Video Books

Then this is the book you have to get! I loved the film, ALMOST FAMOUS (so much, that I went to go see it at the movie theaters towards the end of it's playing by myself - usually, I go to the movies with at least one other person). ALMOST FAMOUS is really the best film I've ever seen in my life. I can't believe it only won one Academy Award and didn't get nominated for Best Picture! Oh well, if you wanna see the exact Oscar-winning script from the film than this is the best thing you can get. I went out to the bookstore recently and bought this and I was not disappointed in the least! I loved every moment of it. In fact, I am trying to memorize the script so when I buy the video, I can repeat every single word they say in the film. This script captures all of the highlight moments from the film and if you missed a line or two while watching the movie, you can probably find it here in this book. Also, the intro written by the author is pretty cool, too. Also, the author has an interview with Cameron Crowe himself, and Crowe explains many parts of the film that were most confusing to you. Plus, there are some great memorable photos directly from the shooting of the movie (though they are all in black and white) to add to this true ALMOST FAMOUS collectors' item. A great read and a must have for all ALMOST FAMOUS fans! Trust me, you won't be disappointed.

As good as the movie. Well, okay, better. (Isn't the book always better?) This includes details the movie left out and tells the story just as well. Also includes interviews with Cameron Crowe. EXCELLENT Book.

After seeing the movie I couldn't wait for the book to come out. I got it the first day of November and read it in like one day. I am now reading it again and picking up more then I did before, not because I read to fast but because you just do. If you are a fan of the movie and want a little behind the story look then get this screenplay (book).

When a film becomes the darling of the critics and viewers alike, you can be quite certain a good script is at the core of the success. Almost Famous is no exception. The screenplay is remarkably close to the final edit of the film, with only a few scenes that will probably make it into the DVD release of the film. These scenes fill out the characters even more, and in at least one case, anchor a wayward reference in the final cut of the film.

Several characters in the film will become immortalized by their dialogue, and savoring it in the context of the entire screenplay is a real treat. In addition to the screenplay, there is an interview with Cameron Crowe that covers many of the questions you or I would like to ask Crowe about this film. Yes, almost all of it really happened, and Crowe gives his take on a world and lifestyle that albeit passing and circumstantial, became real for the people who lived it. I recommend it highly.

Do you feel a fondness in your heart for old black and white cartoons? Do you know that the original Tom and Jerry were not a cat and a mouse but two loopy guys? If you can answer yes to those questions you will like this book which was originally published way back then.
It's actually full of good information that is still relevant today. I own a number of animation how-to-do-it books and one thing about this book is that all its numerous illustrations are unique and different from any other book. And it covers a few things that I've never seen covered in any other book - like exactly how to draw all the frames for the smoke coming from the tailpipe of an old jalopy. The emphasis of this book is different from modern books and the tone is more bright-eyed and awestruck. It's refreshing to read something written at the very beginning of animation when it was still viewed with amazement.
If watching Betty Boop fills you with warm nostalgia then I think this book will do the same for you.

Maybe I will not read every word of this book, but just knowing it is on my shelf makes me give it 5 stars, being a landmark in the history of animation, also being the book Walt started out with...
For animators then, it was comparable to, what Frank & Ollie's 'The Illusion of Life' is now (if you are looking for THE book on animation, start here), or Preston Blair's book (when there only was one) when I started in animation in the 70's...

This book is the best place to start actually making animation. Equipment construction is explained well enough to start a professional studio. Techniques are clearly described and perfect for students of the art. Extras are the theory of what is funny and why, but mostly, the uses animation may serve in education. Many great old illustrations of walks pepper this volume. If you like to draw in ink, this book is for you.

Some clarification is needed here - this book is a reprint of a book from 1920, and although you might glean some tips on how to animate that are still relevant, this is NOT the book to buy if you're looking to learn the craft - it has been reprinted purely for historical interest. There's nothing here that is not outdated or superseded. If you want to learn animation, the books you really need are Tony White's 'Animator's Workbook', and Richard Williams's 'Animator's Survival Kit'. That said, if you're already a clued-up animator, or interested in the history of the craft, this is a fascinating book, representing as it does the state of the art just a few years before Disney appeared on the scene and set new standards. Historically - wonderful. Instructionally - look elsewhere.

