Silman-James Press,U.S. – förlag

In the Blink of an Eye is celebrated film editor Walter Murch's vivid, multifaceted, thought -- provoking essay on film editing. Starting with what might be the most basic editing question -- Why do cuts work? -- Murch treats the reader to a wonderful ride through the aesthetics and practical concerns of cutting film. Along the way, he offers his unique insights on such subjects as continuity and discontinuity in editing, dreaming, and reality; criteria for a good cut; the blink of the eye as an emotional cue; digital editing; and much more. In this second edition, Murch reconsiders and completely revises his popular first edition's lengthy meditation on digital editing (which accounts for a third of the book's pages) in light of the technological changes that have taken place in the six years since its publication.

Making a good script great is more than just a matter of putting a good idea on paper. It requires the working and reworking of that idea. This book takes you through the whole screenwriting process-from initial concept through final rewrite-providing specific methods that will help you craft tighter, stronger, and more saleable scripts. While retaining the invaluable insights that placed its first two editions among the all-time most popular screenwriting books, this expanded, revised, and updated third edition adds rich and important new material on dialogue, cinematic images, and point of view, as well as an interview with screenwriter Paul Haggis. If you are writing your first script, this book will help develop your skills for telling a compelling and dramatic story. If you are a veteran screenwriter, it will help you articulate the skills you know intuitively. And if you are currently stuck on a rewrite, this book will help you analyse and solve your script's problems and get it back on track.

Character Animation Crash Course! is a veritable Genies lamp stuffed with everything the aspiring animator could wish for! Renowned animator Eric Goldbergs detailed text and drawings illuminate how to conceive characters "from the inside out to create strong personalities. Classic animation techniques are analyzed and brought to life through this unique book and its accompanying website companion that offers readers animated movie examples that show, in real time or frame-by-frame, the authors principles at work. Add to this Goldbergs discussions of classic cartoons and his witty, informative observations based on the wealth of knowledge hes gained during his 30-plus years in professional animation, and you have a tour-de-force guide to character animation with the classic touch.

This is one of the most respected books on film making ever published. With the aid of hundreds of photographs and diagrams, it clearly and concisely presents the essential concepts and techniques of motion picture camerawork and the allied areas of film making that they interact and impact with. Branching out from five central subject areas, the five Cs -- camera angles, continuity, cutting, close-ups, composition -- Mascelli offers film makers a detailed and practical course in visual thinking. Included are discussions of: cinematic time and space; compositional rules; point-of-view; camera height and angle; master scenes; types of editing; screen direction.

This 7th edition marks the 25th anniversary of one of the most popular, authoritative, and useful books on screenwriting. A standard by which other screenwriting books are measured, it has sold over 340,000 copies in its twenty-five-year life. Always up-to-date and reliable, it contains everything that both the budding and working screenwriter need under one cover -- five books in one! A Screenwriting Primer -- that provides a concise course in screenwriting basics; A Screenwriting Workbook -- that walks you through the complete writing process, from nascent ideas through final revisions; A Formatting Guide -- that thoroughly covers todays correct formats for screenplays and TV scripts; A Spec Writing Guide -- that demonstrates todays spec style through sample scenes and analysis, with an emphasis on grabbing the readers interest in the first ten pages; A Sales and Marketing Guide -- that presents proven strategies to help you create a laser-sharp marketing plan. Among this books wealth of practical information are sample query letters, useful worksheets and checklists, hundreds of examples, sample scenes, and straightforward explanations of screenwriting fundamentals. The 7th edition is full of new examples, the latest practices, and new material on non-traditional screenplay outlets.

Visual narrative formulas for anyone involved in the film and tape industry.

A straightforward, often humorous workbook approach to comedy writing as creative problem-solving. In it, veteran Hollywood comedy writer John Vorhaus offers his tools of the trade to writers, comics, and anyone else who wants to be funny. Among these indispensable tools are Clash of Context, Tension and Release, The Law of Comic Opposites, The Wildly Inappropriate Response, and The Myth of the Last Great Idea. Readers will learn that comedy = truth and pain (the essence of the comic situation), that fear is the biggest roadblock to comedy (kill the ferocious editor within and rich, useful comic ideas will flow), and much more.

Robert Wise's life in the film industry has spanned 6 decades and, before embarking on his directorial career, included editing such films as Citizen Cane and The Magnificent Ambersons.

