Dance Books

I've always felt this book had an unfortunate title and may have done much better without the "Screenwriter" addendum. The fact is that the advice and exercises that Seger gives is germane to all writers - the novelist, short story writer, as well as the screenwriter.

The "Creativity Workbook" aspect is a true title, however. This is a wonderful book for those of you who feel you're suffering from writer's block. The only solution, of course, is to just write. Even if you're writing "I don't know what to write...this is awful...I have no idea what to write..." still do it. Eventually you'll have a break through. Seger hides this simple fact into her ingenious exercises, giving you situation after to situation to write about, all the while developing characters and plot ideas.

Her focus is to truly help you develop as a writer, not merely beef up your script with cheap, dime-a-dozen plot methods. In that aspect, this book is rather unique and very successful. One of the better writing books available.

Linda Seger offers a number of ways to re-start the creative process; if only one of them works for you, the book is worth it.

Just reading through the exercises in this book was enough to get me through a serious case of writer's block. She includes an entire chapter on tapping into your religious/spiritual side to flesh out characters and deepen plot, but don't worry: If that won't work for you, she suggests skipping ahead -- there are plenty more idea-provoking suggestions to come.

It's a resource to turn to again and again, whenever a dead end looms.

This book combines craft and creativity and provides writers with the knowledge necessary to write at the highest artistic level. The exercises within can be reused time and again and push a writer to think outside the box.

Not a paint-by-numbers approach, instead this author guides you into unlocking and strengthening your own, original voice.

What are you waiting for? This is a great resource!

I've found so much inspiration in Making a Good Writer Great. Seger's words have helped me break through that brick wall. She is truly a light to see by. I can call myself a screenwriter once again.

I love and collect books on creativity and problem solving. One of my favorites is Dr. Linda Seger's, Making a Good Writer Great: A Creative Workbook for Screenwriters. The title, unfortunately, is too narrow for its own good. It should be: Unleashing Your Creative Genius: Screenwriting as a Metaphor for World Peace...or something just as ostentatious. I'm serious. First, using Linda's techniques just replace all forms of the term "writer" for whatever job you're in: "engineer," "teacher," "mother," "assembler," "unemployed," or "politician." (On second thought, strike that last example.) Second, insert YOURSELF as the protagonist of YOUR PERSONAL story. Third, pick the problem you're having difficulty solving. And finally, using Linda's techniques and exercises creatively think your way to a solution just as you would the fictional character in a story. The problems that face all of us--writer, repressed child, or okay, even world leader--can be solved by using Linda's 12-step program. Here they are in my own words. 1. Discover your mission (or goal). 2. Articulate your values. 3. List the obstacles. 4. Plot turning points around the obstacles. 5. Stick to your passions. 6. Master your powers of observation. 7. Attach meaning to your experiences. 8. Accept your flaws as reasons to persevere. 9. Leverage the opposing forces. 10. Purpose to change the world. 11. Ask God for supernatural inspiration. And 12. Use feedback to ever improve. Linda's book is a winning tool for everyone...including writers.

Linda's writing was very helpful in the writing of my own book on screenwriting published by Michael Wiese Productions: THE MORAL PREMISE: Harnessing Virtue and Vice for Box Office Success.

I was expecting a puff piece that had only adjectives like "wonderful, spectacular" to describe its subject.

I was hoping to enjoy a handful of special-effects secrets-- important in this truly (TRULY) ground-breaking film.

I got SO much more. There are negative (and positive) reviews that run into several pages, and go deep into both technique and subject matter. There is double or triple the usual volume of pictures, a real blessing...and with thorough descriptions. (Although, to be fair, I admit I have a murder contract out on the editor who decided to remove all "the" and "a" from the CAPTIONING for those pictures. It makes the captions horribly unreadable.)

Errr...back on track, eh ? There's a discussion of alternate endings, and the text to the Arthur C. Clarke short story that was written at the same time as this script. There's the ending and other snippets from the novel, which adds new depth to understanding the film.

Oh, and hordes of notes on production, stuff that was edited out of the final version, and the apparently endless mountains of alternate special effects which were discarded in favor of what we see today.

