Arts and Culture Books

Mr. Yagoda presents the results of his exhaustive research with clarity and style. It's a compelling story and makes a great companion to the Kunkel books on Ross. I particularly enjoyed learning more about Shawn and the Shawn years at the NYer, since many of my favorite writers were nurtured under his watch. The best one-book history of the NYer I know of.

Disclaimer: I love The New Yorker. I have been a dedicated subscriber for ten years (and I am only twenty-six), and I read the magazine for years before subscribing under my own name.

Given my disclaimer, perhaps my five-star rating is self-evident. But not necessarily: As a lover of the magazine, I approached this text skeptically. I was interested in an unbiased review, yes, but likely I would have been wounded by a wholeheartedly negative portrayal.

Yagoda loves TNY even more than I do, if that's possible, yet he truthfully approaches his biography of the magazine. The ugliest facts are laid bare, but in a sympathetic whole.

TNY writers, editors, and staff members are lovingly recreated; Yagoda writes so well that I felt I knew these people, I understood these people, and I physically missed them after turning the last page. Like others who have reviewed this book, I wanted more--more, more, more. I felt astonished and sad to have finished the book. Were it a novel, I'd beg for a sequel, even knowing that sequels rarely live up to the original. Even a second-best second-tome would be better than missing the people and the institution that this book brings to life.

Admittedly, TNY readers will love this book vastly more than those unacquainted with its pages. However, if you are even beginning to approach the magazine, you must read this book. You will understand the weekly journal better than you do now, and you will appreciate it far more. I certainly do.

Bravo, Yagoda!

There are at least two ways to view Ben Yagoda's book ABOUT TOWN: 1) as the history of The New Yorker Magazine, how it was conceived and developed and changed over time, and 2) as a social document reflecting its times. The subtitle of the book "and the World it Made" does not seem quite as accurate unless one considers that "world" to be the corporate culture created by the staff led by Ross and Shawn, the two longtime editors who built the magazine. The New Yorker certainly has influenced the world within which it existed along with many other magazines.

Harold Ross, the founder and first editor of the magazine, with the help of Katherine and E.B.White, Thurber, Dorothy Parker, and many other fine editors and writers launched the magazine in the 1920s. The sophisticated and literary focus of the magazine soon captured the fancy of New Yorkers. During the hard days of the depression the magazine actually gained subscribers as readers enjoyed the humorous repartee and cartoons that helped them laugh at their troubles. Many new readers learned of the magazine during WWII as it was handed around the barracks. The GI bill produced many educated readers who remembering their wartime contact with the magazine now subscibed to it. Following WWII, the magazine included more and more "social conscience" articles, for example, John Hershey's essay on "Hiroshima."

Ross died in the early 1950s, and during the fifties under the editorship of William Shawn, the magazine became relatively banal according to Yagoda who says it appealed to stay-at-home wives who enjoyed articles that reminded them of their college days (among other pieces, Mary McCarthy's tales of her Italian travels were featured). In the 1960s, the magazine once again became more vocal about social issues and the environment.

Yagoda says the best years of the magazine came in the 1970s when writers like Woody Allen wrote wonderful wacky pieces and investigative journalists covered the scandals in
Washington. Following a downturn in subscriptions in 1980s, the magazine was purchased by a media mogul and William Shawn departed. With Tina Brown's arrival, the magazine metamorphed into a Conde Nast publication. Garrison Keillor's comments about Brown's arrival (as he left) are amusing.

Over the years, I have read John Updike, Alice Munro, Jamaica Kincaid, Katherine White, and many of the writers who once wrote for the New Yorker. When I was a child, my mother used to quote Dorothy Parker regularly ("Rivers are damp..."), but I had no idea Parker wrote for The New Yorker until years later (we lived in a rural area and subscribed to the Progressive Farmer!!). When I read Rachel Carson's SILENT SPRING, it changed my life, but I read it in book form when it was first published as a Book of the Month Club selection. I only became aware of The New Yorker magazine when I was in my thirties and a college writing instructor suggested it. Yagoda says many people discovered the magazine when they were students.

As a social document, The New Yorker articles very much reflect the times, and to some extent, at least under Ross, the magazine seemed to be ahead of the times. In reading this book, I was reminded of National Public Radio, which seems to be the main innovator in broadcast journalism these days--though I am told there are all sorts of happenings on the Internet. The in-depth news stories, the essays by various knowledgeable citizens, the political commentaries and Garrison Keilor are all comparable to The New Yorker magazine.