Excellent book! I give it 4 stars because it's not an all-inclusive animated movie guide as it fails to mention the Dot character from the 80's, which was released in theatres, and there are few colored photographs.

I would save my money and instead check this book out from the library as I did because it's not worth paying as much as it sells for; unless, you want the whole animated movie guide to keep.

Bottom line: Great reference work, but I'd rather save my money and buy DVDs! :)

Jerry Beck is one the best animation historians out there and his new book proves this once again."The Animated Movie Guide" has a treasure trove of information on numerous animated films, even the most obsecure films get a mention.Jerry Beck KNOWS what is hot and what is not in animated films, so I would definetly pick up the films that get a good review in this book. I'll guarantee you'll find a film or film fact you never heard before, so pick this one up.

My daughter is using this as a resource for Computer Animation classes at the Art Institute of Atlanta

Beware - Jerry Beck's guide to animated feature films is totally addictive! If you want to sleep at night, forget it!
Once you start reading this book, you're compelled to read on to the next film and find out who animated it, who was involved, little stories about the production, and if the film made money...I became totally obsessed!

I loved this book, read it four times. It covered all types of animation
including stop motion. It was organized by decade, by country. There were
many contributors who chose what they were most interested in and I guess
their passion rubs off because it is hard to put down and very informative.
If you want a course in animation history, just read this and save your
tuition money. I don't know how Jerry Beck does it all but we all
benefit from his dedication. Thank you, Jerry. Keep up the good work.

Animation Art is a comprehensive look at the history, development and cultural effects of animation and cartoons.

From the early days up to the latest blockbusters of the 21st century, the authors have covered all concepts, genres and media. Including European, Asian and Canadian cartoons, stop motion, CGI and more.

Beautifully presented with many colour pictures and written by experienced contributors it leaves no stone unturned.

The only disappointment is the amount of text devoted to one of my all time favourites, Tom & Jerry.

Otherwise a comprehensive tome that will provide for anybody interested in animation.

Informative and entertaining,another good effort by Mr. Beck. I recommend this for any fan of animation.

This is a magnificent achievement. Serving as General Editor, Jerry Beck has brought together in a single volume a riveting narrative which examines the history of cartoon, anime, and CGI with stunning full-color illustrations of that history. As he explains in his Introduction, "We have assembled an international team of animation authorities to tell the tales behind the toons. -The story is told in chronological sequence with choice images that enhance its history...From popular Disney characters to obscure personal films, it is all covered: Hollywood hits and Japanese anime, as well as Russian masterpieces and Asian artfilms. Looking it over, it is quite a wild ride." Indeed it is. The material is skillfully organized within twelve chapters which range from "The Origin of the Art" to "The New Century." By no means do I claim to be an expert on the subject of animation art but I presume to observe that I cannot imagine what has been left out. The illustrations are stunning; the prose narrative is crisp and lucid.

In the Foreword, Jeffrey Katzenberg observes that animation art provides a unique opportunity "to remember to know who has gone before, to really know the stories, take lessons from them, and bring that knowledge to the future. My hope is that, one day, other people will feel the same way about about those of us who are making animated films now. While it is an amazing thing to have the opportunity to create films and to bring these enormous enterprises to the world, it is something entirely different and entirely more rare to have our work remembered and considered part of the continuing evolution of an art form." Thanks to Beck, those who work their way through this magnificent volume will not only remember what has been achieved in animation art thus far; they will also understand what can yet be accomplished as others who have yet to reveal themselves through their art.

I highly recommend this volume to anyone interested in animation art, of course, but also to those who have an interest in the creation and evolution of comic books. Also to those who share my high regard for illustrators such as Al Hirschfeld whose art is celebrated in Hirschfeld on Line, now available from Amazon in both book and DVD formats.

If you have ever wanted to play a trivia game using your knowledge of anime, here's your chance. The questions cover a wide variety of subjects, and they are grouped into categories. This makes it easy for you to use the book. And there is snappy banter included with the answers! Most of the comments are quite funny, and some had me rolling on the floor gasping for breath. I can't wait til the next volume comes out!

