Video Books

I picked up this book thinking it would be a dry treatise about lighting and camera direction etc. But having not attended film school I thought it'd be good information to lay under my practical film Production experience.

...and it certainly opened my eyes.

This is a book for filmmakers, film critics, and those with a deep interest in film.

It does NOT tell you HOW to make a movie. It provides food for thought about the major production decisions that the Producer and/or Director considers when making a motion picture.

It is an extremely "thinky" book. Moored in the French New Wave, American Zoetrope and to a lesser extent Spanish and Italian cinema. It praises experimentation and asks the reader to consider the effect of everything that they will put into the film. Likewise, the author derides "Hollywood" for sacrificing the potential of the motion picture as art form in order to accumulate as much money as can be made. While this feeling is prevelant throughout the text, it is refreshingly not overbearing.

The book reads like a series of lectures about film theory on such topics as Film School, Writing, Directing, Framing, Lighting, Sound and Editing. In this format it is digestible in small chunks and allows the reader to process what they have read before taking on the next topic.

As an Independent Producer, I found the points in this book to be worthy of consideration as I develop, plan, shoot, and finish my projects. I don't agree with everything he says, but he says it in such a way as to help me understand the impact of my decisions (e.g. to shoot on location vs. on a soundstage). I could easily see myself skimming through this text before any project to help me frame my approach. This is as much a testament to its depth and density as it is to its worth.

It is a new century, a new reality... Hail the new art form! one that will only 100 years of life awaits to be fully and beautifully exploited by new kinds of filmmakers, artists, philosophers, dreamers and siners!

This is the one book you need to read to fully understand the capabilities of Cinema as a true art form, not an obscene business.

Thank you Mr. Geuens, blessings to your creatively anarchic mind.

BUY THIS BOOK!!!

First I thought what could this book tell me what I didn't know already. But then I realized this is not just about filmmaking, this book is about you and me and what we call life. It's a story of looking behind the curtain and seeing the wizzard but not giving up your dream. Deeply inspiring and ultimatly insightful, this is the one text everybody who cares about movies should read. I read this book in a day and I hope Mr. Geuens will continue to write. So fasten your seatbelt and be prepared to see your preconceived ignorance shatter into a thousand little pieces and out of it will rise a new outlook on life and the movies.

Film Production Theory is an exciting and important book. Most importantly, the book outlines what is at stake aesthetically and philosophically in what appear to be merely technical considerations that enter into the making of film. Unlike many other works that focus upon the finished product, or, upon the personalities behind the product, Geuen's book focuses upon the techniques of cinema, with an eye to clarify what are the assumptions about the nature of cinema that are implicit in those techniques. For example, with respect to screenwriting Geuens points out that the standardized approach to screenwriting, in which dialogue is the most prominent feature and camera movement and angles are for the most part deliberately left out, implies that film is about story first and image second and also implies a less than fully collaborative relationship between writers and directors. Of course some writers and directors do collaborate very effectively -- but in doing so they are going against a trend that is implicit in the mainstream traditions of filmmaking, traditions that make it difficult for filmmakers to, say, let images and settings be the impetus for a creative and improvisational approach to telling stories. In addition to screenwriting, Geuens gives very helpful and detailed analyses of the nature of film school, the techniques of directing and lighting and cinematography and sound and editing. In all this, he is not simply aiming to criticize the way films usually get made, or the techniques that get applied to filmmaking, but primarily to show that such techniques pretend to be the best and only professional way to do things when in fact there have been remarkable films made differently and with far different results. In fact, the first few chapters of the book are attempts to understand why and how the "Hollywood system" came to be what it has become, what impact it has had culturally, and along the way to consider and highlight paths that were never or rarely taken. Sometimes Geuens can get a bit heavy handed and he is certainly not without his own strong views, but the book as a whole works to open up and clarify and illuminate the process of filmmaking. He is extremely well read in philosophy and critical theory and film theory, and draws upon ideas from people like Heidegger and Merleau-Ponty and Deleuze and many others, but never simply in the form of obscure name dropping. His references to such thinkers almost never fail to be both extremely helpful on the nature of film and quite clear in its summary of the often obscure thoughts of difficulty philosophers. The book is both an exceptional guide for the aspiring filmmaker and a powerful complement to works of film theory that focus on the product rather than the process. I consider the book the most important book on film I have read in a very long time, and can't recommend it highly enough.