If you are interested in a snapshot of the 20th Century from an educated New Yorker magazine perspective, or in writing and magazine development in general, you will find much of interest in this book. The tales concerning the origins of many innovative features of the magazine are quite good.

Yagoda suggests the magazine pretty much ended with Shawn's departure in the late 1980s. He devotes eight pages at the end of the book to the three editors who followed Shawn. He says the median age of the readership grows older every year (not replacing subscribers) and most of current readership as such is owing to the retention of loyal readers. He quotes some of these readers who no longer actually read the magazine but have not given up their subscriptions. His book goes a long way toward explaining to me why I dropped my subscription a few years ago.

There are two types of writers: those who aspire, no, dream of being published in the "New Yorker", and those who, after several rejections, bitterly deride the very institution they hoped to conquer. I am solidly of the first camp, though give it a few years and I might be a latter-day grouch.

The work of Ben Yagoda brings the magazine alive, from the heyday of such luminaries as Thurber and White to the tough war years, right up through the Shawn era and even right up to (for 1999) the present. Through it all, Yagoda examines the many lives who devoted themselves to this literary exercise in humor and good faith. The most compelling character studies, however, are the two main editors throughout the magazine's history, Harold Ross and William Shawn.

Ross, who founded the magazine in 1925 and managed it through its first twenty-six years, comes across as a gruff, thoroughly Western man who nonetheless saw the need for a magazine like "The New Yorker", and brought it to being through sheer will and fortitude. He also happened to publish significant works by James Thurber, E.B. White, and J.D. Salinger among others. Shawn, taking the reins after Ross's death in 1951, saw the magazine through 30+ years of challange and triumph, only to be forced out in 1987. Throughout the book, Yagoda makes these men the central focus of his tale, but he includes brief looks at literary and other lights of the twentieth century, some who did get published (like Donald Barthleme, Veronica Geng, and John Updike) and some who didn't (Tom Wolfe, whose scandelous expose on the magazine shook it out of its fuddiness).

Overall, the book looks fondly back at the magazine's past, with a hint that it might never reach the same heights of importance it once had. That may very well be, but there's still something to be said for a magazine that is such an institution no one could imagine starting a writing career without considering the possibility of submitting to it.

"The New Yorker" is still the premier magazine in America, and this book explains why, after almost a century, it still carries the weight it does.

"About Town", by Ben Yagoda chronicles the majority of the 80+ years, "The New Yorker", has been contributing its unique journalistic culture to everyone, including, "The old lady in Debuque". Mr. Yagoda's book stands out from many books that have been offered to readers about the magazine for while he certainly is aware of the contributions the magazine has made for over 8 decades; he does not seem to be in awe of it or the people to the point it affects his writing. He clearly admires the magazine, but this does not stop his including a wealth of information that documents the eccentric personalities that shaped the magazine. Some may not find the notes flattering, but he objectively shows some of the magazines famous quirks without committing the blasphemy of a young Thomas Wolfe.

The list of writers who either became major or occasional contributors, reads like an amalgam of winners of the highest literary awards that have been offered. The list of those names repeatedly rejected expands the list even further. The book contains dozens of examples of the famous rejection letters that often are almost apologetic about turning down a piece of work while always writing in the first person plural. Having a piece selected by, "The New Yorker", was often considered the ultimate indicator that a new writer had arrived, that he or she had entered the pantheon of the magazine's literary legends. This was true even if the work accepted for publication may not have appeared for months, or even several years. The reception of the envelope stating a writer's work had been admitted was all many authors needed to have their work given unique value and cachet, publication was a bonus.

Mr. Yagoda also spends a good amount of his book on the cartoons, their artists, and the painful process that started with an idea only to have to run a gauntlet to be published. As hard as this path may have been, the scrutinizing that a written piece received is almost beyond imagining. It is understandable that first time contributors would have their worked scoured and polished, but when some of the 20th Century's finest writers nearly drew blood over commas the action within the building must have been spectacular. There is a story of one writer who sat outside the editor's office for almost 5 hours over the issue of a single comma. This World War I trench warfare standoff continued until the early hours of the next morning. The editor capitulated, but noted to the writer, "you are still wrong".

The story of this fascinating magazine could fill many volumes. If your starting place for gathering an overview of this institution, its editors, staff and writers, is this book, you will have chosen very well. Mr. Yagoda has written a great tribute to those he has chronicled.