It makes me weep to think that my DVD of this movie lacks outtakes and deleted scenes, now that this book has shown me how much I'm missing. (For example, the original film as presented at its premiere, was at least 19 minutes longer.)

I love this book. It's one of the most interesting books I've read about the making of a movie. The style is a bit chaotic as far as how its put together but the actual info is great. Its got a HUGE 96 page photo spread which I supposed was amazing in 1970. The impact is less now that people can go onto the internet and look at as many photos as they want. If you're like me you'll feel inspired to pop the movie in and watch it after reading this book. I would imagine that anyone who would go to the trouble of getting a book about the making of 2001 probably owns a copy of the movie as well. It's also got an essay by a (Then) high school student which I found surprisingly interesting.

I wish that DVD's were as complete and eclectic as this book. A must for any true blue film buff. Its both informative, irreverent, and brilliant.

Don't expect detailed descriptions of how the movie was made because there aren't any. There's a small section in the middle of the book with some good pictures and very cryptic abbreviated explainations of said pictures and that's about it. Most of the book contains reactions to the movie from critics and regular viewers. There's some talk from Clarke and Kubrik regarding the process of writing the screenplay and such as well as the full short story "The Sentinel" that inspired 2001. There's also quite a few essays about the plausibility of various subjects covered in the movie. That said, there's very little information about the actual making of the movie but it's still a facinating read.

.... Agel's book is of note as the most illustrated book in this field. Although they're all in black and white, the number is way beyond any other book's attempt. This book is a standard paperback size, 368 pages with a 96 page photo insert. Most pages contain several images, some are full page, but the screen resolution of the images is quite fine, they are printed on fine white paper and thus the images are nicely detailed. The images in the insert are mostly scenes from the film, but they also include many behind-the-scenes peeks at some of the technical magic on screen. Apart from the insert, there are a few frames reproduced from the MAD magazine version of the film, also the instruction sheet from the Aurora model of the Pan Am Orion III Space Clipper. I can recommend this book for its text content alone, but the photo insert made it literally my constant companion through the 1970s. A bookshelf neighbour for Agel should be Piers Bizony's 'Filming the Future', a larger book with a smaller number of larger, rarer, colour images.

I have not read the book yet but I have a question about one of their movies that I hope someone can answer. I cannot remember
the movie this skit was in but it was the skit where Groucho, Harpo and Chico are sharing basically a tiny room on board a ship. First the cleaning ladies come in to clean, then the steward delivers food, then the mechanics come in to adjust a pipe valve and finally the room is packed head to toe with all
of these people and they all pop out of the cabin door and spill out onto the ships floor. It is hilarious! Please, someone, which movie is this scene from. It's making me crazy that I can't recall the movie title. HELP!!!

The answer to your question is A Night At the Opera and is considered one of their most famous scenes.

Wonderful book full of trivia for even the most expert Marx fanatic. Revised edition is well worth the investment for info such as the butchering of "Night at the Opera"...which is the film with the stateroom scene asked about previously.

This is the most detailed book on the Marx Brothers I've ever seen.I highly recommend it.Every single movie they ever made,together and alone,is so fully detailed.Plus every actor and actress the brothers ever worked with(including the legendary Margeret Dumont of course)is also fully reviewed.

This book is a must for any Marx fan!

Actually, I think I saw the sink somewhere in the book too! ;)

It's everything you could possibly want to know about the Marxes. I like the A to Z format, it's very easy to navigate your way through the book. I use it all the time for reference. A well-researched, well-written book. Get this one.

This is an unbelievable true story. Few books are written from the inmate's perspective. It is a "must read" for all, especially anyone in or retired from law enforcement

I couldn't put the book down! What an amazing story about how someone got trapped at the dark side and couldn't get out, even when he wanted to. His description about life in jail made me feel like I was trapped in there right next to him. If you know people who are at the edge of being thrown in jail, give this book to them, and Don's story may scare them into turning their lives around.

I had the privilege to meet the author in person. He is the most humble, laid-back, and friendly person I've ever met. If you enjoy this book, please come back and write a nice review here.