I would say that this is certainly the flimgoer's encyclepidea to all things related to movies and the people involved in creating them. As far as knowlage about films goes. I would say this is impressive and is recommended to any serious film buffs out there.

Halliwell's engaging encyclopedia of film is a treasure trove of information about everything relating to the movies, with exhaustive filmographies, delicious trivia, wonderful quotes, devilish quizzes, and the late critic's inimitable -- and sometimes charmingly eccentric enthusiasm. Warning -- you may dip into it to check one actor's credits, but will find yourself cross-referencing and just leafing through for hours.

If you need a new edition of this work, try Halliwell's Who's Who in the Movies.

Over the last 20 years (or so) I've sent corrective notes to Leslie Halliwell and the subsequent editor, John Walker. For the premiere film encyclopedia, the Filmgoers Companion still has lots of errors, missing information for supposedly complete filmographies, and many many unlisted film stars, especially from the "transition period" to talkies (Anita Page, etc.). Personally, I think Walker was a very bad choice; he doesn't seem to be "into" the encyclopedic format of this valuable resource.

I felt that the book was appropriate about Spielberg's enormous contribution to the film industry over his career. The book has wonderful pictures and stories about each film from the first film, The Sugerland Express, to Saving Private Ryan with E.T. The Extra Terrestial, the Indiana Jones trilogy, and Schindler's List among the films listed here. This book chronologizes Spielberg's film-making techniques as well the special and visual effects. I am not one of his biggest fans. I admire his work and contributions to the film industry but I prefer more than the special and visual effects. There are other film-makers and directors out there that do less with more.

If you want a good read about cinema's most amazing director, then this is the book for you. It contains lots of really great insight not just on shooting the movie, but how it even started. Though author Douglas Brode tends to get a little too political, it is a really good book that I keep coming back to. Read at all costs.

This book is a great read for the major films of Spielberg. It is done with a great deal of research by the author, who puts together a very good story line of the producer/director and how he and his films progressed over time. The author also provides excellent background information on the films, from both a technical point of view and also the creative story line. The text layout, photos, and great front and back cover photos are there to flesh out the films. It is also a fun book to read. All put together, this is a very good book to understand Spielberg, his movies, his life, and his impact on very successful creative and commercial 20th century movies.

Douglas Brode's biography of the films of Steven Spielberg is an informative and interesting book that covers the life and films of Hollywood's most commercially successful film director. From his early T.V films to Saving Private Ryan, this book covers all the facets of Spielberg's work including unknown facts about the production of his films and supplementary information. With rare color production photos and stills, this book is a must- have for any Spielberg or film enthusiast.

I host a small group and have for about a year, coincedentially I called it Finding God in The Movies. I had a hard time coming up with questions for the small group and this book has great questions right inside. Eventually more people started showing up and everyone has amazing insights! I couldn't have asked for more!

The book really helped me with me class that I used it for. Even though we weren't required to read it.

Can we find God in the movies? Yes! In this outstanding cultural book, Johnston leads us to find God in the popculture. He mentions the movie as a story teller in which people communicate their values and worldviews. He, also, teaches us what the christian movies are and how christians can watch the films; the christian movies are what deal with the real human stories and what show the reality afresh. And, when we watch the movies, we, as chrsitians, have to see the christian values such as humanity, friendship, forgiveness, reconciliation, etc. In addition to these strengths, the most wonderful character of this book is the excellent complete film study guide. I enthusiastically recommend this book for all people who are interested in popculture and its application to their real lives.

Catherine Barsotti and Robert Johnston --- husband and wife --- give thoughtful Christians a book full of tools to help them view select movies (33 in all; the oldest released in 1982) through a theological or philosophical lens.

FINDING GOD IN THE MOVIES starts with an informative introduction that discusses the film genre and theological approaches to film. What makes a good film? "Head, gut, and heart. The best movies will engage the whole person." How does a viewer find God in the movies? "Unpack the story.... What is more primary in the way the story is shaped? (1) Is it the plot...? (2) Is it the characters...? (3) Is it the point of view, where a story is given value by the perspective of the narrator(s)...? Or (4) is it the atmosphere...?...Concentrate your critical attention on where the filmmakers have centered their attention. By doing this, you will prove a more receptive viewer of the story and perhaps the Story."