I loved the movie, loved the book. Buy it. Don't hesitate. In years to come this is going to be a classic movie and the book will be valuable as well.

lots of storyboards, beautifully colored concept art and cool character sketches. It's definitely a great art book.

This is another great addition to the Pixar library, great for colour andlighting reference too for artists.

This book does a beautiful job of showcasing the concept art behind the movie. The majority of the art uses pastels as a medium, but there are also examples of pen and ink, pencil sketches, sculpture, digital wire frames, and more. But, if you're looking for actual frames of the finished movie, this is not the product you want.

The thing that sets this title apart from the other "Art of" Pixar books is the quality of the narrative text. All the "Art of" books have wonderful imagery. But, in this book, the text truly immerses the reader into the world of concept art. Conversely, the text in The Incredibles book often goes off on tangents about the director's personal life and events at Pixar. I like how this book keeps the focus on the art.

My favorite of the Pixar "Art Of" books as well as one of the best "Visual Development" books I've ever seen. Overflowing with story sketches, conceptual drawings, visual development artwork, character designs, thumbnail drawings, color and background keys - nearly all of it classic, 2-D artwork. Excellent and informative text regarding the importance of good storytelling in film.

The Art of Howl's Moving Castle is a large, hardback book, and is chock full of information and pictures from the amazing movie by Hayao Miyazaki.

This book begins with hundreds of concept sketches by Miyazaki, containing location scenes and characters with notes. The concept sketches go in order of appearance from the movie, so the concept sketches for Sophie come at the beginning, for example, while the concept sketches for Human Turnip show up near the end. There are thousands of gorgeous location scenes as well plus short bios on some of the creators of the movie and a few articles that discuss the creaters' experiences working on the film. Also, at the very end is the complete final screenplay to read through. The screenplay has a few minor changes in it from where the English actors improvised a little (especially Billy Crystal), but otherwise, is exactly from the movie.

Being a student of film and the arts, I found this book extremely helpful and interesting, because it showed the creative process of a huge movie. I would definitely recommend it to any film or arts students to browse through if they wan to get an idea of what kind of work it takes to create such a monumental film!

The only qualm I have with this book is that there were hundreds of screenshots. Not that that's bad, especially if you want to buy this book to revisit the movie, but I would like to have seen a few more sketches and whatnot, or at least a few more articles on how the particular scenes with the screenshots were made.

That aside, I fell in love with this book and was enchanted from front cover to back cover.

This book opens a world of anime art like none other. Primary characters & secondary characters are carefully drawn out and walk through a world & story created for them. As a professional artist, I found great interest in the prelimiary drawings straight through the setting concepts. This is also a great book for fans of the movie. If you loved the movie, you will love this book.

I totally enjoyed the layout and discussion in this book. I have been a Miyazaki fan ever since, "My Neighbor Totoro" which I saw when I lived in Japan. If you relish animation and all the details of this art form, you'll like the format and attention this book gives.

Janine Bolon, Financial Coach, Radio Talk Show Host, author of "Money...It's Not Just for Rich People!" available on amazon. Money...It's Not Just for Rich People!

If you loved the movie, you will love this book, The Art of Howl's Moving Castle it's hard cover, with original sketches, storyboards and the final screenplay!

The book explains every step of the complex story, from the original book adaptation to the final movie. Also have quotes and articles from creators of each process (designers, art directors, supervising animators, etc.) It's like seeing the movie scene by scene with artist commentaries.

Being a great Miyazaki fan I really love this book. Even though majority of the books is filled with movie stills, I love it. I revisit those pictures in the books and get myself lost in the beauty of colors. Also being a student of animation, I really get to learn a lot of things. Character concepts and other drawings are really helpful. I highly recommend this book for anybody who likes stories, animation and colors.

Ina Saltz, Body Type: Intimate Messages Etched in Flesh (Abrams Image, 2006)

The idea of an all-text tattoo is brilliant. I can't believe I never thought of it. A lot of people, however, have, and Ina Saltz has made a project out of documenting these tattoos. The result (at least, up till now) is Body Type, a fine book of photography depicting these tattoos, with the expected short captions containing explanations by the owners of the tattoos about their reasons for getting them. (These are, at times, unintentionally hilarious.)

