Performing Arts Books

Nightmare U.S.A. is an extremely informative and well written book. The author keeps it fun throughout by putting a sense of love into his work. I found, as I read through this hefty tome, a true feeling of 'being there' watching the films that are presented. I'm looking forward to the next installment. All in all, a wonderful read for those interested in the study of exploitation films.

So great a book I bought two one for my business partner and one for me!

I've written a longer, more extensive review for Film Threat, but I'm going to do another one here because I believe this book belongs on the shelves of every horror/exploitation fan, film buff and film journalist. Yes, it is expensive, but it's also a 500+ page oversized hardcover with color and black and white photos (many from filmmakers' personal collections), movie reviews and interviews (many with directors who have never spoken about their films publicly before). As I said in my previous review, this is probably the best film book of the decade.

If exploitation films are your cup of tea, you need this book. Period. At some point this should become some sort of mandatory college text book, as it is not only a history in filmmaking that is rarely covered by more "serious" journalists, it's also a crash course on filmmaking.

Once you read this incredible book, which will cause you arms to fall off if you try to do it in one sitting, you'll be thrilled to know it's only the first volume (the second one, according to the author, is scheduled for 2010). And you thought things couldn't get any better.

Simply put, you aren't a fan of exploitation/horror if you don't have this book in your library.

Price:
I've talked to many people that feel the price is a bit steep and I agree the book isn't cheap. It is however 500 pages filled with interviews, pictures (everywhere), and essays. Think Arnold Schwarzenegger's The New Encyclopedia of Modern Bodybuilding : The Bible of Bodybuilding, Fully Updated and Revised size wise but about horror films. I mean the book is no joke and there could be an exploitation horror film made about a serial killer who uses this heavy book as his weapon, that's how big it is. I felt the price was well worth it as a horror fan and film lover in general.

For those of you who aren't the biggest readers:
Basically, all you have to do is read section I The Exploitation Independents which is the history of American independent exploitation films during 1970-85 and goes from page 11-48. After you start reading you'll want to keep going and after that it's basically a reference book with essays and reviews, so you could read up on a particular film. What I'd do is either read up on a film I found prior to watching it or after I watched it to learn more.

THE BOOK:
Stephen Thrower appears to know film even though he made a rule to not include reviews on classics, foreign, and studio made films, he still makes tons of compare and contrast references to classics and mentions great directors such as Bergman and Fellini. I highly recommend this book to horror and film fans, my friends in everyday life not so much but I think my horror Amazon friends will love it, specifically reviewer Clint Bronson. Clint has crazy knowledge on horror and from my readings of his reviews 1970s imparticular which, after much thought, is the best decade for horror hands down. Be sure to check out Clint's reviews as well.

Section I- As I mentioned details the history of the exploitation film from 1970-85
Here is how Thrower breaks down section I and the history, this was a great read.
The roots and the Godfather of gore H.G Lewis.
Romero and the Modern Horror Pantheon
Critical Responses to Exploitation Cinema
Drive in Massacres
42nd Street Monsters
Serial Killers
Psycho-Killer, Qu'est-ce que c'est?
Slashers- J'adore
When Blood Is Not Enough
Torture
R ape
It Came from the Stars/Swamp/Bushes/Caves
Things That Go Bump in the Night - One of my favorite avenues of horror being the ghost story. Thrower is honest in this area saying a bigger budget with good acting helps this area of horror.
Art of Perversity-Horror and Incoherence
Decline-Carpenter, Hooper, Romero, Craven
Hollywood Trash

Section II
Essays on Films and Filmmakers
This goes from 73-373 and like I said at this point it's a reference book. You can skip around read films that interest you and as you see others go back to the book and read up.

Section III
Reviews
118 Additional reviews. These are done in a shorter format then the essays above.

Section IV
Appendices and Index
Including an exploitation independent checklist Horror, 1970-85
A Bibliography
Index

I actually learned about this book in a non horror magazine Film Comment which gave it very high praise as well.

If anyone wants to know if a particular director or film they like is talked about in the book feel free to ask.

Being somewhat obsessed with the period and films covered in this mammoth tome I can unreservedly say that reading this was a religious experience for me. The amount of research gone into this project is extraordinary and the enthusiasm author Thrower has for forgotten gems like THE CANDY SNATCHERS, DEATH BED, BOARDING HOUSE and others is truly infectious. Not since Mike Weldon's original PSYCHOTRONIC came out in the early 80s have I been this giddy about a movie book.