Each of the 33 movie-chapters starts with a two- or three-page "synopsis and theological reflection" --- a review. This is followed by "dialogue texts" (relevant biblical passages), "discussion questions," "clip conversations" (more discussion questions but about specific scenes), and several pages of "bonus material," which includes interesting behind-the-scenes information about the making and makers of the film. Movies also are clearly linked to two helpful appendices: one listing (Genesis to Revelation) relevant biblical references; one listing (A to Z) topics covered in or themes of the movies (for example, Abuse; Affirming the Human Spirit; Anger; Arguing with God; Balance in Life).

The movie-chapters are presented in 13 categories, the more blatantly religious ("Living Our Faith"; "Images of the Savior"; "Renewing the Church") placed toward the end of the book. You might want to start your exploration in these later categories or simply bounce around. The second of the 13 categories, "Beauty, Imagination, and Creativity," discusses two Pacific Rim movies, Spirited Away and Crouching Tiger, Hidden Dragon, that celebrate imagination and creativity but may be hard for the neophyte to discuss theologically.

This is a book for Christians who have an understanding of common grace, "the wider work of God's Spirit throughout and within all creatures and creation," and for those who are open to dialogue with the secular world. What are some of the films discussed? Life Is Beautiful. Ulee's Gold. The Hurricane. Simon Birch. Chocolat. We Were Soldiers.

By using this guide you might get the hang of facilitating a movie-discussion group and then move on to films you wish the authors had included. We'd all have our own list. Mine? The Trip to Bountiful. Cinema Paradiso. Babette's Feast. The Quarrel. Smoke. Maybe I should check out Johnston's earlier book REEL SPIRITUALITY: Theology and Film in Dialogue (Baker, 2000).

--- Reviewed by Evelyn Bence

Flying the Camera is exactly what it claims to be: a COMPLETE guide to freefall photography and skydiving video. I recieved the book as a gift, along with my first camera helmet. Weldon's book helped me set up my helmet, site it in, and start filming! The book is great, with lots of easy to read diagrams and lots of pictures and helpful hints. I highly recommend reading it before you start freefall photography.

A reviewer, an Up-and-coming skydiver: I had about 30 camera jumps when I purchased Flying The Camera. I read the book cover to cover and found it to be helpful in every way. I particularly liked the chapter called "mixing and editing your video" which helped me set up a pretty good tandem-video production at my dropzone. I recommend this book to all camera jumpers.

I had about 50 camera jumps when I purchased Flying the Camera. I read the book cover to cover, and found it to be helpful in every way. I particularly liked to chapter called "mixing and editting your video." This has helped me set up a pretty food tandem-video production at my dropzone. I recommend the book to all camera jumpers.

I picked up a copy of Patrick Weldon's Flying The Camera at the world freefall convention 97. Mainly because it was raining and I was bored. I was quickly surprised at what a truly great book it is! I have about 1500+ camera jumps, lots of competition stuff, and was surprised at how much I learned from the book. Flying the Camera is a very well written, very well put together book, and I highly suggest every skydiver read it before trying to "fly the camera." Regardless of skill level or number of jumps, this is truly a great book.

This book is one of those few that is so hard to put down. It was a fasinating look at the Bond movies,and the faces behind them. I had no idea that the budgets of the movies were so low.(as compared to other action films) This book took me in,and I would recommend it to any fan of film,especially James Bond films!

Director John Glen tells of his experience with the James Bond film series strait up. At the helm of five of the films as director Glen pulls no punches and offers great insight into the creative efforts of the whole Bond film team. This is a great book and even more so if you are a James Bond fan. I really like this book. There is really no gloss here. This is really about what went into making these films while Albert R. Broccoli was still alive and producing them. I highly recommend this book.

John Glen directed the five 007 films which basically span the entire decade of the 1980s: For Your Eyes Only, Octopussy, A View to a Kill, The Living Daylights, and License to Kill. He was also involved with previous 007 films such as Moonraker, The Spy Who Loved Me, and numerous other British films going back to the 60s. This book is a collection of behind the scenes stories from the making of Glen's films, but with special emphasis on the Bond films. Most Bond fans know the plot details inside and out, so what makes this book interesting is the story and script development, shooting location stories, and cast and crew details. The only downside to the book is I wish there was MORE of everything...more stories, more photos, etc. This is a highly entertaining book if you are a 007 fan, particularly from the Roger Moore - Timothy Dalton era.

