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|Author||: Sidney Lumet|
Why does a director choose a particular script? What must they do in order to keep actors fresh and truthful through take after take of a single scene? How do you stage a shootout—involving more than one hundred extras and three colliding taxis—in the heart of New York’s diamond district? What does it take to keep the studio honchos happy? From the first rehearsal to the final screening, Making Movies is a master’s take, delivered with clarity, candor, and a wealth of anecdote. For in this book, Sidney Lumet, one of our most consistently acclaimed directors, gives us both a professional memoir and a definitive guide to the art, craft, and business of the motion picture. Drawing on forty years of experience on movies that range from Long Day’s Journey into Night to Network and The Verdict—and with such stars as Katharine Hepburn, Paul Newman, Marlon Brando, and Al Pacino—Lumet explains how painstaking labor and inspired split-second decisions can result in two hours of screen magic.
|Author||: Sidney Lumet|
The award-winning director journeys inside the world of film to illuminate the arduous process of creating movies, discussing the art and craft of directing, writers and actors, the camera, art direction, editing, sound tracks, distribution and marketing, and the studio role. Reprint. 35,000 first printing.
|Author||: Roy Severin|
|Editor||: Author House|
Chad Sparks is a twelve-year-old boy living an ordinary life when a friend shows him a newspaper advertisement. Its words call out to him: Movie Tryouts Boys and girls ages 10 to 15 wanted. Now casting for extras in a new Ninja movie. Chad isn t just obsessed with movies, he loves ninjas in particular, and so he heads to the Oregon community college where the tryouts are being held. To his surprise, he s picked to be in the movie, and he heads to Hollywood where he ll earn $4,000 a week. He experiences every aspect of movie making learning lines, participating in fight scenes, and seeing what goes on behind the scenes. Working with producers, directors, choreographers, cameramen, agents, other actors, and stunt doubles, he makes mistakes but also enjoys triumphs. Nothing can prepare him for a behind-the-scenes plot that could destroy the movie studio. Join Chad as he embarks on an exciting adventure and learns important life lessons in Making Movies. "
|Author||: Sarah Garza|
|Editor||: Teacher Created Materials|
Explores the motion picture industry, revealing facts about how movies are made, technological innovations, and the people who make it all happen.
|Author||: Sarah Garza|
|Editor||: Teacher Created Materials|
Action! It's time to enter the world of movie magic! readers are taken behind the scenes to find out what is needed to make a film. From the director to the actor, the director of photography to the costume designer, children will be fascinated to learn about the various aspects that go into motion pictures. With its vivid images, informational text, and impressive facts, this nonfiction title will have readers engaged through the entire book as they discover amazing facts about their favorite genre--whether it be comedy, drama, action, or horror! This 6-Pack includes six copies of this title and a lesson plan.
|Author||: Kaveh Askari|
|Editor||: Bloomsbury Publishing|
Focusing on early cinema's relationship with the pictorial arts, this pioneering study explores how cinema's emergence was grounded in theories of picture composition, craft and arts education – from magic lantern experiments in 1890s New York through to early Hollywood feature films in the 1920s. Challenging received notions that the advent of cinema was a celebration of mechanisation and a radical rejection of nineteenth-century traditions of representation, Kaveh Askari instead emphasises the overlap between craft traditions and modernity in early film. Opening up valuable new perspectives on the history of film as art, Askari links American silent cinema with the practice of teaching the public how to appreciate fine art; charts its entrance into arts education via art schools and university film courses; shows how concepts of artistic production entered films through a material interest in the studio; and examines the way in which Maurice Tourneur and Rex Ingram made early art films by shaping an image of the film director around the idea of the fine artist.
|Author||: Maria Langer|
|Editor||: Flying M Productions|
Tired of turning raw video footage into ho-hum productions that make people yawn? Or, worse yet, just putting raw video out there and hoping for the best? If so, this guide is for you. It clearly explains how to research, plan, shoot, assemble, edit, and fine-tune video productions for just about any purpose. Richly illustrated with stills from an example movie, it'll get you on the right track to making movies that'll inform, entertain, and impress your audience.