This is a story about a man who after reaching bottom decides to dig out. But not alone, not just himself. He decides to dig out as many others he can.

Written in a fast paced, Robert Loodlum-speed drama, this book takes the reader through the life of Don Kirchner, from one struggle to the next, reaching the very bottom, but with an ultimate triumph at the end. A true story, and as another reviewer pointed out, an instant classic.

I met Don Kirchner almost 5 years ago when he handed me his most current draft of the book. I couldn't put it down. I was thrilled with the drama and action of his true story. Being a pilot myself I was intrigued with the danger and suspense involved in the flying aspect of the tale. The further I read, the more I was remined of how delicate and tenious our lives really are. Don's ability to deal with and overcome these challanging situations is what impresses me most about "A Matter of Time". This book is a great read and I highly recommend it.

What a trip! No one could imagine what prison is like without reading this...and how the author grew and evolved during this experience is nothing short of inspiring. This book is written in such a compelling manner that I felt like I was living it myself. In addition to the joy, love, fear and the gamut of emotions experienced, I came away with a lesson about how we create the manner in which we experience our lives in a way that I could easily adapt to my own life. Of course, it kept me up several nights since I read it word for word so that I could hear and feel what I was reading. I feel that this book will become a classic.

I loved this book! Marsha Scarborough's journey to the heart of Native American spiritual healing is so human, so vivid, so damn funny, I felt I was with her every step of the way. I loved the reality of it all. Marsha seems such a clear-eyed and practical person. Her encounters with the mystical realm thus seem all the more believable as we share in her own struggle to see beyond the surface, into the deeper nature of things. Through it all, she keeps her own fine sense of the absurd - of how ludircous it is to be offering a cake to the spirit of your dead mother in your own back yard, hoping the neighbors aren't watching! To go from there to the scortching desert ritual dance of the final chapters is such an amazing journey. What a gift that she has shared that journey with us.

I am compelled to write my first review as this book is truly a MUST READ!
Marsha Scarbrough writes in a tone that flows easily as we travel on a journey of Deep Insight and Discovery that leads to Healing. As we travel on the journey along with her, we learn about family, friendship, betrayal, acceptance, joy, and self-realization that all lead to Healing. We learn about the profound revelations and the freeing power of Love & Acceptance as the author takes us with her on this sacred healing journey. Bravo!

I devoured this book, I couldn't put it down. It was so powerful and wise, I stopped a lot to deeply reflect on the content to evaluate my own life. It was so humble and refreshing. You must read this book.

Medicine Dance is so engaging and funny that I couldn't put it down. I hope Marsha Scarbrough is working on a sequel.

Medicine Dance grabbed me from the first page and didn't let go until I finished the book. It's full of life lessons and laugh-out-loud humor. A great gift for your best friends - and yourself.

The order was made and shipped very quickly so I got my book in no time. I would have no problem buying something from these guys again.

I thought MEMENTO was good, not great, and pretty much forgot about it right after seeing it. Someone bought me this book a while back and I just got around to reading it.

I have to say, I have a new found respect for Christopher Nolan and will another look at MEMENTO. These are two excellent screenplays that go well beyond experimentation in narrative structure to tell two solid (almost old-school film noir) stories.

I'll start with FOLLOWING, which I've never seen. It's a twisty little number about a would-be writer who likes to follow people. The writer makes the mistake of following a cat burglar one day and gets sucked into his world. The timeline is fractured, but it's a compelling read all the way through, and a great example of no-fat, pure-story screenwriting.

MEMENTO, for anyone who doesn't know, is a story told backwards to mimic the disability of the central protagonist, who is incapable of making new memories. It's a mystery told in reverse, not unlike the structure of OEDIPUS REX (think about it) albeit without patricide or incest. Ultimately what I got out of it by reading it not seeing it is the fun of trying to figure out the story, of using clues to work backwards to causes. Without the extraneous visual information of a film, the naked story on the page seemed to accumulate greater dramatic force. Since it was a while since I saw the movie, I found myself wondering what was going to happen next (i.e. before) -- it was the gripping mystery experience many people had who first acclaimed the film.