Part 2 is announced in the back of the book which means the good times keep coming.

I am an in-house attorney for a film production company. This book is a great resource to point you in the right direction in many respects: reminders of what terms various contracts/agreements should contain, the different types of agreements common to the film industry, copyright information ... just to name a few items. Money well spent for a very focused look at legal aspects to the film industry.

This book helps anyone who wants to do or is doing anything in entertainment be on top of their game. I carry this book with me, along with my bible (that says a lot about the book right there!) I read it every chance I get and learn so much more as a Writer/Producer, about the legalities and expectations of each member of a production team. This book is necessary for a business minded person. Crowell educates the readers in the basics of entertainment law, however he does not use language that only an attorney or judge can comprehend. He breaks concepts down in bite size pieces. I have gained a better understanding of what needs to happen in pre, pro. and post production of a film and will make sure that the many areas in film making get the attention and documentation that it needs because of this book.

This book is so useful, I don't know where to begin. It's well-structured, well-researched, and I don't know where I'd be without it. The author has so much useful information, and puts it in a way a filmmaker, who doesn't speak legalese, can understand. This book gets a very high recommendation from me for sure.

Having the hindsight of producing several movies, I wish I had read this book much earlier. ANY filmmaker would benefit from reading this book as early in their career as possible and then keeping it on their shelf as an invaluable reference tool to return to again and again.

This review is specifically directed to aspiring professional screenwriters: GET THIS BOOK.

(Note I did not say "buy" this book, since, if you truly are an aspiring professional screenwriter, you're probably sucking your own body lint for food and live under a bush overlooking the Santa Monica pier.)

Yes, do whatever you have to do. Beg, borrow, steal...pawn...get this book. You've already read your Sun Tzu:

"If you know the enemy and know yourself, your victory will not stand in doubt."

Hollywood was built on exploiting talent, and specifically exploiting writers. It's time we (YOU!) writers start preparing for the business side of things because gosh knows the other guys are plenty prepared already. Reading this book will make you realize three things.

1. Actually getting your great little/big screenplay made will be incredibly complicated, even if you're just selling it to someone who already knows what they're doing.

2. There are ways to make your script more attractive for producers/distributers and more lucrative for you.

3. Thom Crowell is an informative and entertaining scribe.

I had a friend of mine in negotiations with a major studio executive. True story. Wrote a little script called "Balls, No Balls II." Guy tried to get my buddy to sign a contract without an NDA. My buddy stood up, whipped out his Pocket Lawyer and KA-BLAW! Smacked that suit right in the mouth! "You want my high concept? I WILL be signing that NDA!"

Hmmm, actually this never happened. But at least I know what an NDA is now. Do you? Oh, you don't? GET THIS BOOK!

And yes, AMAZON, you do offer a very reasonable price. I suppose buying it isn't out of the question.

I have been an actor for 5 years now. I've studied in multiple disciplines with multiple coaches. And over time while that has improved me as an actor, it has confused me as well. I have so much information and styles running around in my head that at times I have found that I have forgotten the basics. In addition, I haven't been able to find a systematic approach to acting that brings everyting together. Until now.

I was given Ivanna's book 2 years ago and never took the time to read it. I was studying with someone else and thought I was doing what I needed. I decided to pick up the book a few months ago and I found Ivanna's technique was what I was missing in my acting, a structure to wrap all of my thoughts and training around.

This book appeals to me as a person who likes some structure when approaching a script. However, it still encourages me to make discoveries and remain in the moment. It has truly opened my eyes to the possibilities that Ivanna's technique allows in delving into a character's psyche.

Not only was the book richly rewarding for me, but it has led me to her acting studio to study under her guidance in hopes of further utilizing her knowledge and approach.

I can't recommend this book enough for the working actor, as well as the newcomer. All levels of actor can benefit from the technique and structure she provides. Not to mention Part 2 of the book is FANTASTIC in preparing for auditions by offering some insights to careers and hang ups people have.

I don't go anywhere withouit it...If you are serious about being an actor you need to be familiar with the Chubbuck Technique...you need to read the book! It has changed me as an actor and as a person...I feel empowered.

