Amazon.com
Film Directing Shot by Shot offers a good introduction to the rudiments of film production. Steven D. Katz walks his readers through the various stages of moviemaking, advising them at every turn to visualize the films they wish to produce. Katz believes that one of the chief tasks of filmmaking is to negotiate between our three-dimensional reality and the two-dimensionality of the screen. He covers the number of technical options filmmakers can use to create a satisfying flow of shots, a continuity that will make sense to viewers and aptly tell the film's story. Katz provides in-depth coverage of production design, storyboarding, spatial connections, editing, scene staging, depth of frame, camera angles, point of view, and the various types of stable compositions and moving camera shots.
Book Description
A complete catalogue of motion picture techniques for filmmakers. It concentrates on the 'storytelling' school of filmmaking, utilizing the work of the great stylists who established the versatile vocabulary of technique that has dominated the movies
since 1915. This graphic approach includes comparisons of style by interpreting a 'model script', created for the book, in storyboard form.
Customer Reviews:
Chicken scratches vs. Detailed Storyboards.......2007-08-19
I have used this book numerous times for my teachings in which students go through the process of making a short film with certain limitations being imposed. It is part of a process that I call "fast filmmaking". I like the examples that Katz presents, specifically that it is not the quality of the drawing, but how the drawing communicates the director's vision to the rest of the crew. I will usually have a student "explain" their storyboard to the class, and it is amazing how a few chicken scratches can give as much details as a fully detailed storyboard. Kudos to Katz for explaining the creative aspect of directing, and Michael Weise Productions for publishing these types of books.
of moderate interest to readers of video magazines.......2007-08-13
as a long-time reader of videographer's magazines, I didn't find much of interest in this book. If I were new to the trade, I'd probably have found it more useful. For that reason, I gave it a rather high rating of 4 stars
Mind-opening, even if you aren't interested in directing.......2007-06-30
I've worked in the graphics design business for years, but more recently I've grown interested in working with video, primarily shorts and documentary work. I was looking for a book that could help teach me the "language" of motion and visual storytelling, and this book fit the bill. In fact, I found it to be incredibly inspiring as a student of art in general. It's extremely well-written, chock full of practical examples, and contains numerous time-worn techniques as well as cutting-edge experimentation. One funny thing: since it was written a few years before the desktop digital video revolution began, it talks about some of the difficult aspects of shooting which are now in many ways moot. But it's good to hear about the history of the craft.
If you have any interest in all in shooting, directing, or producing any kind of motion picture, show, or short, you'll definitely want to buy this book. However, be forewarned: you'll never be able to watch movies the same way again. You'll begin to pick up all the subtle nuances of filmmaking without even realizing it, so don't feel bad if you have to force yourself to re-engage with the actual story as you're watching!
Useful, pleasurable.......2007-05-07
I'm a college student, not at film school, who makes videos as a serious hobby. I thought this book was much better than other titles in the same market, because it's so specific. Instead of telling you what anyone with common sense knows, like "keep continuity" and "composition can affect the mood of a scene," this film lays it all out in detail. I recommend this for everyone who wants to improve. Even if you're not particularly interested in storyboarding, you'll learn how to think about your sequences in advance much better.
Learning the Rules Before You Break Them.......2007-01-13
Even though many of the great filmmakers may have not utilized storyboards, every one of them has pre-visualized their films.
Pre-visualization is the essence of what it means to be a director. A director can only be effective if he/she properly prepares for each scene. Even if one does not have every shot precisely planned out, they will still have an idea of the look and the flow of the process.
There are certainly many people who feel directing should be intuitive, that there should be no structure to the process or else creativity is stifled. This is a valid point from the perspective of the artist.
What is wonderful about this book is that it gives extensive insight into WHY one should cover a scene in a certain way. Directing as a profession requires a certain amount of preparation and PROOF that you have a handle on the film. Producers want reassurance that you have a vision worth pouring tens of millions of dollars into. Armed with the ability to properly express yourself in regard to your vision, you will have a much easier time convincing others to follow you.
So, in the end, if you are interested in studying the language of film and the methodology behind classic film composition and editing, then this book and the accompanying Film Directing: Cinematic Motion are essential.