This is a valuable book for the inside track on the Bond films. Director John Glen did a good job. His services will be greatly missed unless they get him back. After reading this book perhaps the producers should get John Glen back.

As a longtime James Bond fan, I picked up this book in New York recently. The author David Giammarco is a journalist who has done an extraordinary job documenting the 007 films, starting from Ian Fleming's literary conception to how the film legacy took flight. The author - whose keen knowledge is clearly evident - takes the readers up close and personal with all the Bond actors, filmmakers, and production talent with his in-depth interviews which detail so many great stories and little-known anecdotes throughout the entire film history. Quite an exhaustive and comprehensive effort! Fun to read and many great pictures. Among the positive recommendations on the back cover are from Roger Moore and Pierce Brosnan, so I knew this would be worth reading. And they were 100% right! A brilliant film companion book!

Amazing! I've been a fan of the Bond films for over 20 years, and this is the first book that has brought together everyone's first-hand accounts. Almost every Bond book I've been disappointed with because they were written by arm-chair quarterbacks, but David Giammarco is a journalist who has been a part of the 007 world, spent time with most of the Bond particpants, and can truly write what it is like to be on set and behind the scenes. It is very well-written, with many interesting facts and stories that even I'VE never heard before! His interviews with Roger Moore were quite amusing, and reading Sean Connery tell his version of Bond-mania was very fascinating. Getting to hear Timothy Dalton and George Lazenby's side of the story was also quite interesting. It was also great to see how well Mr. Giammarco showcased Pierce Brosnan's contributions to the series. Mr. Brosnan has been vastly underrrated in the media, but this book gives us far more insight into the man and pays him his due rewards (after all, we all know Pierce is the best Bond since Connery!!!) The author and Pierce seems to have a really good relationship, and perhaps that why the normally reticent Mr. Brosnan opens up as much as he does.
Plus, you can't beat hearing all the many great stories from the "classic" Bond directors like Guy Hamilton and Peter Hunt, Ken Adam (his account of Connery almost being eaten by a shark during the shooting of Thunderball was quite funny)as well as the many Bond Girls, Villains, cast and crew. I liked what Desmond Lewelyn told the author and I learned a whole new side about lovable old Q.
Also, the contributions to the book from Hugh Hefner, Kevin Costner, Harison Ford, and that infamous CIA spook E. Howard Hunt were quite fascinating and take this book to a whole new dimension than those other Bond books.

It's clear Mr.Giammarco knows the Bond legacy inside and out and his access to everyone is an invaluable resource for us Bond aficionados. I've been waiting a long time for a book like this - a really fun read. I highly recommend it. No Bond fan will be disappointed!!!

David Giammarco says he's a Bond fan. Lot's of people say they are something, but David Giammarco is what he says. This guy loves Bond and he lets it all hang out in this book.

For Your Eyes Only:Behind The Scenes of the James Bond Films is exactly what it sayd it is. It's full of behind the scenes information for all 20 movies from Dr.No to Die Another Day. There are interviews with people who worked on the films. David talks to directors, producers, writers, actors, and anybody and everybody who worked on the films.

There is an overview of each film and then the interviews. The interviews are your basic Q&A format. David interviews anybody and everybody that had to do anything with the films.

I love the interviews with the guys who played Bond. They all talk about the love they had for the films and the fun they had making them. They give you their perspectives on the movies and the things done in the movies.

The interviews with the Bond girls are fantastic. Some of the most beautiful woman to ever live have been Bond girls. From Ursulla Andress to Halle Berry you have interviews with most of them. They are all awesome ladies who enjoyed the pictures and love the place they have in pop culture because of it.

If your a Bond fan you have to pick this one. I doubt you'll have a question that this book can't answer. I've been a Bond fan for over 15 years and this is the most informative Bond book I've ever seen. You won't regret buying this one.

If your a fan of the James Bond films and you want to know everything about the films than this is the book you have to buy. This book gives a great behind the scene look at the films and at the actors who portrayed the suave secret agent. Each actor is interviewed by the author, and share there point of view on Bond. Also each movie is featured and discussed. I think this book is very fun and a great read. I really enjoyed the authors style of writing and hope he writes a book like this about the Bond novels in the future.