I cannot say enough about what a gift this book and technique are for the actor. Ivana's book is a fresh and practical approach for all, especially those who may feel "techniqued- out". It is the first technique book I have looked at in over two years and I have been really enjoying it, digesting it and "overcoming" my own training wounds in the process. The whole idea of overcoming obstacles within the text is so alive and active for any actor who considers themself an overcomer, and also for those who long to bring themselves fully to any script. Ivana has created a technique that will custom fit the actor and not the other way around. I wish I had found this book long before I started my training.

This book opened my eyes to another way of operating. I now use this technique even in my class scenes. Like AMEX, I don't go anywhere without it!

I wouldn't recommend this book for raw beginners, but someone who has a working knowledge of acting and stagecraft will find it immensely valuable. With its full exploration of the "why" of techniques mentioned in other texts, Ms. Chubbuck's technique refines Stanislavski to a practical and accessible recipe for creating believable and powerful characters. Highly recommended!

A nice hardcover edition of this book with lots of explanations about the making and good full color illustrations. I liked the section on the CG. It's definately worth the price and could be used as a good coffee table book or such.

I saw this movie when the dubbed version came out in theatres. I had never been a fan of Japanese animation beofre, but after I saw this movie, all my misconceptions were blown away. Unfortunately, it took a long time to come out on video, so to pass the time, I bought this book. It is a great coffee table and conversation piece, and the pictures chosen are beautiful. My only problem with this book was the captions that described the pictures. Since they were based on the original Japanese and not the dub, there were a few small facts that were differing and served to confuse me. Yet that is a very small problem. All in all, a good book.

This book is a wonderful little look into the world of not only Mononoke Hime, but Hayao Miyazaki's world as well. It contains high quality screen captures, pencil boards, original movie posters, and original character designs. It is a hardbound keepsake for all those who loved the movie and/or any of Hayao Miyazaki's other works. The book is also highly informative about the storyline and the creators views about the story and characters. It is a good thing to have in your collection.

I've given this a high rating, not because it is flawless but because it is an awesome companion to the film and a wonderful keepsake for that time in your life when you get a coffee table to put it on. If you own the film, you probably won't need this--and honestly, I purchased it as a way to show my support of the US distribution of this film. The book is a US translation of the Japanese edition, and as you can expect was lovingly put together. The last section does seem to perhaps be filler, but with such wonderful reproductions from the film along with in-depth background information, what more could you want out of it. On the other hand, it isn't really cheap either, but given it is probably one of the 10 best animated films ever, it makes a very nice addition to your over-sized film book collections.

Lastly, if you can recall the boring titles your grandparents kept on their coffee table, I think you can start to seel the appeal of things like this. Why settle for pretty national geographic titles (or whatever) when you can have this or big godzilla coffee table books (as do I)? Let your future grand-kids know that you were plenty weird in your former years.

I loved this book, the drawings are excelent, the writing also, this one was the only one that i reed with a smile.

So much has already been said & written about this amazingly talented man that although his talents have always been savored like fine wine....talking about his painstaking incredible stop-motion animation abilities almost seems to be redundant. Suffice it to say that so many of us monster kids sat in awe of Ray's work as we watched " The 7th Voyage of Sinbad " circa 1958.Harryhausen has always accomplished more on the movie screen with his special effects techniques than computers will ever be able to do. This book lovingly details all of the richness of Ray Harryhausen----Thanks for a great book, Ray !

Computer generated effects are standard in movies now, and any big-budget action film can be expected to have plenty. We didn't always have computers, so the effects such as putting fantasy creatures on the screen, like King Kong, had to be done with meticulous stop-motion filming, whereby a movie frame picture would be made of a model Kong, then the model's arm would be slightly raised, one more frame of the movie shot, and the process repeated until a smooth arm movement could be seen when the entire strip of film ran. It was Willis O'Brien who animated Kong and many other creatures in early movies. It was Kong who inspired Ray Harryhausen to start making stop-motion films. In _Ray Harryhausen: An Animated Life_ (Billboard Books), Harryhausen and Timothy Dalton tell the story of Harryhausen's entire career, including his humble beginnings. He was crazy about dinosaurs as a kid, and at the age of thirteen, he was taken by his mother and aunt to see _King Kong_. He studied up on the movie's techniques afterwards, and started making his own movies, first using a home camera that he could merely hope took only one frame at a time when he tapped it, and then purchasing his own 16 mm camera with a one-frame shift. He was one of those lucky kids who knew early what he wanted to do in life, and was able to do it; Harryhausen was the special effects wizard behind _Earth vs. The Flying Saucers_, _Jason and the Argonauts_, and _Clash of the Titans_, among many more. This beautiful book, filled with photographs and drawings to show how the models and effects were made for each of Harryhausen's films (and pictures of the artist's work as a thirteen-year-old as well), is a fascinating record of a career that could only have taken place in a restricted window of time.

