ("The Age of Innocence"), Ruth Carter ("Malcolm X"), Milena Canonero ("A Clockwork Orange"), James Acheson ("Dangerous Liaisons"), and Bob Ringwood ("Batman"). A fascinating behind the scenes look at a craft typically invisible to the audience. All of the designers deserve this long overdue recognition, and this book celebrates their work with interviews, color photos, and costume illustrations. Perhaps a future second volume might include interviews with designers Colleen Atwood, Patricia Norris and the design team of Jenny Beavan and John Bright?

This book is ideal for anyone interested in fashion or costume, and the creative process that goes into the creation of design. Landis, a costume designer herself, interviews most of the best costume designers working in film today. So unlike other books on costume design, where you get one person's opinion on the craft--and that person is usually a critic or academic who doesn't really have experience working in the field--here you get straight information direct from the creative people themselves.

The pictures are fabulous, so I think this book has appeal for anybody interested in clothes, movies, or design. Obviously, it will be a necessity for anyone interested in costume design or interested in being a costume designer.

Although there is a section on Landis' work on such movies as Raiders of the Lost Ark and Coming to America, she has obviously expertly edited the interviews that make up the text of the book. It seems as if the reader is sitting in the living room of these famous costume designers, chatting casually about how they got started, what inspires them, and some of their most interesting professional experiences.

Besides Edith Head, how many costume designers can you actually name? This book is a phenomenal collection of interviews with some of the best working film costume designers. You get a rare insight into what it's like to design for the stars, collaborate with the director and other craftsmen/women on a film set. Hollywood is well represented, but international designers get their due here as well. Designers describe what it's like to design for the much-lauded period films and the often-overlooked costumes of contemporary films (the author is herself an Oscar-nominated costume designer for "Coming to America"). The book includes lots of color photos and illustrations. You don't have to be a film historian to appreciate it.

This book is invaluable for anyone interested in learning about costume design--from the designers themselves. Fourteen highly accomplished designers discuss their craft in highly engaging and informative interviews, conducted by the author, Deborah Nadoolman Landis, herself an Academy Award-nominated costume designer. This is the kind of stuff that is usually neglected in "Making Of" film books and Hollywood history tomes. The interviews are augmented by hundreds of color and black-and-white photographs and costume sketches, which in themselves are more than worth the price of the book. Highly recommended!

I love all the curious George books. Who Doesn't?

author of "Hobo Finds A Home"

My son and I love to read about the curious monkey. This book is great!

This book and Curious George himself takes me back to a gentler time. A time when I was young and a time when my son was young. He and I LOVE to read all about George's silly mishaps daily.

This book was an automatic favorite because we live in Rhode Island and live at the beach in the summer. So he would always take this book and his george doll down in his bag. These stories are filled with laughter and love, two things a child can't get enough of and there is usually even a good manners lesson taught to George too that they don't soon forget.

So, any of the Curious George series is a winner with our family...and we don't even live near the "man with the yellow hat". lol*

Have fun and make each night a night you read to your child...it's so important. I even read to him in the womb each night. He talked early and certainly knew my voice almost immediately.

A winner any way you look at it. : ) Thank you George.

To date my daughter has been reading the "Curious George" books that belonged to my husband when he was a child. I was a little skeptical that the newly written stories would capture the same spirit as those written more than 30 years ago. However, my daughter absolutely loved it especially as both the storyline and the illustrations were more detailed than usual and made it fun for her to point out different things and extend into a discussion with us about beaches, lifesaving etc. Like her other "George" books she has reread this one over and over.

George is good to read after an exasperating day with your toddler or preschooler. It reminds you that it could be worse, you could REALLY have a monkey to care for, and your monkeys don't really mean to get into mischief, they are just very very curiouus.

I was a student of his many years ago. The book is not nearly as great as the man. He was a rare professor.

On the book, it is well laid out, progresses well and a distinct asset to the language learner.

I received the book in three working days. Book was in great condition and the price was lower than I had expected to pay.

Mailed and recieved in the time they said. The book is in great condition, the price was even better.

The book is one of the "classics" of introductory level German. I used this book for a college level class and now find myself referencing it as I complete more advanced level classes and prepare to move to Germany. The authors do a great job of simplifying the grammatical points of the German language in clear everyday language. They also use many examples throughout the explanations to clearly illustrate the key grammar concept. I also appreciated the mini-review at the end of each chapter, as well as the list of the grammar concepts in the index. Finally, the list of valuable idiomatic expressions and relevant sayings is helpful to the student in many normal everyday situation whether it be in a classroom or in a normal everyday situation. All in all, it was and is a valuable learning tool!

I bought this book to use with my German 101 and 102 classes, and it was extremely helpful. The writing style was, if not absolutely gripping, easy to get through, and the information was plentiful and well laid out. The accompanying website was also useful. The only problem I have with this book is that at the beginning of each chapter are a few dialogues using grammar that hasn't yet been learned. It would've made more sense to put those dialogues at the end of the chapters, in my opinion. That's more annoying than anything, and doesn't hurt the content or student's learning rate at all. I'd recommend this to any beginning German student.