Book Description
Written by Stu Maschwitz, co-founder of the Orphanage (the legendary guerrilla visual effects studio responsible for amazing and award-winning effects in such movies as Sin City, The Day After Tomorrow, and Harry Potter and the Goblet of Fire), this book is a must-have for all those budding filmmakers and students who want to produce action movies with visual effects but don't have Hollywood budgets. The Orphanage was created by three twenty-something visual effects veterans who wanted to make their own feature films and discovered they could do this by utilizing home computers, off the shelf software, and approaching things artistically. This guide details exactly how to do this: from planning and selecting the necessary cameras, software, and equipment, to creating specific special effects (including gunfire, Kung Fu fighting, car chases, dismemberment, and more) to editing and mixing sound and music. Its mantra is that the best, low-budget action moviemakers must visualize the end product first in order to reverse-engineer the least expensive way to get there. Readers will learn how to integrate visual effects into every aspect of filmmaking--before filming, during filming and with "in camera" shots, and with computers in postproduction. Throughout the book, the author makes specific references to and uses popular action movies (both low and big-budget) as detailed examples--including El Mariachi, La Femme Nikita, Die Hard, and Terminator 2.
Customer Reviews:
Devil Rebel.......2007-10-17
That rebel seems more a devil to me. Never read such an overwhelming serie of tips and tricks. Low-budget filmmakers shouldn't even start thinking about a film without reading this book.
Great !!
DV Rebel's Guide.......2007-10-17
I purchased this book for my Digital Media class. It is fantastic! It's fun, informative and an easy read. The DVD that comes with it has a great 'how to' commentary. Love it! Highly recommend it to anyone wanting to get into the biz!
Essential Reading for Indie Filmmakers.......2007-10-03
The DV Rebel Guide, by Stu Maschwitz, formerly a member of Industrial Light And Magic, explains in easily understandable, yet highly technical language, exactly how to create astounding visual effects using the kinds of cameras, computers, and software available to ordinary people. A Spielbergian budget is NOT required. In addition to his information, he offers many links to other websites of technical expertise and training,
You may be making a little family drama, rather than a shoot-'em-up, but the techniques in this book will increase your palette of possibilities. In other words, every indie movie maker can benefit from this book. It's essential reading, period. No one else has published anything like it.
Maschwitz assumes throughout that you are not an idiot or a dummy. Scores of color photos show exactly how every technique is done. He also runs an on-line forum; he and other digital rebels (some of whom are exceedingly experienced and clearly top pros) will help you through the rough patches.
Get this book, go out and make movies better than anything you thought you could do.
This is got the TRICKS!!!.......2007-09-23
Awesome book. My friends and I make ugly videos as a hobby and we've tried many things... but this book has some balls to the wall tricks. The guy is not a scaredy cat about shooting videos with minimal resources and lets you know how to make the most with what you've got. Also has great instructions on how to build your own stuff and pull crazy stunts. Grease up your baby, this is gonna have you running to your video camera with ideas as soon as you open it up!
love it.......2007-08-27
I've done video production professionally for several years and picked up some of these tricks from simple trial and error. What I love is how well Stu connects the techniques in this referrence and compares them to equivalent effects on film. And its not just informative, its enjoyable to read.
I recommend this book to anyone interested in making their videos stand out or looking to up their production value without spending a lot of money.
Book Description
Tens of thousands of readers have benefited from Michael Rabiger's classic text on documentary filmmaking, now updated to reflect the revolutionary switch to digital video equipment and software. You will learn how to research and focus a documentary film or video idea, develop a crew, direct the crew, maintain control during shooting, and oversee postproduction. Practical work is emphasized, with dozens of exercises and questionnaires to help focus your ideas and give you hands-on practice. The documentary is treated as an important genre in its own right, as well as a useful prelude to directing feature films.
The fourth edition is a significant update. The book's emphasis has always been on concrete steps you can take to become a documentary filmmaker, and there are loads of new projects to help, along with assessment tables that allow you to gauge your progress. In addition, there is new material on location sound, the reality TV trend, top documentaries to see, and more.
*The definitive guide to making a documentary
*A hands-on approach with dozens of exercises
*A fully updated 4th edition of the classic textbook
Customer Reviews:
Enjoyable Too.......2007-04-11
Thought it would be much more heavy and academic. Is an easy read without dumbing down. Great for getting you going again if youhave "fallin off the wagon".
great.......2007-04-10
what a great book. it's up-to-date and goes through everything you could ever want to know about documentary filmmaking.