To start with a clearing of the record: Harryhausen's first model, a cave bear, was covered with fur cut from an old black fur coat hanging in his mother's closet, but despite reports to the contrary, his mother _did_ know all about it and _did_ give her permission beforehand. This reflects the support his parents gave him toward his youthful enthusiasm, and he is certainly grateful. Most of the book describes his work for the studios; it devotes pages and pictures to all his films, and he gives detailed descriptions of just how he managed particular shots. Harryhausen isn't boasting; throughout the book he lets us know what he thought worked and what didn't, what he is proud of and what he winces at. If stop-motion is no longer going to be an art form, it is good that we have this documentation of what he actually accomplished, for the complexity of his creations and the way they were shot is astonishing. For instance, the Hydra in _Jason_ not only had a serpentine body and a double tail requiring their own movements, but also seven heads. In every frame, the model's movements might be only a millimeter, but there were sometimes more than thirty movements to do. He would have to remember for each head whether it was in the process of going up, down, right, or left, if the mouth was opening or closing, if the neck was flexing, and so on. Astonishingly, he was so in tune with his creation that he did not keep notes on what each head was doing, except if he were taking a break at the end of a work period.

Harryhausen has real affection for his creations. He has used real animals in some films, like an iguana made to look like a giant lizard in _One Million Years BC_. The trainer in charge of the iguanas was ready to use an electric prod to rouse the usually torpid lizards, but Harryhausen would not allow any cruelty, so action could only be obtained by a little prodding. Nonetheless, it was a lot harder to get the iguanas to move in just the way he needed compared to his obedient stop-motion models; he says that using models would have been more cost-effective and more realistic, too. He refuses to call his creations monsters; they are mostly creatures who are simply out of place. Of the tyrannosaurus in _The Valley of Gwangi_, he writes that he felt sorry for him, "... because all he wanted to do was live his life and eat a few people along the way." When he had to dismantle one creature to use its armature for another in a succeeding feature, he confesses, "It always breaks my heart to have to cannibalize my models. It's like losing a close friend." Gentle, self-deprecating humor is a hallmark of all the chapters here, no matter how technical the descriptions become at times. This is a handsome, large format book suitable for the coffee table; however, along with the beautiful illustrations, the written record of work here to show how creature features were made before the computers took over will be enjoyed by any fantasy film fan.

This is a top-notch compilation of genius on the cutting edge of our cultural history.

Die-hard fans of special effects master Ray Harryhausen may recall Jeff Rovin's book "From the Land Beyond Beyond", which arrived in 1977. It was a welcome addition to the Harryhausen legacy, but was too subjective and fan-based for some tastes. Hard to believe it took almost thirty years for this definitive, color version of the Harryhausen story to arrive on the scene. Some will feel it is merely an extension of Ray's previous work, the Film Fantasy Scrapbook, and in many ways, it is, but there's so much detail here that this deluxe volume is worth picking up. Though of course modern special effects have become almost ridiculously complex, it's wonderful to hear Ray describe in great technical detail the processes and techniques he used to bring his animals and fantasy creatures to life in films like "7th Voyage of Sinbad" and "Jason and the Argonauts". He's also candid about which films worked for him (and audiences) and which somehow missed the mark. Even readers who prefer modern spectacles to Harryhausen's classical, stately epics should find something of value here, and there is plenty to inspire any animator, filmmaker, or budding cinematographer. This book isn't just a special effects guide, it's a valuable and integral part of the history of film: Harryhausen's career spanned five decades, and he worked with some of the greats in the industry--not only effects geniuses like Willis O'brien, but actors like Laurence Olivier, Maggie Smith, James Franciscus, Honor Blackman, Richard Carlson, Jane Seymour and Raquel Welch. A little pricey, but worth the cost. A must have for Harryhausen fans, naturally, but anyone interested in the movies will come away satisfied.