Francis Ford Coppola was born in a great year for the movies!
In 1939 the director was born to Carmen Coppola and his wife
Italia. His parents were creative-Carmen was a musician in the
Detroit Symphony and later in the New York Philharmonic under the baton of Arturo Toscanini. Carmen would later win a musical
Oscar for the Godfather films.
Francis was a younger son to his older brother who was everything Francis wasn't: handsome and well liked at school.
His sister Talia Shire would later be a movie star in his own
films most notably the Godfather classics.
Coppola graduated from Hofstra and received a master's degree
in film from the UCLA film school. His early apprenticship in
film was under the tutelage of famed B director Roger Corman.
Coppolla emerged from nudie films and small pictures to direct
"Finigan's Rainbow" and began to emerge as a talented maverick
whose creative/artistic wings were flying in the early 1970s.
Despite arduous business and creative troubles he won fame and fortune and several Oscars for the Godfather films. His most
controversial film was "Apocalypse Now" his take on the Vietnam
conflict based on Joseph Conrad's novella "The Heart of Darkness."
Coppola's career has more ups and downs than a roller coaster
as he founded Zoetrope Films in San Francisco and went to the
mat in countless donybrook battles with studio executives.
Coppola reminds me of Orson Welles in that he achieved fame early and then had a difficult career in tinsel town. He is a
man of massive ego; intelligence; daring and creative attention
to the details/minutia of film. He was unfaithful to his wife
Ellie; grieved over a son yet emerges from this biography as a
flawed but good man. He is gregarious and honest and a good
friend. His friendship assisted George Lucas in launching his
storied career! I like Coppola's rich textured films. His screenwriting from Patton to his latest project is outstanding.
This meticulous account of Coppola's career in the Hollywood jungle will not appeal to everyone. Countless pages are devoted to business deals, legal disputes and the difficulties encountered by Coppola in making his films.
For me who loves the Godfather and FFC this is a fine book.
Anyone who seeks to explore this brilliant man's career would do
well to begin with Schumacher's fine biograpy.

I thought this biography was detailed mostly around this film. On page 262, first paragraph, I think Mr. Coppola would agree to mention the fact that "The Chief Phillips" made a life last attempt to end Willard after getting speared on the boat by Kurtz's mongrules. Overall, the book was a manificant biography of a Itailian-American film maker of our time.

...and I hope he stays that way. Francis Ford Coppola is one of the inspirations of my life. His energy and enthusiasm for what he does outshines even the projects many might deride. One thing you have to say is at LEAST he puts his all into what he does, and I'd imagine no one would doubt this. PS: WHEN is the UNCUT version of "One From the Heart" going to be issued on DVD?

I work for Francis Coppola today and know him pretty well. Michael Schumacher's book really captures the spirit and energy of this facinating and complex man. I have read most of the other Coppola books and none combines an understanding for both the human and artistic side of Francis.

This book, like no other I have read, reflects the passion, energy and chaos of the Coppola world. I can tell you from the inside there is no more exciting experience than being part of the Coppola energy. Francis loves to tackle the "impossible" and never gives up. I particularly like this book because it is clear that the author, like myself, has great respect for this whirlwind of a man.

Just got my copy today, and wow, what a gem. The pictures, the behind-the-scenes stories and the script are all wonderful. Goes into details about each of the cast members and has tons of pictures, many of them i've never seen before! Included at the end is a "press book" originally given out at the theaters when the film was first released. Learn the fascinating facts behind the "lost" scenes in which the Frankenstein monster was supposed to SPEAK! Screenwriter Curt Siodmak was a true legend and his contribution to the Wolf Man and Universal's legacy is un-matched. Did you know Curt wrote the famous poem for the Wolf Man "...even a man who is pure at heart and says his prayers by night, may become a wolf when the Wolf Bane blooms, and the Autumn moon is bright". Anyone who loves classic horror will love this book. Filled with fascinating facts, photos and much more...a real treat!

It's fantastic that we finally here the dialog of the monster that was cut out of the picture. Bela Lugosi played the monster in the film. Why was it cut out? The explanation makes no sense since Bela voiced the monster in the final scenes of the previous film. It worked then so why not with this film? The hacking of this script ruined this film. It would have been a much better movie if they left the dialog in. It explains so much.
This a great book for those who are fans of the movie and the Universal monsters. In fact, it's a must!