As enamored as I am of the idea behind the book, I'm not as much so where some of the actual photographs are concerned. Many of them are nicely done, but there are a few that just don't work; too dark, too light, too washed out, too something, depending on the photograph. Not a good thing in a book of photography, one thinks. Still, there are enough good photographs here depicting such an excellent idea that it's still worth your time. *** ½

This book has thousands of clearly photographed tattoos for inspiration, they may also serve as a "What not to get" sample.

If you are into typography, the personal meanings of words, or tattoos, this is an excellent book. The photos focus on the words, not the people wearing them, but the descriptions of the tattoos from the owners bring it back to the people. There are also a few discussions about typeface choices that show that at least some of the owners really thought about it.

This book is fabulous for all the reasons Ina outlines in her introduction. I was not prepared for it to be both philosophical and intimate. I love it. It is inspirational. And I abhor tattoos.

Although this charming little book is a quick read, it deserves to be returned to many times, to really admire and appreciate all of the unique, amazing, and well-done tattoos on display therein. In recent years, the old stereotypes of body modifications and the people who get them have been changing for the better. This book can only help in that endeavor. Far from displaying a bunch of bikers, criminals, delinquents, soldiers, and sailors, the type of people who are stereotypically associated with tattoos, these are people from a wide range of walks of life. Many of them are professionals and educated, and all put a lot of thought into these tattoos. And far from being the stereotypical fare of skulls, hearts, roses, and pin-ups girls, the tattoos themselves are also from a very diverse sampling.

The book was inspired by a typographic tattoo which Ms. Saltz saw on the subway one day, and after that discovery (which her subject happily let her photograph), she began seeing more and more tattoos that contained words, letters, and typographical symbols instead of the more standard traditional pictorial images. These people used a wide variety of typefaces for these tattoos, and sometimes even designed their own typefaces. I loved the ambiagram tattoos, the ones designed in a typeface that lets the word be read the same upside-down as it is when viewed rightside-up. People have gotten tattoos containing loved ones' names (very unique was the woman who got her blind lover's name tattooed in Braille on the top of the back of her neck), quotations from Shakespeare, the Bible, movies, songs (the story behind the 33 people who had the first 33 words of Holland's national anthem tattooed on them was a very interesting one, reflecting not only the diversity of the nation but also how much the Dutch love their country), popular quotations, works of literature, and other things which inspire them. One of my favorite word tattoos was the one containing the opening line of 'The Divine Comedy,' in the original Middle Italian, since I also find the opening lines of that long epic poem to be very beautiful, moving, and inspiring. The tattoos are also categorised into such divisons as love, self-love, self-expression, politics, religion, and personal beliefs.

Overall, this is a great small-sized coffeetable book full of great photography of a very unique subject. One doesn't need to have a tattoo or tattoos oneself to appreciate the photographs; I can't get a tattoo due to my religious beliefs, but I greatly admired all of the workpersonship and personal meaning that went into thinking up, designing, and executing these amazing tattoos, and even saw some I'd like to have myself if I were allowed to have a tattoo. I'd love for there to be a second volume, particularly because this one didn't include my own favoritest typefaces, Palatino and Bookman!

Lai's book shows us that through silence and listening a person has a better understanding of his or her pet. Her book is insightful and a fun read.

Author, Lia , has written such charming stories of pets and their unconditional love for their people. I look at my own dog and cats now in a new light, and with more than a touch of curiosity. Lia has a very special talent and has shared it with us with humor and style. A great read...and a delightful gift.

I bought this book for a friend, fell into the the fun of it;
found myself reading it first.
Enjoyed the length of it...great for a train or
plane ride....as my cat, "Lily" would say,
"Purr-fect!"

Howard D. Coffman

Being a professional consultant, i was very pleased to find this look into the thought life of animals,
sincere and charming.
It was like having "tea with tabby cats," and "crumpets with critters!!"
Conversationally Magical.

Pamela Ross-English _NH

As intimate companions to famous humans, celebrity pets have a unique and privileged vantage point. In some cases, pets know these celebrities better than other human members of their families! The animals interviewed in this book gifted Lai with their trust. Assured she would accurately reflect their thoughts, they offered glimpses of the person behind the public image. Lai's gift to us is not just the information divulged. Of equal value is the insight into the personalities of the animals. You will be charmed, entertained, and touched by their comments. Through Lai, these animals offer the ultimate gift...to know that our love for our pets is reciprocated in ways we could never imagine.