Hollywood is currently seeing a great influx of young African-American filmmakers who collectively are altering the face of American filmmaking. African-American Screenwriters Now brings together recent interviews with both up-and-coming and established screenwriters, some of whom also work as directors and producers, and paint a vivid picture of the opportunities and obstacles that face today's black filmmakers in Hollywood. These writers discuss their influences, their goals, the birth of stories, the writing process, getting work, and getting films made, alongside their comments on racial barriers and the portrayal of blacks in film.

This book offers an entertaining and comprehensive assessment of Chandler's turbulent association with Hollywood, both as a screenwriter whose credits included Double Indemnity, The Blue Dahlia, and Strangers On A Train and as the provider of source material -- his six filmed novels have so far yielded ten films. The author's extensive research included interviewing many of the Hollywood figures who were associated with Chandler and his films, including Lauren Bacall, Edward Dmytryk, Alfred Hitchcock, John Houseman, Fred MacMurray, Robert Montgomery and Audrey Trotter. Illustrated with rare stills, posters and location photographs, this book provides a special insight into the work of the world's most acclaimed writer of detective fiction.

This unusual screenwriting book is a tapestry of fresh, insightful essays and in-depth interviews with top screenwriters. The essays cover such topics as avoiding the obvious, the birth of ideas, the process of rewriting, dealing with writer's block, creativity and spontaneity, handling rejection, breaking the screenwriting 'rules', and episodic forms.

Film music fans have eagerly awaited this fully updated and greatly expanded edition of Tony Thomas's popular history of Hollywood film music (from the thirties through the nineties) as viewed through portraits of many of its foremost practitioners.

The screenwriters who appear in this unique collection of thought-provoking essays and photographic portraits offer their musings -- some intimate, some philosophical -- about why they write, what inspires them, and how they cope with the motion picture industry's unpredictable frustrations and pleasures Screenwriters include: Scott Alexander; Larry Karaszewski; Jeff Arch; Michael Grais; Dale Launer; Angelo Pizzo; Dana Stevens; Michael Tolkin; Randall Wallace and Daniel Waters.

If you want to build a stand-up comedy career, this book is a must read. If you want to write comedy, this book is a must-read. If you simply enjoy comedy ... this book is a must read. Part One offers essential advice about understanding the fundamentals of stand-up, studying other comedians, finding your own style, writing your material, working the live performance, and appearing on television. Fascinating, candid, insightful interviews with today's top comedians, who discuss at length why and how they do what they do, comprise Part Two, the bulk of the book. The third and last part of the book addresses your stand-up career through interviews with noted comedy club owners, an agent, a personal manager, and a television talent co-ordinator. Literally crammed with the wisdom of today's finest stand-up comics, in terms of quality, quantity, and timeliness information, this book is without peer.

A tapestry of Froug's essays and interviews with top screenwriters, producers, and directors. Once again, Froug proves that he can skilfully pull engaging thoughts from his interviewees and, with his own essays, can use both novice and seasoned screenwriters to rethink what they do. The essays are wide-ranging, covering such diverse subjects as creating your own talent, getting your scripts read, avoiding story-structure gurus, entering screenplay contests, a scene-by-scene look at the film Body Heat, Hollywood's rewrite panic, Hollywood's ephemeral enthusiasms, why rooting interest isn't necessary, the stop-start method for studying films, guarding your surprises, reinventing old ideas, and guilt as a writer's tool.

Stephen Book is a top Hollywood acting coach and teacher and a theatre director. His students have won Oscars, Emmys, Tonys, Obies, and Grammys. Thirteen of his present or former students are featured in either starring roles or as cast regulars in the current primetime television schedule. This book contains film and television scenes in which Book-coached actors, used his Improvisation Technique to create their performances. These scenes, showing the actors' performance choices, demonstrate the use of Improvisation Technique in different genres of acting. Well-known theatre and film scenes are included, as well as scenes from such TV shows as 'Frasier', 'Melrose Place', 'Star Trek: Voyager', 'LA Law' and 'The Practice'.

This is the first book to fully integrate the technical aspects of screen directing with practical methods for directing actors, deeply and carefully exploring how these two primary aspects of the director's craft work together. Viewed from a perspective that seeks a balance successful work with actors and technically high-level production values, the complete directing process is discussed in detail from the start of script development through the delivery of a finished project covering every aspect of preparation and decision-making with solid background information, practical suggestions, and clear illustrations. Topics include: Project development; Screenplay analysis; Choosing and working with a production team; Auditioning and casting; Script preparation; Using the language of acting; Working with a set; Understanding screen acting styles; Conducting a rehearsal; Blocking camera and actor moves; Using improvisation; Working with storyboards; The Hollywood continuity style; Choosing camera shots and lighting; Multi-camera directing; Preparing for each day's shoot; Editing and working with editors and much more.