FRANKENSTEIN MEETS THE WOLF MAN is best remembered today not only because it is the first of its genre (the crossover, still utilized today with films such as Alien Vs. Predator and Freddy Vs. Jason), but also because of a peculiar and maddening bit of editing: As originally shot, the Frankenstein Monster (as played by Bela Lugosi) was to be portrayed here as a weak, blind creature speaking eloquent dialogue (in Ygor's voice), the result of a clever plot twist from the previous feature, THE GHOST OF FRANKENSTEIN.

Within this book is the true reason why Lugosi's lines were deleted, as well as some interesting behind-the-scenes information, extremely rare stills (particularly of the deleted scenes), cast bios, the pressbook, and Curt Siodmak's original shooting script, which includes the Monster's long-sought dialogue in its entirety!

A source of lasting enjoyment for all Classic Universal Monster fans, especially those seeking a "completed" version of FRANKENSTEIN MEETS THE WOLF MAN. Highly recommended!

Another in the great series of Universal Filmscripts. The pictures alone are worth the price of the book. The background also tells about Lugosi's dialogue being cut out and what some of it was. It also explains the ending and the escape of Massey, Knowles, and Ouspenskaya (which is not shown in the film). It is a shame that production of these filmscripts didn't cover ALL of the Universal Horror Movies because of the detailed background of each.

I really enjoyed the book Frodo Franchise. I must have because I got two of them. Actually, I was curious about how a movie got made, especially one that I loved as much as Lord of the Rings. But I don't know why I got two.

DVDs can be stamped out in seconds, while VHS tapes are slower to produce because they have to be recorded in real time. Time is money, and so the movie industry's movers and shakers acted decisively to all but eliminate the VHS format - by charging video rental stores exorbitantly high fees for the rights to offer VHS rentals and much lower fees for the rights to offer DVD rentals. Author Kristin Thompson (Honorary Fellow in the Department of Communication Arts, University of Wisconsin-Madison) traces how this and numerous other profit-driven directives have permanently changed the modern film industry in The Frodo Franchise: The Lord of the Rings and Modern Hollywood. Central to The Frodo Franchise is the story of Peter Jackson's celebrated three-film adaptation of "The Lord of the Rings", and the lasting impact it has had on cinematic and entertainment culture. "The Lord of the Rings" was utterly groundbreaking in that it was, from Jackson's initial vision, a commitment to three full-length movies to be released over a short period. Yet the success of the film itself is virtually eclipsed by the immense profits of the franchise label - toys, video games, movie-related books, collectibles, and countless other Lord of the Rings licensed merchandise. The Frodo Franchise examines this franchise phenomenon and its repercussions on modern cinema (where the real money to be made lies in a film that will spawn profitable sequels and merchandise, rather than one-shot stories), with especial attention paid to the construction of "The Lord of the Rings" trailblazer trilogy. Accessible to lay readers and cinema scholars alike, and illustrated with numerous black-and-white photographs as well as an inset section of color plates, The Frodo Franchise is an utterly fascinating, completely unbiased behind-the-scenes look at the creation of Jackson's "The Lord of the Rings" movies and their effect on both the body of Tolkien's famous mythology and cinema as a whole. Highly recommended.

The Frodo Franchise is a MUST-HAVE for anyone who is passionate about: The Lord of the Rings movies, Peter Jackson and how he and his fellow creative geniuses revolutionized the movie industry, New Zealand, the LOTR fan world, etc. It is an engaging, carefully researched and very detailed work about all aspects of the PJ/LOTR phenomenon. It includes great photos, important interviews, fascinating information about the way films are marketed and how LOTR took that to a new level, etc. The title tricked me--for some reason I thought it would be a negative book; however, it is clear Thompson is a Tolkien fan who was at first skeptical about the films but then grew to love them. This book is an in-depth look at all things LOTR and, much to this reviewer's delight, it is clear the LOTR phenomenon is not going away anytime soon. Thank you, Kristin Thompson, for this wonderful and important book!

This book is an intimate look at the creation, filming, and deployment of The Lord of the Rings movies. It discusses all the key participants, the role of New Zeland, how fans influenced the movies over the Internet, and how the film industry is fundamentally changing because of this project. It is well documented and close to the events because the author had access to everyone involved, producers, director, actors, techis, the works. The book is also a great action-packed read. Maybe the best film book we have seen this year!!