I just recently purchased Ray Harryhausen: An Animated Life.
Mr. Harryhausen was influenced by King Kong for his remarkable career. I was influenced by his first movie released in theaters
entitled BEAST FROM 20,000 FATHOMS. Ever since I gazed at the
incredible effects when I was six, I wanted to know why and how
something could seem so life like. Unfortunately, all I did was manage amateur special effects with an 8mm camera, but enjoyed thrilling friends and relatives with what talent I had. Now I can appreciate all the patience and imagination that this
genius has somehow transmitted to the screen. All of his movies are showcased with the wonderful behind the scenes stories and photos that made such magic in my childhood. Anyone who has ambition to follow the FX trade, should definitely read this book. Granted the technology is greatly improved today, but that even made Mr. Harryhausen seem more adept at his work. How tedious it is to move a model just a fraction of an inch until it appears fluid on the film...how educational it is to realize what props were used and what artistry was projected to make everything REAL. This coffee table book will be a treasure
in my collection of literature.

Simon writes wittily and intelligently about a number of subjects, all of which have been dramatized on the hugely popular television show "The X-Files." There have been other books about the show, episode guides and the like, but for my money this book is best.

I bought this as a bargain book but it is worth the full price! The author writes in a knowledgeable yet humourous style which makes absorption of the subject matter easy for non-scientists, and less than 40 pages into an information packed book I have learned such a lot already. I rated it 4 star because I would have liked to see a glossary at the back and colour photographs would have made a very interesting book moreso. For example, what do the sea slugs that prefer to try to eat each other before taking the alternative option of having sex look like? Other reviews here tell you that the book is based on science fact and fiction touched upon in the X-Files so I don't need to go there. Read it, learn, and laugh. There is nothing funnier than real life.

I love the X files and I'm a mixture of Mulder and Scully with regard to their beliefs. But after reading this book, I think I have become a scully!This book is so lucid and simple in its explanation of certain "paranormal" phenomenon. The author does a wondeful job combining biology and humour to explain to the lay person that not all things are paranormal and that if you do a little scientific research most of the things out there will make sense. All my knowledge on DNA, chromosomes, cancer comes from this book !Though she herself admits that not everything you see on the X files can be explained by science, most of the things that happen on a macro scale in the X files happen on a micro scale in real life. Genetic mutation is a reality, a virus surviving an cosmic travel is plausible, and so on. Finally, for those of you who are deceived by books written by the layperson/idiots/quacks, read this book and you will become fascinated as to what science has to offer.

Sexual tension aside, the coolest thing about this show seems to be the questions it poses about nature and science as we know it. And being a molecular biology student, I always get a kick out of shooting down the supposed theories that the show's characters spout out. It's hard sometimes to figure out if Chris Carter and the powers that be are really serious about certain phenomenons/ideas. This book clears it up nicely. Dr. Simon is completely knowledgeable about these topics and presents the information with much more gusto than your typical molecular biology textbook. I'd rather be tested on her book come final exams, but such is life! :)

I came upon this book at the house of a friend and couldn't put it down.

It is a wonderful read and, to a non-scientist, an entertaining and clear look at some of the scientific mysteries of the universe.

This is a perfect book for a graduation present and for anyone with an interest in brain-sucking worms, aliens and mutating organisms. I recommend it highly.

Rita Hayworth is one of the most beautiful and glamourous women ever to have lived. Though her life was marked by tragedy, particularly her Alzheimer's affliction and death at a relatively young age. This book, however, is mainly devoted to celebrating Rita's happier times. Her life is viewed chronologically in both popular and rare photographs. There are so many beautiful photos that it is difficult to take in all at once! My favorite pictures (and just a sampling of the pictures you will find in this book) are: Rita (when she was still Margarita) with her dark hair dancing in a beautiful ruffled dress (p.28), glamourous Rita smiling brightly while reclining on a couch (p.87), Rita clowning with Orson Welles (pg. 114), Rita getting her hair touched up (p. 119), Rita tickling her daughter Rebecca (p. 126), Rita walking solitarily on the beach (p. 140), Rita being welcomed home (p. 165), and Rita in 1981, in declining mental health, but still looking every inch a movie star. If you love Rita and her movies, do not hesitate to buy this book!!!

"Rita Hayworth: A Photographic Retrospective" features a zillion photographs, many never before published, of one of Hollywood's most enduring sexual icons.

The book was a labor of love for author, historian and collector Caren Roberts-Frenzel of Minneapolis, who reportedly kept pestering publishers for years to get their attention.

"But you're wrong, Rita has not been forgotten," was her mantra, as skeptical publishers elsewhere wondered aloud if a market remained for a book about one of the great beauties of the 1940s.