The show runner is the television producer who commands a show's moment-to-moment, day-to-day details. The show runner hires and supervises the staff, decides what will be included in each show, co-ordinates the casting of each segment, makes sure that a show adheres to its budget, and oversees a production's flow of activities in conjunction with other producers, staff members, technical crews, and post-production personnel. The only book to deal with the subject, this lively, wide-ranging, informative book covers all aspects of show running variety and talk shows for television. Filled with examples from actual television shows, it covers: making, pitching, and selling a pilot show; production development; a show runner's duties and weekly schedule; working with other members of a production's staff and crew; producing a season of shows. Along the way, it also defines the roles played by the many producers whose credits we see on the screen (line producer, field producer, executive producer, etc.) and their interactions with the all-important show runner. Additionally, the book covers show running as a career, discussing the hard realities and many pleasures of the job, including selling oneself, finding work, negotiating for a percentage of a show's profits, and more.

This is a well-written, A-to-Z guide to producing movies, whether they are large-budget studio-backed productions or low-budget and mid-budget independents. Logically organised to follow a film's usual timeline from conception to birth, this completely revised and updated edition of Lazarus's 'The Film Producer' includes thorough discussions of: DEVELOPMENT -- Acquisition of materials, choosing and working with writers, working with agents, working with studios, financing outside the studio system; PRE-PRODUCTION -- Roles and duties of the film crew and the producer's team, budgeting, casting, shootings schedules; PRODUCTION -- Managing the movie and its budget, choosing and working with a director, production politics; POST-PRODUCTION Post-production process, post-production budget and schedule, editor's cut, director's cut, resolving creative disagreements; MARKETING -- Understanding the many facets of domestic and foreign distribution, developing and implementing marketing strategies, doing market research, previews, advertising, using the Internet and many, many other essential topics.

As entertaining as it is enlightening, Created by presents a stellar cast of 21 show creators who candidly talk about writing and selling hit television series: J.J. Abrams (Alias, Lost); Alan Ball (Six Feet Under); Yvette Lee Bowser (Living Single, Half & Half); Mark Brazill (That '70s Show); Ilene Chaiken (The L Word); Larry David (Seinfeld, Curb Your Enthusiasm); Tom Fontana (Oz); Tracy Gamble (8 Simple Rules); Dave Hackel (Becker); Barbara Hall (Joan of Arcadia); Brenda Hampton (7th Heaven, Fat Actress); Bill Lawrence (Scrubs); Dennis Leoni (Resurrection Blvd.); Max Mutchnick and David Kohan (Will & Grace); Tracy Newman and Jonathan Stark (According to Jim); Josh Schwartz (The O.C.); Shawn Ryan (The Shield); Amy Sherman-Palladino (Gilmore Girls); Joss Whedon (Buffy the Vampire Slayer, Angel). They discuss influences: writing spec scripts; first jobs in TV; getting an agent; mentors; being staffed as a writer; the pitch; writing a pilot; putting yourself in the characters you create; rewriting; producing a pilot; marketing; hiring a writing staff; making a show last; TV writing vs. film writing; drama vs. sitcom; cable vs. network TV; what show creators look for in a writer; writers block; luck and much more. This is a lively, well-written must-have book for all screenwriters and television writers -- wannabes, novices, and professionals -- as well as all avid TV fans.

Designed to speak clearly and intelligently to non-musicians and musicians alike, "Inside Film Music" is a must for every film music fan. Through its forty-plus lively, insightful interviews, it delves deeply into the creative process, the basics of musical thought, filmmaking's collaborative nature, and the individual psyches of its participating composers. It covers every current style of film music, the essence of what it means to write a score for motion pictures ... and much more. Composers featured included Academy Award Winners John Barry (Dances with Wolves, Out of Africa, Goldfinger); Rachel Portman (Mona Lisa Smile, The Cider House Rules, Chocolat); Stephen Warbeck (Shakespeare in Love); and Gabriel Yared (Cold Mountain, The Talented Mr. Ripley, City of Angels, The English Patient). Also interviewed are Academy Award Nominees John Debney (Sin City, The Passion of the Christ, Bruce Almighty, Spy Kids); Philip Glass (The Hours, Kundun); Mark Isham (Freedom Writers, The Black Dahlia, Home for the Holidays, Quiz Show); Marc Shaiman (How Harry Met Sally, Ghosts of Mississippi, A Few Good Men, City Slickers, Misery); and Alan Silvestri (Back to the Future, Forrest Gump, The Polar Express). Additionally there is commentary from Marco Beltrami (Hellboy,The Terminator 3); Mychael Danna (Little Miss Sunshine, Capote); Cliff Martinez (Wonderland, Traffic, Sex, Lies and Videotape); and Jeff Rona (TV series: Homicide, Chicago Hope, Profiler).