Even though the stories aren't told in a linear fashion, for aspiring writers this book is worth looking at for more than structure. This is quality writing. The stories are lean and full of metaphysical implications (in the least pretentious sense). Good stories, well told.

The book also includes an interesting interview about the making of FOLLOWING and a less interesting "piece" about MEMENTO's conception, which is just two juxtaposed paragraphs of Chris and his brother Jonah's conflicting memories (get it?). They are icing on the cake of what has to be one of my favorite recent Faber screenplay releases. 5/5 stars

I have been saying this for a few months: "Memento" is my favorite movie. As soon as I found out that you could buy the screenplay for the movie, I knew that I had to have it. Normally, I wouldn't care to see the screenplay for many movies, but this was a very big exception. I loved the movie so much that I wanted to see how it looked on paper.

A little warning: The script is NOT word for word to the movie. Some parts are different in many ways. The order of events are a little different and a lot of good lines that were in the movie were not included in the screenplay. Is this a bad thing? OF COURSE NOT! In fact, it was a great surprise. This was what the movie was going to eventually lead up to looking like. It was a rough layout of what could happen in what order. Of course, things change when you're filming the movie. Certain scenes are changed or cut out, lines are either trimmed or dramatically changed, and so on. The story in no way is changed and the resolution is still very much the same as the movie. The point is that it's fascinating to see how the script developed into the finished product, which is a masterpiece of a film that should go down as one of the greatest films in history. I loved reading the screenplay, and it makes me admire how the film turned out in the end even more.

Another movie that is included in this wonderful book, a movie you might have never even heard of, is "Following." This script was a little more similar to the movie in most parts than "Memento" was. I also enjoyed reading that part of the book. I have seen the movie before hand, so I kind of knew what I was in for. Again, this screenplay is filled with sharp and witty dialogue and life-shattering consequences that won't appear visible until the shocking conclusion.

Another cool feature of this book is that it includes an interview with Christopher Nolan and one of the stars from "Following." It also includes some photos from both movies and how the idea for "Memento" came about.

Christopher Nolan has a talent when it comes to forcing characters to face severe consequences and ugly truths, as well as coming up with great dialogue that can only be created by a pro. He can also manipulate time and make it confusing for us as well as for his characters. If you have seen the movie or movies, get this book as soon as you can. I recommend that you see them first, then read the book. All in all, this was a terrific read and I look forward into reading it again and again.

I picked up this book after seeing Memento and while waiting for it to be released on DVD. All I can say is that I enjoyed it just as much as watching the movie. Don't skip over Following to get to it though. It is just as engaging as Memento and you can catch a preview of it on the Memento DVD. Also, don't let the fact that these are screenplays deter you from making this purchase. If you are a true Christopher Nolan fan, this is the book for you.

In a conversation with a friend of mine a while back, he told me he didn't understand why people liked "Memento" so much, he said all the film had was a "gimmick."

To which I replied, "it may be a gimmick, but YOU try writing a script with a gimmick like that."

The "gimmick" is the non-linear progression of the story that Christopher Nolan uses in both of the scripts in this book, "Memento" and "Following." It's an experimental style of storytelling, to be certain, but it's a successful experiment. Both scripts, "Memento" in particular, show events not in the order they happen, but in the order of importance, and it's a brilliant way to tell the story. Nolan's a magnificent screenwriter -- can't wait for his next one.

The Definitive Guide - I agree absolutely!!! Useful and practical book - over 400 pages and about 300 bands covered. The essential bands are there due to their talent and influence, and not sales. There are definitions and introductions of genres and sub-genres (from HMR and NWOBHM to goth, power, doom etc) discographies, geography - from UK and Finland to Central America. This book is an honest, knowledgeable and decent job of true professional and real connoisseur. Not only I finally found what I've been looking for (and couldn't find in "Great Metal Discography" - avoid it), I used it as a guide to buy many decent albums, and to read "Nuclear Blast". Few suggestions only - to find some place in the next edition for "Grand Funk", "Blue Cheer" and "Iron Butterfly". As for doom - honestly, "Swans" and - especially - "Laibach" should be there. And a real must is "Mezarkabul" ("Pentagram") from Turkey. But just buy this book, it's a give away price.