Caren's persistence finally paid off, resulting in one of the most luxurious "picture on every page" books ever produced, supplemented by breezy, well-written and information-packed text.

Unlike "been there, done that" books about Hayworth, this one specializes in numerous "candids," that is, unposed photos taken outside of the studio, at work, at play, on the set, whatever.

For once, here's a volume that doesn't feature the same darn publicity photos you've seen a million times for sale on the Internet or at flea markets.

The deal about Rita is man oh man, unlike sexy sirens named Grable or even Monroe, Hayworth's beauty is timeless and undated. Unless someone told you, you'd never know, for example, that her world famous pinup shot -- taken on the bed by Life Magazine photographer Bob Landry -- was shot more than 60 years ago!

The same holds true for the nearly 300 other photos that grace this book, some recaptured in all of their Technicolor glory.

Get "Rita Hayworth: A Photographic Retrospective," before it disappears! I understand only a few thousand were printed and yet the reviews in the papers and in places like People Magazine have been terrific.

When I picked up this book, I excpected it to have a good amount of photos, many of which I had already seen. But, I was hoping for a few I hadn't and a decent narrations. However, this book blew me away. I have purchased photograph-focused books on celebritites before and been disappointed by their flimsy commentary. This book does an excellent job of conecting the photos to Ms. Hayworth's life. It's not just a collection of pictures, it's a pictorial biography. Admittedly, a traditional bio would get into greater detail, but this book is a great intro to her life. Not everyone wants a tell-all book filled with intimate details. This book delivers impeccably reproduced photos and a satisfactory bio. At first I was a little put-off by the price, but I feel it was well worth it, after reading it. A great read for anyone interested in this arrestingly beautiful and glamourous woman.

Caren Roberts-Frenzel is the president of the Rita Hayworth Fan Club and this book is her dream project come to life. Caren's appreciation of every facet of The Love Goddess is evident on every page. It was so good to see someone who knows and cares about Rita create such a labor of love. Caren doesn't whitewash the blemishes in Rita's often tragic life but rather allows them to complete an honest and ultimately loving portrait of this gentle woman.

Like its subject, this book is breathtaking in its beauty. It contains scores of genuinely rare photos and they are a treasure. I own many books on Rita but "A Photographic Retrospective" is easily my favorite.

I have collected all the books ever written about Rita Hayworth. I have to say that this is the BEST photobook I have seen to date. Who else but a Rita Hayworth fan can put their heart in such a big project and create such a lovely photo tribute to Hollywood's most glamourous movie star of the classic era. Not only is there a collection of rare photographs, but there is lots of interesting information on Rita's life, trivia and more. If you're a fan of Rita Hayworth, then this is the book you must buy! Simply beautifully done!

Kurosawa illuminates for us his whole life, warts and all. Upon reading this I never knew what a sensitve person this man was, from the time he was an early member of the Japanese Communist Party to his older brother's tragic suicide, Kurosawa leaves no stone unturned in this revealing autobiography. Although it does not cover his whole life (I believe in stops in 1980) he spends a great deal discussing each of his film projects all the way from his early days at the Toho Studios. I am reminded of my favorite quote from Kagemusha, "The shadow of a man can never desert that man. I was my brother's shadow. Now that I have lost him, it is as though I am nothing."

The book got into Kurosawa's mind and laid down the roots of his philosophy in filmmaking. It showed his genesis as a filmmaker. It gave insight into how his films happen. A beautiful work -- I loved it.

Kurosawa's insistence on the need for a good script in his films is inspiring to future script writers. I have not written any of these yet his book makes me want to write scripts when I am more of a travel writer. If you want insight into why this man made the beautiful and provocative films that he did, this is the book for you.

One of the greatest pleasures imaginable is to investigate a body of cinematic work, and then, to learn about its creator from his own persepective on his life and art.

There is tremendous satisfaction in seeing the personality of the director reveal itself in the work and to re-view the films with new knowledge of the creator. This may not be a false track, although auteur theory has a bad rap right now. Kurosawa, in the conclusion of his autobiography said, "look for me in my films".

Kurosawa was a genius, his films full of life and compassion, and strength. He did not look away from ugly truths in his life or art. (Read the autobiography and understand the significance of this approach!)