Japanese animated movies, called "anime", have received wide popular attention with the American movie-going public, and have long had an enthusiastic following among film buffs and students of Japanese popular culture. In the Anime Trivia Quizbook, Ryan Omega offers more than 400 questions that range from the very easy to the very difficult. Fortunately, he also provides the answers. The Q & A covers all the major anima genres, from giant robots and space aliens to silent samurai and "fan service" girls. From Ah My Goddess to Zetsuai and all the anime epics in between, Anime Trivia Quizbook is enhanced with sidebars, cells, and more! This is a "must" for all dedicated anime fans everywhere!

For those of us who like details, this book certainly questioned most of them. A very humorous book with comments for even the wrong answers, and a great guide for whether or not you are just starting anime or have become very obsessed with it. A variety of topics include romance, math, sci-fi, merchandise, etc. I can't get enough of this book! It contains all the current anime and puts your brain to work, but if you don't feel like doing that, the answers are easily accessible. A well-worth buy.

I was going to take this book to a party with my friends, but I missed the party because I was laughing so hard reading it! I was skeptical at first of the subtitle, "From Easy To Otaku Obscure," I thought, "Pshaw, what Sailormoon and Dragonball Z trivia probably." But no! It was a pleasant surprise to find references to lesser-known anime series' such as the Legend of Basara and Weiss Kruez, two of my personal favorites. I loved the Games section, Japanese anime-style RPG and fighting games are highly underappreciated in Western literature about contemporary Japan. When I met the author at a local bookstore, we had fantastic discussions about everything from the cultural and social implications in Final Fantasy to male and female sexuality in anime. It's refreshing to meet another anime otaku who has the brainpower left to discuss things intelligently. Everyone, including the smallest Pokemon fan to the otaku who's been watching anime since Astro Boy, should buy this book!

If I could give this a six star review, I would. Indispensible for any
fan(atic) of the Godfather.

If you are a film buff and a Godfather fan, this book is an absolute must. Its meticulous attention to detail and beautiful graphics are astounding. If you think you know everything about The Godfather, you will be shocked!

This book is perfect for THE Godfather fan. The entire script is in the book along with many details and pictures. Notes by Coppola are written out to the side. My husband wants to watch the movie while looking along in the book.

Great gift!

Movie fans, rejoice - THE ultimate guide to one of the greatest films of all time is here. Lavishly illustrated (I especially loved the photo of James Caan, post-slaughter, sitting and having a smoke covered with stage blood) and packed with more information than I, movie geek that I am, ever thought available on the film. Lots of behind-the-scenes stuff, revised and deleted scenes, explanations of why things were done a certain way, and much more.

The book literally makes you see the film in your mind as you dissect it, piece by piece. Positively the next best thing to being there.

Take the book. Leave the canoli.

This book helps ease the monumental transition from Avid to FCP. It is definitely a must for anyone going through the change, but becomes less useful once you get the hang of FCP. Once you are through the transtion, then get the book Final Cut Pro 5 for Mac, which answers the rest.

This book I could only find used, it is not easy to come by...

If you are ever forced to quickly learn Final Cut pro for the odd job where Avid is not a viable option, or you want to start editing your on stuff on the cheap, buy this, read it and practise it for a week and you will be a Pro at Pro, knowing everything there is to know, at least, where to find it and whether it is doable or not. It is a book written by an Avid editor for Avid editors who have to go through the same learning curve. You can be very surprised going through it on how similar the two editing systems are and most of all, how quickly you can synthesise the information and make it second nature. I fervently recommend this book being so well written, going always to the point and covering everything properly.

As an Avid editor and now learning FCP, I can recommend this book for helping to understand where everthing is. This book is a must unless you want to tear your hair out. If you know how it feels going from Media Composer to DS, then you will understand why you need this book and I might add others.

We have been an Avid only edit house for years, but reciently purchased two Final Cut systems. Most of the transition was pretty easy, but trying to figure out how to do some of the things in FCP that we did in our sleep on the Avid slowed us down a bit. This book draws great parallels between the two systems.