Got this gift for my husband who is a metal fanatic. He loved it. He said it was the best gift he ever got. I would recommend this for any metal enthusiast!

My favorite still is the Encyclopedia of Metal as a generic guide, but when I saw this one come out this year, I picked up a copy, and it was well worth it. Not only is it also a complete guide, it divides the bands into Genres of metal, that way you can pick up the book, look at the contents and get organized alphabetical answers in each Genre. And all the big bands are included. Again, a great book to have for the Metal head. Check this one out.

I recently bought this book back in August and am stillreading it, its thatgood. First of all, this book only deals with "True Metal" bands only. There are no NuMetal, Grunge, hair,etc.What you get is different genres of Metal. American Thrash, British Thrash, Death, Black, Doom/Gothic, Power, American Heavy Metal, Swedish Heavy Metal, Japanese Metal, NWOBHM, NWOAHM, Brazilian Metal, etc. Band histories and discography are very well done. No longer will you have to buy individual Metal books. Its allhere. In fact, flipping through theAmerican Thrash section, I discovered several Canadian Thrash bands that totally shred. Ended up buying several of their cd's. Garry Sharpe Young has put together the best book on Metal out there for the True Metal fan. If you're a Metal Maniac, buy this now, trust me.

This book is basically a big thick encyclopedia of different metal bands. The author did a really good job of writing about bands that are purely metal, as opposed to other metal books that just get all ridiculous and have entries on Pearl Jam and Insane Clown Posse, but leave out a lot of important bands. Pretty much every band that should be in here is in here. The only band that I was really surprised was missing was Melvins (it was also kind of surprising that the Japanese band Boris wasn't in here either). Anyway, the focus on metal means that many hard rock bands that are either considered to be metal or proto-metal are not in here. So that means no Led Zeppelin, Hendrix, Deep Purple, or AC/DC. There's also no hair metal and no nu-metal.

The book is broken up into sections for different genres/categories of metal. Because there are so many genres of metal and so many different metal bands, this sounds like a bad idea, but the categories are split up pretty well. Every band entry is pretty informative and includes a discography. Most entries for bands span multiple pages. Entries for more popular bands like Black Sabbath, Metallica, and Anthrax span several pages and had all kinds of information I had never read before. So while reading this I've never really gotten the feeling that I'm just reading a bunch of stuff that I've read before, which is a huge plus with this kind of book. Also, the band entries are often accompanied by a band photo, which is nice.

Anyway, I guess I would sum up my thoughts on this book as thus: If there were a college course on heavy metal, this would probably be the textbook you'd have to buy.

Would the person who identified themself as a grandaughter of Allah please contact me? I am also supposedly related to Alla, a cousin doing a family search. My grandmother Hannah, was the sister to Allah's (Marion's) mother in Ukraine. Also, I may actually know the decendents of Allah's mother Sonja, through her later marriage, one who would be her younger half-brother! He is still alive at 92! DR drifkin@msn.com

Alla Nazimova was my Godmother and I have heard many stories about her over the years so I was delighted to see a book written about her by Gavin Lambert. I found the book to be fastanating and learned so much about this woman who brought Ibsen and Chekhov among others to the theaters in America. She appears to be a very private yet complicated indivdual who knew exactly what she wanted and went after it with her whole being. She accomplished so much on the stage and in films that it is a shame so few people today remember her. Perhaps Lambert's book will rekindle that interest again in such a great lady of the theater.