|Author||: Walter Mirisch|
|Editor||: Univ of Wisconsin Press|
This is a moving, star-filled account of one of Hollywood’s true golden ages as told by a man in the middle of it all. Walter Mirisch’s company has produced some of the most entertaining and enduring classics in film history, including West Side Story, Some Like It Hot, In the Heat of the Night, and The Magnificent Seven. His work has led to 87 Academy Award nominations and 28 Oscars. Richly illustrated with rare photographs from his personal collection, I Thought We Were Making Movies, Not History reveals Mirisch’s own experience of Hollywood and tells the stories of the stars—emerging and established—who appeared in his films, including Natalie Wood, John Wayne, Peter Sellers, Sidney Poitier, Steve McQueen, Marilyn Monroe, and many others. With hard-won insight and gentle humor, Mirisch recounts how he witnessed the end of the studio system, the development of independent production, and the rise and fall of some of Hollywood’s most gifted (and notorious) cultural icons. A producer with a passion for creative excellence, he offers insights into his innovative filmmaking process, revealing a rare ingenuity for placating the demands of auteur directors, weak-kneed studio executives, and troubled screen sirens. From his early start as a movie theater usher to the presentation of such masterpieces as The Apartment, Fiddler on the Roof, and The Great Escape, Mirisch tells the inspiring life story of his climb to the highest echelon of the American film industry. This book assures Mirisch’s legacy—as Elmore Leonard puts it—as “one of the good guys.” Best Books for Special Interests, selected by the American Association of School Librarians, and Best Books for General Audiences, selected by the Public Library Association
|Author||: Jennifer Selway|
|Editor||: White Owl|
Horror films divide opinion. It wasn’t until 1973 that a horror film (The Exorcist) was nominated for an Oscar for Best Picture and many respected critics still regard them with amused condescension. The public’s view is also sharply divided. Some cinema goers revel in the thought of being made very, very afraid, while some just don’t like horror films because they don’t want to be frightened. This guide, which is for both the fan and the more faint-hearted, steers an illuminating path through a genre that has, since the early days of cinema, split off into many sub-divisions - folk horror, slasher movies, Hammer, sci-fi horror, psychological thrillers, zombie movies, among others. Times change but movie-makers can always find a way to tap into what we fear and dread, whether it’s blood-sucking vampires or radioactive mutations, evil children or the living dead. This book also gives concise biographies of the many actors and directors who saw their careers – for better or worse – defined by their association with horror movies, and who created a genre that is instantly recognisable in all its forms and continues to find new and ingenious ways of scaring us in the dark.
|Author||: Lee R. Bobker,Louise Marinis|
|Editor||: Houghton Mifflin Harcourt P|
Text and illustrations describe the equipment, budgeting, directing, and editing techniques, and other aspects of film production for beginners.
|Author||: Gary Graver,Andrew J. Rausch|
|Editor||: Scarecrow Press|
In Making Movies with Orson Welles, Graver recounts the highs and lows of the moviemaking business as he and one of the most important and influential directors of all time struggled to get films produced. The two men collaborated on more than a dozen projects, including F for Fake, Filming Othello, and the still-unreleased The Other Side of the Wind. Their close friendship and creative filmmaking partnership would endure for 15 years, until Welles' death in 1985. Also including a filmography of works and 20 photos from Graver's personal collection, this fascinating memoir recalls what it was like to work with the legendary Welles and offers advice and tales of caution for future filmmakers.
|Author||: Jeffrey Friedman,Rob Epstein,Sharon Wood|
The past few years have featured such blockbusters as Super-Size Me, Fahrenheit 9/11, Sicko, March of the Penguins, and An Inconvenient Truth. And as news articles proclaim a new era in the history of documentary films, more and more new directors are making their first film a nonfiction one. But in addition to posing all of the usual challenges inherent to more standard filmmaking, documentaries also present unique problems that need to be understood from the outset. Where does the idea come from? How do you raise the money? How much money do you need? What visual style is best suited to the story? What are the legal issues involved? And how can a film reach that all-important milestone and find a willing distributor? Epstein, Friedman, and Wood tackle all of these important questions with examples and anecdotes from their own careers. The result is an informative and entertaining guide for those just starting out, and an enlightening read for anyone interested in a behind-the-scenes look at this newly reinvigorated field of film.