Rest in peace Dondi, your art will never die! If you liked Subway Art and Spraycan Art then grab yourself of a copy of this absolute gem as Dondi was truly up there with the likes of Seen etc and my favorite Dondi piece still has to be the children of the grave. Buy this as in a few years when it's harder to get your gonna regret it and probably pay a lot of dollar.

i grew up in brooklyn in the 70s and was witness to much of what is shown in this book. there are dozens of train photos from all phases of dondis subway days which i spent much time looking at. what really fascinates me though are the hidden things in these photos. anybody pick up on the iz the wiz throwups in the top photo of page 26. how about the le throwup in the top photo of page 57 or the blade tags inside the windows of the photo on pages 71/72? ever wonder what are those pieces faded beneath so much of dondis work? the birth of graffiti book out recently showed the very beginnings of the graff movement in nyc, but there seems to be a lack of photo/written history of the stuff from that time till the late seventies. i wonder how many people know how cool it is to just sit, relax and look at something like this that you've admired for so long without having to run down a train platform and try and commit to memory the amazing blur that just went by. the interview with dondi was very insightful and actually gave me a renewed appreciation for his work. the book itself is medium sized, hardcover and the paper is of excellent quality. i would love to see more books like this on other just as prominent writers. blade, lee, seen etc.

this is one great book,very well detailed from dondis underground train bombing days plus his days when he was hitting up art gallerys and it even tells you about dondi b4 he was even a writer.plenty of great pics plus lots of top reading too.one of the better graff books.

What can I say an excellent book from an excellent artist, I am sure Dondi and others form the late 70's to early 80's movement in NYC never would have thought that their creations and inovations would become such a world wide hit and change cities across the world. From my early days as a youngster starting out in Graff in 1985 to now as a somewhat maturer but always youthful graff lover I can definately say that this book was like turning back the clock, and boy was I shocked to hear that he was never caught, "I just wish I could say that"!. A well documented and presented book but sad he is'nt here still to have written it himself "RIP DONDI"

This is one of the must-have books if you dig graffities! It features lots of beautiful photos, sketches and actual pages from the Dondi's own black book. Hardcover with slipcover gives a good value for money!

This is a great, straightforward reference. It covers everything any person needs to know about dining etiquette without any useless "filler" material. The audio format is great and the speaker is one of the best I have listen to.

After a few months as a first year associate at my law firm, one of my former law school classmates told me that their firm had sent its new associates to an etiquette class. I decided that it might be a good idea for me to brush up on my etiquette skills as well, so I purchased this CD and also the Food Scholar Wine Basics CD. I recommend both for new professionals to prepare them for any "dining" situation they may encounter in their first jobs. These situations frequently fall into the "you don't know what you don't know" category of student knowledge.

I, for one, had very little experience in more formal dining situations upon graduating from school. This CD was just what I needed to get myself up-to-speed. It is well-organized and well-presented, covering a number of very specific situations that convey the elements of common sense and consideration that underlie all etiquette.

The author thankfully avoids spending time on how to arrange the seating at a state dinner. What he offers is practical, usable advice on the types of real social interactions that occur in all kinds of business. A very useful CD and well worth the price. Definitely five stars.

I will be graduating from college this year and have started to interview for jobs. I have a decent GPA, am in the career placement office every week for advice, and have spent hours polishing my resume. I thought that I had all my bases covered. Then I started actually interviewing for jobs. I have already had three interviews that included meals and two "mixers" with drinks and appetizers. It was a little overwhelming. I could tell there was an order to things I did not completely understand. A friend recommended this Dining Etiquette CD, so I ordered it. I had yet another meal during an interview after listening to it. It made a big difference. Knowing what to do at every turn during the meal was a confidence booster and I am sure it helped me appear more polished and professional. I HIGHLY recommend it, Two Thumbs Up.

A good etiquette book should sit on every professional's bookshelf alongside "how to win friends" and "7 habits." I purchased this book along with Essential Etiquette Fundamentals, Vol. 2: Wine Selection & Etiquette and The Etiquette Edge: The Unspoken Rules for Business Success to cover all the bases. These books do an excellent job covering the important etiquette skills often overlooked in today's environment. Although often underappreciated, exhibiting proper etiquette signals to others (especially your boss and clients) that you are well educated, care about detail, and have respect for others. I highly recommend these books for anyone new to the business world or for those of us who may need to brush up on the basics.