This is a unique collection of pieces about the many filmmakers and writers from around the globe -- Europe, the Americas, Asia, the Middle East -- who populate Judy Stone's world. In these articles, we clearly hear their voices as they talk art, politics, and culture. We get to see past the cinema screens and past the pages of books and hear lively conversations about personal freedoms, political change, nationalism, religion, women in society, gays in society, the influence of history, ideas about creating a better tomorrow, and much more. In this book, Stone talks with and writes about over 120 creative people who range from the pioneer Inuit filmmaker Zacharias Kunuk to the great Polish poet/essayist Czeslaw Milosz; from the innovative Iranian director Abbas Kiarostami to the writer/provocateur Jean Genet; from the tantalising Turkish storyteller Orhan Pamuk to the "underground" Chinese film-maker Jia Zhangke. From Israeli Amos Gitai to Palestinian Elia Suleiman, filmmakers whose films are devilish irritants to their own "tribes." From popular actors Jeremy Irons and Sinead Cusack to actor/filmmaker Liev Schreiber.

A film is nearly finished and ready to make its way into theatres, when one or more of its prime movers -- producer, director, studio brass -- decides that it just does not 'feel" right and hits the brakes. What can be done quickly to alter the movie's complexion? The most obvious option is to change the last element added to the film -- its music! So, often regardless of whether the film actually needs a new score, a new composer is hired at the last minute to replace the previous composer's heartfelt work. Film scores are rejected and replaced for every conceivable reason -- style, quality, a test-audience's reaction, a composer's name recognition, the picture's re-editing. Sometimes the change improves a film; often it does not. Either way, such replacements are more common than most moviegoers imagine, and no composer, from the novice to the most famous and respected, is immune. In this book (which takes its title from the film Torn Curtain, whose famous score replacement put an end to the long and fruitful collaboration between director Alfred Hitchcock and composer Bernard Herrmann), film historian Gergely Hubai recounts the often strange and surprising stories behind 300 rejected and replaced scores dating from the 1930s through the 2000s. In these behind-the-scenes tales, dedication collides with miscommunication, musical geniuses clash with the tone-deaf, commercialism brawls with artistic purity, and a lot of hard work goes unrewarded. The movies discussed range from the most popular to the all-but-forgotten, and from high art to lowbrow fare; they even include a handful of TV shows and a videogame.

Saxophonist and composer Charles Lloyd has been a strong and important voice in the jazz world since the late 1950s. This freewheeling, fascinating unauthorized biography -- based on twenty years' worth of interviews -- covers the extreme ups and downs of an uncommonly eventful life, often in the musician's own words. The story begins in the heated musical milieu of Memphis in the Forties and Fifties, where Lloyd grew up with Phineas Newborn Jr and Booker Little and cut his professional teeth as a teen playing with such blues giants as Howlin' Wolf. After high school, he moved to Los Angeles, where he attended USC and began to work with the Gerald Wilson and Chico Hamilton bands, Scott LaFaro, Gábor Szabó, Don Cherry, and others. Following a notable stint with Hamilton's ensemble, contributing compositions and arrangements as well as playing, Lloyd joined Cannonball Adderley's band and moved to New York. There he worked with Herbie Hancock, Ron Carter, Richard Davis, Henry Grimes, Roy Haynes, and many others. In the mid-Sixties, Lloyd put together a landmark quartet, showcasing the young Keith Jarrett, Jack DeJohnette, and Cecil McBee. It skyrocketed the saxophonist to fame -- recording best-selling albums, winning Down Beat's 1967 Artist of the Year, and becoming the first jazz musician to play the famed Fillmore auditoriums. But just as suddenly, Lloyd vanished from the scene in the early Seventies, embarking on a fifteen-year spiritual quest. During this hiatus from the jazz world, spent in Big Sur and Santa Barbara, he occasionally worked with the Beach Boys and other pop musicians. To the delight of many, Lloyd reappeared in the early Nineties, recording for the ECM label, fronting a series of impressive bands featuring pianists Bobo Stensen, Geri Allen, Brad Mehldau, and Jason Moran; drummers Billy Higgins and Billy Hart; and other luminaries. Recent groups have included an eclectic array of performers, including Bill Frisell and Zakir Hussain. Lloyd's music is now stronger than ever, as is his career, with acclaim coming from both critics and the public. In 2015 he received a NEA Jazz Masters Fellowship and signed with the Blue Note record label.