The Ultimate Guide to Documentary Filmmaking.......2007-03-26
I already use Rabinger's "Directing" tome as my filmmaking bible, and always refer to it when planning productions and right before shooting. So when I started a documentary project, I knew I had to get this version dedicated to that aspect of filmmaking. I was not disappointed. Right away, his advice improved my project planning and helped me make a much better project pitch than I originally had. And once again, it's loaded with practical advice that's very easy to read and use. Rabinger knows how to put together a great reference resource. Too bad all books weren't put together like these.
Great book for filmmakers of all kinds.......2006-09-21
this book includes all kinds of useful information that is not necessarily specific to documentary, although that is it's focus. there's excercises in here to help develop ideas into a filmic narrative, ethics, how to tackle an interview as well as subject matter. i've read a lot of film books, and i have to say, this is not only well written with a sense of humor and wit, it deals with potential situations in a down to earth way. The information provided is not just technical, but also how to approach an emotional situation, gain the trust of your participants, and address multiple points of view.
Directing The Documentary.......2006-07-19
I am currently writing a documentary for a feature length film, and found Michael Rabiger's book informative, subtle, and well structured. Having received a documentary film class at University, I had already learned about the basic tools of the medium. This book provides a masterclass in documentary filmmaking, and prepares you for the demands of documentary filmmaking. I recommend it to students and professionals alike.
Average customer rating:
- A first-rate primer for the aspiring filmmaker
- An Excellent Overview
- good intro for the novice filmmaker
- Stick to "Film Art" by Bordwell/Thomspon
- Best introduction to filmmaking I've found
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Art of Technique, The: An Aesthetic Approach to Film and Video Production
John S. Douglass , and
Glenn P. Harnden
Manufacturer: Allyn & Bacon
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ASIN: 0205142486 |
Book Description
This book provides readers with a teaching tool not currently available. It fills a gap in the literature by going beyond simple discussions of hardware usage, basic technical knowledge, and descriptions of technique to in-depth discussions of how this knowledge can be applied in a coherent approach to production.
Customer Reviews:
A first-rate primer for the aspiring filmmaker.......2002-01-21
"The Art of Technique: An Aesthetic Approach to Film and Video Production," is more of a primer than it is a critique of cinema. Yes, there is a big difference between this volume by John S. Douglass and Gleen P. Harnden and "Film Art: An Introduction" by David Bordwell and Kristin Thompson. The latter utilizes literally hundreds of frames from both classic and relatively unknown films to demonstrate cinematic techniques. "The Art of Technique" does the same thing with student models. Whether this has to do with the cost of using copyrighted images and/or transforming them into individual frames for use in a book, this is a major difference between the two textbooks. When Douglass and Harnden discuss something, like Ingmar Bergman's use of Extreme Close-ups (ECU) in "Scenes from a Marriage," they can only talk about the extraordinary intimacy it gave the production, without offering visual evidence to support their claim. However, the authors do use their "homemade" examples to good use at time; for example, when exploring the concept of framing they provide examples of "bad" shots (filled with distracting clutter) before showing better choices for the cinematographer.
"The Art of Technique" is divided into two main sections. After an introductory chapter on "Interpretation and Treatment," there are six chapters focusing on the various ways a film can tell a story, essentially pre-production considerations. There is a nice little section detailing the basic types of stories Hollywood tells over and over again ("Jack the Giant Killer," "Fish Out of Water," etc.). Clearly the emphasis here is more on production than criticism, which makes the orientation of this textbook more towards the filmmaker than the movie audience. This first section ends with a look at Mise en Scene and questions of design. In terms of concepts covered, separate from the issue of how those concepts are presented in the textbook, the authors provided a comprehensive, well-organized presentation.
The second half of the book covers "Techniques for Interpretation," which starts with a consideration of the trinity of how the camera, editing and lighting can be used for interpretation. Again, everything is here; I could not find a concept or technique that was an obviously glaring omission. The book concludes with a pair of chapters on Symbols and Significance, which get into the impact film can have on an audience. You might expect to find a glossary at the back of the book, but instead we have a pair of appendixes on Electricity and Measuring Light, which only serves to reaffirm that this book is geared towards the novice filmmaker. If you are looking for a textbook that because you are a budding film critic, then this is not going to be your first choice. I can even make the argument that by not saturating their textbook with frames from dozens of films, Douglass and Harden do their readers a favor, because instead of borrowing shots and techniques from the acknowledged masters of the art form, they are being asked to reinvent the wheel. Do not knock this, because that is basically how we think Orson Welles made "Citizen Kane."