Most people only know the Alla Nazimova through her connection with Rudolph Valentino and her "gay" silent film "Salome." She is nearly always reviled as a domineering, spiteful lesbian queen of Hollywood whose own ego led to her fall.
This book provides a completely different picture of the woman behind the name. Her horrendous treatment as a child definitely molded her personality. An extremely talented actress, she earned her stardom on stage, screen and then stage again, inspiring many of the greatest playwrites of the early 20th century to write plays, many for her.
The author reveals much of Nazimova's sadness and disappointment in her personal life and career, her gullibility when it came to trusting friends with her money, and the vast number of women and the few men with whom she had love affairs.
Through exhaustive research of Nazimova's voluminous but unfinished (and unpublished) autobiography, interveiws with the few living persons who met her, and the letters and memoirs of a vast number of acquaintances and co-workers, the author has constructed a fascinating portrayal of a fragile, brilliant, yet tempermental child-woman who may well have been the greatest actress of at least the first half of the twentieth century.
Readers will be surprised to read the rave accounts of Nazimova's unparalleled talent her from Truman Capote, Ibsen, Shaw and Katherine Hepburn, as well as the doting love and companionship showered on the elderly Nazimova by her godaughter Nancy Davis, later Nancy Reagan.
I highly recommend this book to those who love silent films and bizzare, talented personalities.

Gavin Lambert is a mesmerizing writer. He chronicles Nazimova's hellish childhood (which shaped all that followed, I believe), her dramatic rise on the stage (where she did her best work) her Hollywood years and beyond. I find it sad that her stage performances exist only in the memories of those who were lucky enough to see her back in the day, and those people are leaving us very quickly. Nazimova strikes me as a woman who could be infuriating, frustrating, difficult, kind, generous, funny, certainly her own worst enemy at times, and sometimes all of the above in the same moment. The fun she would have during performances made me laugh out loud, and the stupid choices she made for film made me say "no, don't DO that" to the pages of this meticulously researched book. About her sister and niece, I have no kind words whatsoever, and I can thoroughly understand why Lambert dismissed anything the niece had to say. I can't wait to read the other film-related books that Gavin Lambert has written - I'm so glad I started with this one.

an absolute beauty of a boo

what can go on behind the scenes of historical events, give this book a read.

I met Bill Gibson before his book hit the shelves. I found him to be a reserved man, with an underlying sense of humor; only mentioning to me, he had a book coming out about his career as a professional photagrapher in the Navy. I asked him if he liked it on the Merrimac; oddly, he hardly speaks to me lately.

All jest aside, I'm not giving Bill's book five stars in order to be on speaking terms again, or for the rebate promised on my copy. Bill Gibson's "No Film In My Camera", will entertain all generations, and surely enlighten the younger; although parental guidance is suggested.

Bill brings us his personal perspective to major events and eminent icons of our history, with humor and dashing flair. Particularly dashing, when caught sunbathing on Enyu island.(One of the reasons for the PG rating.)

As I read, I couldn't help but envy his life, and imagine myself a member of his crew, partaking in the adventure.

Now that I've read the book, I find Bill to be a reserved man, with an underlying obsession for insane risk, and his humor a little less subtle, especially when I can talk him into a martini. BUY THIS BOOK, YOU WILL NOT BE DISAPPOINTED!

what can go on behind the scenes of historical events, give this book a read.

I met Bill Gibson before his book hit the shelves. I found him to be a reserved man, with an underlying sense of humor. Only mentioning to me, he had a book coming out about his career as a professional photagrapher in the Navy. I asked him if he liked it on the Merrimac; oddly, he hardly speaks to me lately.

All jest aside, I'm not giving Bill's book five stars in order to be on speaking terms again, or for the rebate promised on my copy. Bill Gibson's "No Film In My Camera", will entertain all generations, and surely enlighten the younger; although parental guidance is suggested.

Bill brings us his personal perspective to major events and eminent icons of our history, with humor and dashing flair. Particularly dashing, when caught sunbathing on Enyu island.(One of the reasons for the PG rating.)

As I read, I couldn't help but envy his life, and imagine myself a member of his crew, partaking in the adventure.

Now that I've read the book, I find Bill to be a reserved man, with an underlying obsession for insane risk, and his humor a little less subtle, especially when I can talk him into a martini. BUY THIS BOOK, YOU WILL NOT BE DISAPPOINTED!