This is an excellent training course. It is not just about UML, but puts UML into practice for an object-oriented approach. The video material is of a high quality and clarity. If this is the future of "interactive" training, then I am all for it. A worthwhile purchase.

If you like Craig Larman's Applying UML and Patterns, then this multimedia CD-ROM is absolutely faithful to the real thing. Congratulations to PTG Interactive and Craig Larman for creating a useful multimedia application! Larman appears in a small box in the upper left corner of a QuickTime video with the majority of the video showing diagrams and slides, which Larman narrates. The quality of the video is good and the sound is excellent. The material covers most of the 2nd Edition of Larman's book and adds some additional material on the GoF Patterns. In order to really benefit from this video, you should get the book as well and read along. It is the leading book published on the UML.

This is such a wonderful educational tool for beginners or anyone interested in Object orientated analysis and design. I really do think people new to Java, C# etc.. would benefit from purchasing this course. Everyone knows the quality of Craig Larmans books, this course is quality too. Excellent Product!!

Finally someone who can put a wide range of OO concepts into a format that the average developer can understand. We need more titles in this format. I especially enjoyed his defense of iterative development (versus waterfall), and recommendations for XP documentation. May be too basic for some OO developers, but still good as a review. Also time well spent in preparation for the IBM UML certification exam, or play it during lunch for your friends at work!

Just in time for the 90th anniversary of the historic collaboration between silent-comedy giants Roscoe "Fatty" Arbuckle and Buster Keaton, film historian James L. Neibaur offers the marvelous McFarland & Co. paperback ARBUCKLE AND KEATON: THEIR 14 FILM COLLABORATIONS. This superbly researched and richly detailed volume is a valuable and vital addition to the libraries of comedy fans in particular and movie lovers in general.

Although the basic career outlines of both Arbuckle and Keaton are virtually common knowledge to most comedy aficionados, Neibaur brings a bright new perspective and a wealth of fresh historical material regarding his subject(s). The fourteen two-reel comedies produced by the Comique Film Corporation between 1917 and 1919, starring veteran movie funster Fatty Arbuckle with cinematic novice Buster Keaton in support, are analyzed in the order of production and release, permitting the viewer to witness not only what McFarland describes as the "collaborative chemistry" between Fatty and Buster, but also the creative growth and evolution of the two men during this prolific and rewarding period in their careers.

Too often, the story of the Arbuckle-Keaton comedies is told from the perspective of Keaton's staunchest supporters, heralding Buster's development from featured player to star while minimizing the contributions of Arbuckle--which is not only unfair, given that Fatty was a major box-office attraction of the period, an accomplished director, and the sole raison d'etre for the films in the first place, but also historically inaccurate. While Neibaur acknowledges that Arbuckle initially preferred wild, unbridled slapstick catering to what he regarded as the "twelve-year-old mentality" of the average filmgoer, and that Keaton was convinced even this early in his career that the audience was capable of grasping more subtle and intelligent comedy concepts, the author shows how both men complemented one another and benefited from collaboration on an equal basis.

In the earliest of the fourteen comedies, Arbuckle was already demonstrating a firm grasp of filmmaking technique and consistent comedy characterization, but he was still doggedly adhering to the tried-and-true "gags for gags' sake" formula of his earlier Keystone films, frequently throwing plot and logic out the window in the pursuit of nonstop laughter. With the benefit of Keaton's input--which Neibaur meticulously traces and pinpoints from one film to the next--the final entries in the Arbuckle-Keaton series were, in Neibaur's words, "critically applauded for offering less in the way of knockabout slapstick and concentrating more on thoughtful gags stemming from character and situation."