I recommend this book as the touchstone for a deeper appreciation of the art of Kurosawa, for an understanding of his complex personality, and for the human warmth that comes across in his reminiscences. By the end of the book, you will want more, of course. It will seem to end abruptly and too soon. You will have many questions that you will wish to have answered. But then, we'll take Kuroswa's advice. We'll look for the man in his films.

Some people have criticized this book, saying Kurosawa does not go deep enough into his films, particularly his later ones, and why he did what he did. In all honesty, maybe the popularity over this book is poorly done - all the reviews on the front and back cover talk about it like Kurosawa will explain his movies in detail, and most often advertisements will talk about how if you like his movies you should read the book. But as Kurosawa himself says in the preface, he did it really out of encouragement from friends and in an effort perhaps to do what Jean Renoir did do and John Ford did not. As the title suggests, it is really a more personal, casual, reflection upon his life from his birth to the filming of "Rashomon," his first international success, in 1950. In a way, the personal route may be a humbling experience to the film guru or the Kurosawa fanatic. Too often directors or filmmakers are treated - as many artists are, in fact - more like a synopsis of their latest work. We constantly hear about how masterful Stanley Kubrick was and what his methods were, but who was he really? What school did he go to? Who were his friends? His teachers? What was his family like? What were his boyhood passions? Who is this man behind the camera?

Kurosawa tells us that in his story from his first memories as a child ("I was in a washtub naked," page 3) through his school years and through a tough young adulthood. It is all very well written, and actually quite interesting, particularly the segments on Mr. Tachikawa, who we can probably thank for Kurosawa's love of painting, his brother forcing him to face his fears, (not only of water, but of death as well) and two daring but stupid moments in a mountain village where he almost killed himself to impress the local children.

Kurosawa's growth is nearly coincidental with Japanese history. Just as Japan was constantly changing through out the 20th century, so to was Kurosawa. Forced to participate in a military program at his school, he takes every opportunity to belittle or make a fool of his army captain. His venture into art is like an odd adventure, going from joining a socialist art movement (nearly being captured by the Japanese secret police!) to living on his own to writing scripts and eventually joining Photo Chemical Laboratory. (later Toho Studios) He discusses marrying an actress because he was afraid of never being married before the "Honorable Death of the Hundred Million" many Japanese believed they would commit if invasion seemed immenant. This eventually goes on to his work as an Assistant Director, and later making his very own films through Toho and later Daiei after the Toho Studio strikes. These parts will be more to the liking of the film guru, as Kurosawa does give backstory to the inspirations behind his early work.

During this time period he speaks a lot of his family and the friends he got to know. His brother is such a remarkable and likeable character that when he commits suicide you really do feel sad. I took a particular love for Kurosawa's father: although some may see him as a bit harsh when he berates his wife for placing fish wrong or getting upset with his son for failing courses, one shouldn't dismiss him with the simple western stereotype of the tough father for he does have a heart. When Kurosawa's wife becomes pregnant and he pays a visit to his family, his father gives him a large bag of rice and says it is for his pregnant wife, not wanting her to go hungry in a time when food was scarce in Japan.

Perhaps, in the end, it is really fitting that Kurosawa focus so much on his personal feelings rather than his film. If you have watched his films and studied them, you will see the influences from his past life in those very films. "Something Like an Autobiography" was written long before Kurosawa made "Dreams," yet I found myself recalling the film reading this book. Besides his references to mountain climbing, he also talks about how in his father's village children would place flowers over a rock, and he learned that long ago a warrior had been killed and the villagers buried him there out of pity and placed the rock over his grave, so now children place flowers on it whenever they pass out of respect. Sound familiar? I also smiled at the section near the end when he discusses a Daiei studio executive - one who had been so steadfastly against making "Rashomon" - coming on TV and speaking for the film as if he was the mastermind behind it. I was thinking of the Deputy Mayor in "Ikiru," who is against the park project from the beginning yet after Watanabe's death takes all the credit. Maybe Kurosawa alludes to this kind of art reflecting life on page 163 when he mentions the oddly impeccable timing of "The Cuckoo Waltz" while dubbing "Drunken Angel."

This is a recommended read for any one interested in film or Akira Kurosawa's life - it is easy to read, full of wisdom, and is very frank and personal. As I said, it's not a 198 page thesis on his films, but as Kurosawa says in the book he does not enjoy explaining his films - he puts into his films what he has to say and leaves it at that. As the last line of the book says, "There is nothing that says more about its creator than the work itself."