These authors knowledge of the nuances of movie and television accounting shines through the pages of this book, which is sure to become a standard reference in this field. -- Harold L. Vogel, author, Entertainment Industry Economics. The distribution of a motion pictures profits is, for most filmmakers, a murky, labyrinthine domain ruled by studio/distributor accountants and lawyers. Movie Money -- a must-read for all film producers, directors, writers, and actors -- unravels, demystifies, and explains the film industrys unique, arcane, creative accounting practices. It examines a films various revenue-generating and revenue-consuming components and presents numerous film industry definitions and calculations of gross and net profits. It also provides in-depth coverage of the various aspects of profit participation -- its terminology and accounting and deal practices -- along with chapters on audits, claims, and negotiating tips and tricks. The Third Edition adds a wealth of all-new material on New Media, a chapter on film distribution and production in todays China, written by Tracy Liang (a CPA with Green Hasson Janks), as well as a thorough updating of every section of the book.

Following in the spirit and style of Scored to Death (2016), his popular first book of interviews with horror music greats, J. Blake Ficheras Scored to Death 2 collects 16 brand-new, info-packed, terrifyingly entertaining interviews with renowned composers who have provided the music for some of horrors most revered films, film franchises, and TV shows, including Get Out, Us, Martin, Re-Animator, The Walking Dead, Puppet Master, Saw, Creepshow, Day of the Dead, A Nightmare on Elm Street 4: The Dream Master, Evil Dead, Army of Darkness, Dark Shadows, Burnt Offerings, The Terminator, The Serpent and the Rainbow, Ring, Killer Klowns from Outer Space, Audition, Ghoulies, Happy Death Day, It Follows, Gretel & Hansel, and many more! Interviewed are composer-director-producer John Harrison and eminent scary-good composers Michael Abels, Richard Band, Charlie Clouser, Brad Fiedel, Joe LoDuca, Donald Rubinstein, John Massari, Bear McCreary, Craig Safan, Kenji Kawai, Holly Amber Church, Koji Endo, Robert Cobert, Rob, and Disasterpeace, all bookended by a Foreword by writer-director Eli Roth and an Afterword by composer Christopher Young.

With todays proliferation of nine-figure film budgets, filmmaking may seem more out of reach than ever for the average person. In fact, producing a feature-length movie for next to nothing has never been easier. In MOVIES WITHOUT BAGGAGE, long-time filmmakers Alain Silver, Obren Bokich, and sundry others recount their experiences in the micro-budget arena and detail how 21st-century technology makes it possible to create high-quality, full-length features for less than $30,000 or $15,000 or even $7,500. Through in-the-trenches tales detailing the making of a dozen micro-budget features, this book covers all aspects of making movies without baggage: finding/creating the right script, budgeting, casting, dealmaking with actors and crew, scheduling, shooting, post-production, and finally marketing and securing distribution. This entertainingly illustrated volume also includes samples of the paperwork from five of the ultra-low-budget films it profiles. This is the ultimate guide for the aspiring guerrilla filmmaker. Never before has a book like this come from filmmakers with such varied experience and with credits that include features ranging in budget from over $10 million to under $5,000.

From Alain Silver and James Ursini, authors of The Noir Style and Film Noir Graphics and editors of the seven-volume Film Noir Reader series, comes Film Noir Fatal Women -- their latest exploration of the key elements that define Americas only homegrown film movement. 400 illustrations reveal the graphic and sensory core of the classic noir Femme Fatale, the visual icon and dramatic persona that underlies countless doomed narratives of the genre. From torch singers to gun molls, secretaries to sociopaths, black widows to B-girls, both blondes and brunettes, abused and empowered -- they all haunt these vivid pages.

How to Sell Yourself as an Actor is the only guide to the ins and outs of the acting business thats actually written by a working actor. This popular book, now in its seventh edition, addresses the age-old question of how to merchandise your craft after you have learned it, and has become required reading for beginning actors as well as trained veterans, whether they live in big cities or small towns. Here youll find vital, down-to-earth info on how to make yourself more salable to casting people, agents, producers, and directors; how to take control of your own career with courage and vision; and how to maintain your humor and your sanity in a business that seems to lack both; as well as thoughts about showbiz internships, having a manager, internet job resources, auditioning, unions, and much, much more.