As the wife of a career Navy photographer for many years, I was often asked, "What does a *photographer* do in the service?" Certainly, they are unsung heroes whose stories should be told. And now they have a master story-teller to do it: Bill Gibson. This book is sheer delight for all of us who were there, and many who will wish *they* had been when they read about it! Only the Twentieth Century could have produced Bill Gibson -- there will never be another. He not only lived history in many areas, but helped make it as well. "No Film" is such a good read that, although I tried to ration it to myself and make it last, I could not let it alone until I had read it all, and still go back to savor certain episodes again. I placed it on the shelf next to Tom Brokaw's two books about my generation, and I am hoping this remarkable person is at work on another.

Gibson is a supremely multi-talented author. His skill as a cameraman is met - and perhaps exceeded - as a gifted raconteur. He takes you along for a fascinating trip through history: World War 11, Africa, Viet Nam, Hollywood!, NASA and other adventures he was lucky to survive! From hanging off helicopters to crouching tigers - you can't get enough! This is a true page turner that proves again - great non-fiction has no equal. Gibson is a true Renaissance man....I hope he is writing a sequel. This is a book you will want to keep in your permanent library.

NO FILM IN MY CAMERA is an action-packed adventure from page one! Mr. Gibson's book is an eye-opening ride that took me to some of the most turbulent and exciting times in our nation's history. His accounts of daring assignments, and sometimes crazy adventures as a cameraman, are retold with passion and humor. After many years of telling stories with his camera, he now tells his own story with as much creativity and attention to detail. From being on the USS Hornet as she was attacked, to being a part of the early days of the Space Program, to encounters with world leaders and Hollywood celebrities, NO FILM IN MY CAMERA gives an eye-opening look at the never-dull life of an inventive, courageous, world-class cameraman.

If you are a new playwright, and wonder what a director does, or should be doing (if he/she is directing your play), this small book will tell you briefly and succinctly.

It begins at the beginning with the Script, then explains the Director's role, Casting, Rehearsal Rules, Talking to Actors, Building Blocks, Staging, etc. The authors do not embellish, nor are they verbose. The information presented is clear and direct. Most important, the format allows one to go immediately to the section most needed if necessary.

This book enlightens, makes one think, and is an invaluable learning resource.

If you direct, or plan to direct, buy this book!

The directorial wisdom in the book is presented in brief, powerful points that are well categorized. The directing books I have found tend to be tedious, dense, and self-important. Notes on Directing is a breath of fresh air--giving you just what you need.

One word of caution: while Notes on Directing is an essential and fabulous book, don't expect it to tell you how to be a director. This is a book to refer to after you have acquired basic foundational skills.

If you seek to be a director, you must have NOTES ON DIRECTING: it looks small but it packs in notes gathered by British director Frank Hauser for his apprentice - notes which came from a long career in the industry. Hauser shared these with many famous theatrical and cinematic figures from Richard Burton to Sir Alec Guinness: now the former student expands upon his mentor's private notes to provide a book-length treatise appropriate for any student of directing. Chapters are packed with advice, explanations, quotes, examples, and insights into the director's role: a 'must' for any who would assume such a mantle.

This book is a MUST for all involved in the theatre.
It's a quick read & an excellent sorcebook- VERY well organized. If you want more of a textbook on directing, go with Catron's The Director's Vision. But this book (Notes on Directing) is GREAT to have on hand during the process.

We are presented with an artful, intelligent, and incisive opening of the doors to the art of Directing a dramatic production from a very real human level. Author Russell Reich received wisdom from teacher/mentor Frank Hauser(CBE)in the casual hand-off of several pages of loose notes accumulated over the years of Hauser's teaching on two continents and directing many of the true greats in British theater. With deep and careful further observation of this directing great, Reich recognized further significant attributes of Hauser's approach.

Adding his own turns, gentle humor, appreciation of people, and insistence upon quality in presentation of dramatic works, Reich has created a manual for presenting drama for public view in what may well be a no-fail approach. All of this is accomplished without infringement upon the ability and need of a director to create the presentation which is clearly his or her own. More is always available to be gained with each successive reading and practice with this guiding gem.

Kudos to Hauser for his clear accomplishments over many years and generations of theater; and to Reich for bringing the methods for those accomplishments to a reachable level for the lover of performance arts through incorporation of his own insights and wisdom.