The last book on CD my wife and I bought was terrible: mens' voices for female characters, etc. And what's the alternative on the radio? Pop music or Howard Stern? I spend twenty percent of my waking life in my car. I might as well spend it wisely. The Food Scholar is easy listening and presented in a way that makes the information easy to learn and remember.

As an MFA student and beginning screenwriter, I've found Hot Property invaluable for so many reasons. First, Keane's accessible explanations of structure are key in terms of establishing instant confict and moving the story along. In addition, Keane's breakdown of genre has been very helpful in terms of conceptualizing marketing, the pitch, and how to sell a screenplay. Of all the screenwriting books I've read, Hot Property is the most straightforward and has the greatest clarity--and in a business where you only get five minutes to pitch your idea, I think that's crucial. Get this BEFORE you start your screenplay--it'll save you a lot of time and ultimately, your story will be stronger as a result.

As an Emerson College student I found this book to be the most comprehensive text on the subject of screenwriting that I have ever encountered. Keane describes the form and function of screenwriting in a way that is easily accessible to any reader and improves the writing process of a new writer or seasoned professional. I would also recommend his book, How to Write a Selling Screenplay.

I just began the book, but I already feel angered by how poorly written, and uninformative it is so far. I have read the first few chapters, and a good chuck of Keane's included original screenplay. This screenplay is utterly awful on so many levels. The formmating it outdated. Action descriptions are often written in ways you cannot show. A total no-no. The characters are shallow. The dialogue is banal, and does not flow. Most of the time, I do not even get the sense the characters are talking to each other. As for the first few chapters, lines like "Celluloid snakes through you body." Um. What? That doesn't make sense, and mixes metaphors. Cellulod and snakes? Whoah. Followed by "Your blood runs at frames per second." Silly, just silly. Finally, "Your eyeballs are projectors." Even as a metaphor, it doesn't work. Eyeballs take in information, not project out. You get the point. Don't waste your time on this drivel. Read some other books like Blake Snyder's Save the Cat!, or How NOT to Write a Screenplay.

I've found both of Chris Keane's screenwriting books (Hot Property and How to Write a Selling Screenplay) to be invaluably helpful to me. They take the reader through the entire process of starting, completing, and selling a script. It's a very encouraging and optimistic source and does a lot to motivate and educate the reader. Of the dozens of screenwriting books that I've read, these have been the most helpful for me and the most inclusive.

Being a working screenwriter, I can tell you that Chris's insights into the workings of today's movie Biz are 150% on the money! Readable, clear, and very helpful! A definite Keeper for anyone who wants to write for the movies, and for those who already do so.

This book is wonderful. Humorous and informative; my favorite combination. I am not an aspiring actress, and have only delt with Two Literary Agents in the sale of my first 4 books; however, I found Ms. Rainfords book an excellent resource. I would recomend this book to anyone who has an Agent; is thinking of getting an Agent; wants to become an Agent; or is thinking of leaving her Agent. Or anyone who is going to HOLLYWOOD to PITCH anything.

It's hard to believe Nancy Rainford hasn't written more books. Perhaps a humorous novel about her business? The book flows with the ease of a best selling novel!

5 stars to this one!

Marsha Marks

As an agent, I have a love/hate relationship with this book. On the one hand, I hate it for exposing so many of my secrets. But on the other hand, I love that it's so direct and honest. Nancy ran her own successful talent agency for many years and she obviously knows what she's talking about. So if you're my client, please don't buy this book. But if you're not, I suggest you pick this one up right away.

Could also be the name of Nancy Rainford's insightful and energetic book. How to Agent Your Agent is at once a fun breezy read and the advice every actor needs to set up for themselves a realistic philosophy and strategy creating their success in the wild business of show. To all but brandname actors the interior life of the creature called agent is a mystery. Ms. Rainford dismantles so many myths there's little choice but to draw clean slate on what you think you know about agents. Comparable to "The Art of War," the hunter must understand the nature, habits, and motivations of game sought. If you believe in the value of your craft and take your business seriously read this book not once but over and over. Take a walk in the agents shoes so the agent can walk with you.

This is a great book, I couldn't put it down. My husband and I are both actors, and we actually fought over who got to read it first (we alternated). I have already recommended this book to all of my friends who are actors. It is that valuable and should be required reading for every actor in Hollywood.