Following on from the previous Open Season art of, Surfs Up is another great look at the development years. The environment drawings and paintings are wonderful to look at and the characters a fun to look at. Again the book delivers some extra inserts throughout the book like stickers and such...but i feel this didnt have as much put into it as Open Season. Still it is a great book to have on the shelf for inspiration.

I collect and study a lot of "art of" books. This is one of the best I've ever seen, much better than the Disney "art of" books. It gives you a great breadth of development: color, sketches, layout, backstory, etc.

The sketches are amazing, and the renderings and color treatments are beautiful, lush, and eye candy. I read this book before seeing the movie and it was wonderful to see how everything came together in the film. If you like "art of" books - this one should be in your library.

If you like the movie, you must have. The book is amazing, full detailed in sketches, layout, character design and comments. The book included a big mount of extras (postcards, stickers, minibooks, DVD of making waves,etc.). If you can, don't doubt, buy it.

This movie and book was great. The DVD with the book is a MUST SEE! I love it. I buy it for all my movie buffs, family and friends. Oh! I forgot to mention..... my son is Erick Miller and he helped make the movie! Rock on Erick! Love, Mom

i would say, above and beyond, this has to be one of the most stylistic and visually thought-out artbooks i have ever had the pleasure to lay eyes on. To this day, i have not found one for any other movie that was in so many ways rewarding. From conceptual drawings to added removable material, paintings and sketches, this book leaves you without much more to want. I am a huge fan of the movie, and appreciated all the detail work that went into every facet of the film, and most of these are laid out in the book!- more than just character designs, pages on the surfboard designs, logos, "old" photos of surfers and younger geek, all topped off with a beautiful hardbound cover (with plastic, image-overlaying slipcover to protect the book) for a very reasonable price.
if you are obsessed with the movie, there is no choice- get it.

This book is very inspirational and skillfully crafted. I am very happy with my purchase of the book.

An excellent book reflective of the current practice or Trauma Medicine today.

This book is great if you didn't understand what the Jedi were trying to teach in Star Wars. I don't think it is a book that you can read if you haven't seen Star Wars, because you won't know what he is referring to. Watch the Star Wars movies, then get the book. Also it is a great introduction to Taoism.

I just finished reading this gem. It is a very nice introduction to the Tao with a Star Wars Twist, wetting the appetite for more. If your interested in Taoism and you are a Star Wars fan, a Jedi perhaps ;) you can not pass this up.

The Tao is a path...the only logical act is to travel it. ~John M. Porter, M.D. (Professor of Clinical Surgery in Arizona)

John M. Porter has been studying the Tao and believes following the Tao is like "walking a living path." I loved how he takes The Star Wars series and explains how it is connected to the basic tenets of Taoism. He shows how Taoist roots touch every aspect of life from feng shui to qu gong or I Ching.

If you are new to The Tao Te Ching, it will be interesting to read the translated portions from Stephen Mitchell's translation. If you are a Star Wars fan, then you will enjoy a wealth of quotes. The author's comments are interspaced between quotes from the movie and The Tao Te Ching. You may also find the Chinese characters to be interesting. There are drawings throughout.

The Chapters Include:

Taoism - an overview and an explanation as to why the Tao is highly personal. There is a brief summary of the concepts to follow in each additional chapter.

The Force as the Tao - Quotes from George Lucas and the connection between his movies and Joseph Campbell's teachings.

Each additional chapter takes one quality and explores how it shows up in the movies:

Acceptance

Patience - This chapter was of special interest to me since I once prayed for patience and since then have been thrown into the patience journey. (You sometimes get what you pray for...) In this chapter he shows how Luke needs patience. He then quotes "Patient with both friends and enemies, you accord with the way things are" from chapter 67 of The Tao Te Ching. Then he gives these quotes:

Yoda: (signing) Will he finish what he begins?

Then the author shows how patience and perseverance work together to yield good results. Thinking of "patience in action" was a new concept for me.

Uncarved Block
Wu Wei
Simplicity
Humility
Life Experience
Present Moment Living

Yoda the Sage Master - I loved the "Traits of a Master" in the Yoda chapter. These can be wonderful goals for anyone seeking to live a more spiritual existence.

John M. Porter is a natural teacher who knows how to take examples and fill them out into life teachings. This book made me want to go rent the entire Star Wars series and it is a must-have for Star War fans. I found this book to be a peaceful, healing read and I can highly recommend it to you.

~The Rebecca Review