At the same time, Keaton was receiving valuable on-the-job training in support of Arbuckle, in preparation for his own ultimate stardom. Though his comic timing and physical prowess are remarkable to behold in the earliest collaborations, it must be admitted that he is less a character than an outline of a character. Working in close quarters with a charismatic (and generous) performer like Arbuckle enabled Keaton to grow and mature as performer, matriculating from merely another vaudevillian with a clever bag of tricks to a wholly believable human being. Also, Neibaur notes that Keaton's legendary "great stone face" was the end product of extensive trial and error throughout the Arbuckle films, in which Buster experimented with a vast array of broad facial expressions before finally settling upon the minimalism that worked best for him. (The familiar story of how Keaton discovered in childhood that he got bigger laughs by not smiling on stage is repeated herein: However, the author clarifies that it was Buster's painstaking apprenticeship with Arbuckle that led him to conclude that he could continue getting big laughs by not smiling in the radically different medium of film).

The book offers an insightful critical assessment of each film, with special attention given the brilliant and remarkably sophisticated parody melodrama MOONSHINE. And though he rightly cherishes these films as being just as "alive" and entertaining today as they were when first released, Neibaur also does a fine job placing the fourteen comedies in their proper historical context, most often by quoting rare contemporary print reviews that haven't seen the light of day for nearly nine decades. Mention must also be made of the author's skillful assessment of the appalling racial humor in one of the lesser films, OUT WEST. Where some writers would issue a blanket condemnation of the Arbuckle-Keatons on the basis of this one offensive film, while others would bend over backward trying to apologize for the most egregious gags as merely "products of their time", Neibaur takes a refreshingly brand-new approach to one of the touchiest issues facing 21st-century film historians.

The chapter I enjoyed most focused on the handful of two-reelers made by Arbuckle during the period in which Keaton was absent from the studio, serving in the Army. Although only two of these films are currently extant--and those have only been rediscovered in the past decade--Neibaur is able to persuasively argue that films at hand not only prove that Arbuckle was putting the lessons learned in his collaborations with Keaton to good use, but also that "Arbuckle's own abilities were the reason for the success of these two reelers", and that they can now be seen as a "transition" in the comedian's comic vision.

The thumbnail descriptions of Arbuckle and Keaton's careers before and after their collaboration offer much that is new and fascinating, including interviews with coworkers Lionel Stander (who appeared Arbuckle's final Vitaphone talkie short, 1933's IN THE DOUGH) and Lorna Gray (Keaton's leading lady in his first Columbia two-reeler, 1939's PEST FROM THE WEST). Especially noteworthy is Neibaur's take on the spectacular scandal that destroyed Arbuckle's career: Not only does the author observe that the comedian's starring features remained popular in Europe even though they'd been banned in puritanical America, but he also provides a fair-and-balanced compendium of facts and opinions demonstrating that the "whole truth" concerning Arbuckle's involvement (or lack of same) in the death of Virginia Rappe is a matter that is still--and always will be--shrouded in mystery and muddied by wildly contradictory first-hand accounts.

Finally, Neibaur pays brief but affectionate tribute to a pair of often-underrated contributors to the popularity of the Arbuckle-Keaton comedies: Fatty's talented nephew Al St. John, who of course went on to a rewarding "second stardom" as a B-western comical sidekick, and pert leading lady Alice Lake, whose subsequent life and career is here treated in far more depth than I've ever seen previously.

In short--BUY THIS BOOK!!!!!!!!!!

Jim Neibaur's "Arbuckle And Keaton: Their 14 Film Collaborations" is a nearly flawless book on Roscoe Arbuckle's silent film comedies of 1917-1920, which also happen to be Buster Keaton's earliest films. All 14 films discussed are studied in depth, including a look at Arbuckle's films sans Keaton while Buster was in the Army in 1918-19, plus interesting details on Roscoe's nephew and comic foil, Al St. John as well as his leading lady Alice Lake.

What is really refreshing about Neibaur's book is that he gives the vastly underrated Roscoe Arbuckle his WELL deserved due as a film comedy master, but never at the expense of the genius that is Buster Keaton.

If you are a Keaton and/or Arbuckle fan, your book collection is incomplete without this staple. It supersedes all previous work on the Comique years. And it's a good read!