The book is not just a primer on the Hollywood protocol and pecking order, but "How to Agent Your Agent" goes into such wonderful detail so as to demystify how an actor should handle his/her agent. So many actors are constantly in a quandry of how to handle a situation with their agents, or they are downright dissatisfied with their agents. This book helps an actor to define what you have control over and what you can change. Years of experience are in this book to help keep actors from making mistakes when it comes representation.

Thank you, Ms. Rainford, for telling it like it is (and being such a great storyteller).

Only a small section of this book - a "FAQ" - is devoted to "how to agent your agent. Most of this book is a very well written insider's look at what an agent does, with lots of anecdotes from Rainford's work as an agent. Great if you don't know what agents do, but if you're a professional looking for that edge - I'm working, how to I get more out of my agent - there isn't that much you won't have figured out already.

This has got to be one of the best books regarding the business side of movie/film production that I've read in a long time. It is very candid, no punches being pulled. It is just straight up! This book really opened my eyes to the distribution side of the business, and I really appreciate the distributors list at the end. If you are serious about getting your movie out there, read this book! Then read it again!

Phil's book is a vital source for understanding the current landscape of independent distribution. I wish that I'd read this book two years ago before I'd started on my first feature. He's an excellent writer, but it's not just the writing that shines through - it's the interviews. He gets the salient questions in and avoids the starry eyed fluff that has a tendency to creep into industry interviews. I highly recommend it!

After years of watching movies and perhaps having friends, family, and acquaintances tell you that you should write a screenplay or make a movie, you've decided that that's what you want to do with some of the months or years ahead. First, don't panic. Lots of people have had this epiphany before. It's a long journey, but the rewards can be rich if you remember that it's step by step, and not javelin leap by javelin leap. It takes time and much effort, and even more patience.

You'll need a few things before you even begin to direct. Obviously, you need a camera, a screenplay, some actors if necessary, and locations where you'll be allowed to shoot. But besides all that, you'll need some books too, some guides to show you how indie filmmaking is, and what you can do to make your experience an enlightening one, perhaps even more exciting than you might have imagined. That's where Phil Hall comes in.

You pick up a copy of his book, Independent Film Distribution, and prepare to read Phil's educated, calm prose that I'm confident will get you through any worries you might have. It might not solve them all, because an indie film production still has lots to be concerned about during it, but you'll look at how Phil sees independent film and not only perhaps see even more names you might have not recognized at first, but see how to market your dream film, see what it takes to shout at the world, "See my movie!"

Phil's greatest quality in his writing is that he's aware of the filmmakers like you who might read this book. To make an indie film is hard work, but to get people to see it is even more difficult, and he makes sure you know. He does not discourage, but rather guides you through what's out there, also covering what film festivals are all about, and the pros and cons of it.

But it's not only him! No, no. You'll be fortunate enough to read interviews with various, esteemed indie filmmakers, and quotes throughout the chapters from countless others who have been entrenched in indie filmmaking and other aspects of filmmaking and film distribution for years and can speak from where you might want to be one day.

This is where you go for all you'd want to learn. And Phil, being the understanding, considerate writer that he is, he includes a list of distributors in the back, for you to see who is in the business of getting indie films out there. Believe me, there are many books you could possibly have on your shelves about indie filmmaking, lots of authors talking up the history and perhaps also the distribution, but Independent Film Distribution needs to be one you keep close at hand and heart. You'll learn more than you ever thought possible, even if you know a whole lot already.

Independent Film Distribution: How to Make a Successful End Run Around the Big Guys is all about distribution for those on a low budget - and distribution is so key to movie success that any and all film library holdings needs this as a basic reference. Chapters introduce all the basics of distribution and blend these with tips from leading marketing experts, festival programmers, film critics and more. From what should be considered for a web site promotion effort to understanding the film publicist's role, all aspects of marketing success are covered in depth in this 'must' guide for any involved in film production.

Diane C. Donovan
California Bookwatch

I didn't know what to expect when starring at the front cover of this book and thumbing through its list of contents, but I hungered for knowledge on this topic and bought it with reservations.

After reading the book, it left me with a sense that I merely overheard parts of a conversation, wishing I caught all of it. Although the interviews were pretty decent and sort of acted like conversations at a festival's kick-off party, it didn't fulfill me the way I needed it to.

I can say there are a few things I did learn, which - I guess - made it worth the read, but I won't keep this book.

I don't know... I think I could have learned more by a few hours of reading articles on the Internet, but that's just me.

I give it a C minus.