|Author||: Eric LeMoine|
|Editor||: Teacher Created Materials|
Integrate technology into four content areas (language arts, science, social studies, and math) with the help of this invaluable resource featuring 36 content-based lessons organized around key technology skills. This resource also includes a concise overview of effective use of the latest technology in today's classroom, an introduction into software applications, and a Teacher Resource CD including data collection grids, graphic organizers, sample projects, and rubric templates. Movie Making in Your Classroom is correlated to the Common Core State Standards and supports core concepts of STEM instruction.
|Author||: Grady Walker|
Can the stories people tell influence the way they see the world? This book seeks to address that question through a study of the viability of movie making as a critical pedagogy activity. Positioned at the intersection of education and communication for social change, it explores the relationship between the generation of subjective knowledge through storytelling and analysis, and systemic change. Central to the book is a case study from Nepal. By using video as the action element and analytical material of coursework, youth participants generated a new critical awareness, engendered by themes arising from group discussion. Through the analysis of these themes participants initiated an emergence known as conscientization. Led by two critical educators, participants used the production, screening, and analysis of their own movies to propel the course, or praxis, forward. This book seeks to inform the practice of critical pedagogy both practically and theoretically, and also offers a contribution to the fields of participatory action-research and communication for social change.
|Author||: Kevin Sapien|
|Editor||: Lulu Press, Inc|
This might come as a surprise to you, but there is a single piece of equipment that will provide the best results imaginable when you are working on your next feature film. With a cost of well under $50 for basic models, and around $100 for professional models the piece of equipment that you need is quite affordable and will fit into any budget. Another huge benefit is the fact that it is quite small, can expand to a wide range of sizes and is versatile enough to hold almost anything you need. Curiosity is of course eating away at you right this moment, you are probably thinking about the ultimate in high tech devices but this moment but the answer will surprise you. A tripod is actually the best piece of equipment that you need.
|Author||: Dominick Bagnato|
"Chronicling the making of his debut feature film, the author describes the practical steps needed take a project from early concept to the first day of photography--details most filmmaking guides don't include. A scene-by-scene breakdown describes the lessons learned during the production and postproduction phases. Options for what to do after completion are also covered"--
|Author||: Max Thurlow,Clifford Thurlow|
|Editor||: A&C Black|
Fully revised and updated practical and inspirational guide for students and independent film-makers, describing and explaining the whole process - from creating an original or adapted script, through producing, directing and editing, to finance and distribution.
|Author||: Debashree Mukherjee|
|Editor||: Columbia University Press|
From starry-eyed fans with dreams of fame to cotton entrepreneurs turned movie moguls, the Bombay film industry has historically energized a range of practices and practitioners, playing a crucial and compelling role in the life of modern India. Bombay Hustle presents an ambitious history of Indian cinema as a history of material practice, bringing new insights to studies of media, modernity, and the late colonial city. Drawing on original archival research and an innovative transdisciplinary approach, Debashree Mukherjee offers a panoramic portrait of the consolidation of the Bombay film industry during the talkie transition of the 1920s–1940s. In the decades leading up to independence in 1947, Bombay became synonymous with marketplace thrills, industrial strikes, and modernist experimentation. Its burgeoning film industry embodied Bombay’s spirit of “hustle,” gathering together and spewing out the many different energies and emotions that characterized the city. Bombay Hustle examines diverse sites of film production—finance, pre-production paperwork, casting, screenwriting, acting, stunts—to show how speculative excitement jostled against desires for scientific management in an industry premised on the struggle between contingency and control. Mukherjee develops the concept of a “cine-ecology” in order to examine the bodies, technologies, and environments that collectively shaped the production and circulation of cinematic meaning in this time. The book thus brings into view a range of marginalized film workers, their labor and experiences; forgotten film studios, their technical practices and aesthetic visions; and overlooked connections among media practices, geographical particularities, and historical exigencies.