David B. Pearson
"Arbucklemania"

For years, discussions of Roscoe "Fatty" Arbuckle mostly centered around the unfortunate scandal that ruined his career rather than his career itself. Based on a relative handful of circulating films, Arbuckle was deemed an amusing silent-era comedian who was never ranked alongside giants like Charlie Chaplin, Buster Keaton, Harold Lloyd, and Stan Laurel & Oliver Hardy. Recently, however, a number of Arbuckle's best comedies have been restored and made available for public viewing, and guess what? It turns out that good old Fatty (a nickname he disliked) was actually one of the greatest comedic performers of the silver screen, from ANY era.

James L. Neibaur's ARBUCKLE AND KEATON: THEIR 14 FILM COLLABORATIONS goes a long way in reassessing Arbuckle's undervalued reputation, and finally gives the rotund funster his well-deserved due. Though this volume deals specifically with the short comedies that Keaton served as an apprentice to Arbuckle, the master, it also examines Arbuckle's career in its entirety, offering a wealth of facts and informative, trenchant observations.

If you think you're already familiar with Arbuckle's work, this book will make you seek out these films once more and perhaps solidify and/or rethink your opinions. If you've never seen Arbuckle at his peak, then this book will serve as the perfect guide to some of the funniest silent comedies ever made. Either way, ARBUCKLE AND KEATON is a real treat, and is highly recommended.

The recent books on Arbuckle have centered on his scandal (much needed though, to refute the horrible myths). This book focuses on the art, modus operandi, and the birth of the cinema Keaton. Mr. Neibaur not only gives us the facts of Arbuckle's superior Comique Comedies and his abilities as a filmaker, but he infuses this book with a love and respect for the art form of silent comedy. Mr. Neibaur also documents the historically neglected inputs from fellow Comiquians Al St. John and Alice Lake. The Arbuckle Comique Comedies from 1917-1920 are among the best of all silent comedy and provided the hot-house for future filmaker Keaton to bud, and how Arbuckle, through Keaton, influenced film comedy to this day. Well written and researched with much contemporary material, Mr. Neibaur will have you hooked after the first couple of pages. This book is a huge step in the rehabilitation of Roscoe Arbuckle and an important document on the cinema genesis of Buster Keaton, and I highly recommend it.

Plot is the meat and main course of any and all fiction scripts script regardless of film genres - without a good plot, it takes a miracle to have a good movie. "The Art of Plotting: Add Emotion, Suspense, and Depth to your Screenplay" covers all you need to know to make your plot the best it can be, explaining the complex principles, advice on integrating characterization and exposition to make the story more compelling, how to spot and overcome common plot problems, and demonstrate how plot can enhance everything else about your screenplay. "The Art of Plotting: Add Emotion, Suspense, and Depth to your Screenplay" is enthusiastically recommended to aspiring screen writers everywhere and deserves a place on any community library's Writing and/or Film Studies instructional reference collection.

Someone famous once said, "This is the Emotion Picture Business." This book will help you add Emotion and Depth to your screenplays.

Ok, I've been writing scripts for decades now. What's the common complaint generations of script readers and producers make: Anybody can come up with an exciting idea, or a powerful hook. Anybody. And there are tons of ideas out there - just open a newspaper! The problem is execution - keeping a 90 to 120 page script exciting. We can all write 10 or 20 pages of exciting scenes - but most of us run out of gas. In one word, plot. The plot goes no where, or gets boring. How do you keep the plot interesting, emotional? Plot is the entire focus of Linda Cowgills's book, and she presents 180 pages of ideas and suggestions on how you can keep your entire plot exciting, eventful and emotional.

Answer this question - what's the difference between conflict and complication? Which one keeps the plot moving?


Table of contents:
1 - The Three Requirements of Drama
2 - Plot: Event and Emotion
3 - The Role of Conflict
4 - The Principles of Action
5 - The Tools of Plotting
6 - The Sequence of Story
7 - The Real Art of Plotting
8 - Common Problems in Plot Construction
9 - Tools for Analysis

Great book. Highly recommended.

Great book, gives a lot of detailed information to lay the groundwork, then gets to the nitty-gritty with three terrific chapters at the end -- the real art of plotting, common problems in plot construction, and tools for analysis. These chapters are really specific about how you put your information together in your plot, as well as address specific problems writers encounter. A great asset to any writer's library!