An Excellent Overview.......2002-01-15
This book explores many aspects of filmmaking in a logical, easy-to-follow manner. A great find, albeit a bit pricy. I used it as my text for teaching a video class as it offers some aesthetic considerations for why techniques may or may not be used in a given situation. This approach helps to minimize the technique-euphoria beginners tend to have with techniques which are new to them (ala George Lucas in the new Star Wars...)
good intro for the novice filmmaker.......2000-04-21
this book works very well as an introduction to the creative use of techniques for filmmaking. it is quite clear and concise and is not bogged down by too much technical details or dicussions on film theory. a good starting point.
Stick to "Film Art" by Bordwell/Thomspon.......2000-04-17
I was shocked when I looked over this book. I had always relied on "Film Art" which is the standanrd intro to film but I wanted to branch out. I found this book to be a superficial approach to cinema, no probbing analysis or challenge to interpretaion of technique or narrative. Save your money and stick to the classics. No one seems to use this book in higher education film studies- ask your professor to suggest a book.
Best introduction to filmmaking I've found.......2000-02-16
I teach filmmaking, and needed a book that covers all the basics in a few meaty and meaningful pages. This is it. Most books on filmmaking technique either wax philosophical on the author's pet theories or get lost in gee-wiz-you-can-do-this-neat-trick-with-the-camera mania. There's little of either here; instead, you'll find a focused, highly readable series of lessons on what really matters most--how to communicate a meaningful message on film or video. Unlike some VERY annoying books that give examples of lighting and other techniques via badly drawn line-art, this book shows every technique with actual stills from video shoots so you can see how lighting, framing, lens use, etc. actually change the appearance and impact of a scene.
There are also numerous references to excellent classic and modern films with quite specific suggestions for examining the techniques that make those films work so well. Perhaps most important of all, the authors never lose sight of the fact that filmmaking is about interpreting and creating a reality that evokes a meaningful and powerful experience for the audience.
So if you want a book listing all the oh-so-tacky transitions and effects that your new NLE will do, or a thousand-page treatise on the history of film, THIS AIN'T IT. But if you want a book that will help you quickly learn to put cameras, lighting, and editing in the service of your creativity--buy this one first.
Book Description
As Alan Rosenthal states in the preface to this new edition of his acclaimed resource for filmmakers, Writing, Directing, and Producing Documentary Films and Videos is “a book about storytelling—how to tell great and moving stories about fascinating people, whether they be villains or heroes.”
In response to the technological advances of the last six years and the demands of cable TV stations like Discovery and A&E, Alan Rosenthal reconsiders how one approaches documentary filmmaking in the twenty-first century. Foregoing theory and hardware, Rosenthal tackles the day-to-day problems from initial concept through distribution, emphasizing the research and writing approach.
He offers examples of interviewing, narration writing, and the complexities of editing. Simply and clearly, Rosenthal explains how to write, direct, and produce the documentary, whether film or video. New aspects of this third edition include nonlinear editing techniques, a complex budget example and its analysis, plus a chapter on “Staying Alive,” which details how European and U.S. stations approach documentary and how the Internet can help filmmakers find new markets. A new chapter has been added to address the growing genre of family films.
Customer Reviews:
A good guide for those first starting...........2007-04-05
In starting something new, the potential making missteps that can derail the whole process is always present. This book helps you avoid those and has advice on how you can develop a quality product that people will want to see. Very worthwhile.
excellent resource.......2002-04-27
Even while reading this book I was able to pitch an idea for an event and documentary project, my first, and gain acceptance for the project. The concepts are helpful as well as practical.
I read a lot of books once I am interested in a subject and I would place this one at the top for documentaries.
Sell your kids to buy this book.......2001-09-27
There is little in written text that summarise the worth of this book. I was so moved by its detailed and incisive content and direction that I sold my kids to afford the time and space, the peace required to absorb the rivetting content.
As I sat at my video production terminal I realised that the nirvana of books on docudrama had been produced. This is the sort of book that makes you go and get the authors name tattooed on your butt.
Buy , buy , buy ..
FIVE STARS, excellent, excellent, excellent........2001-06-25
This book is a masterful resource for any filmmaker regardless of their expertise.
No one has come close in their summation of the documentary process. It is 2001, the book was released in 1996, it is timeless. The best book on the market, a better book could only be devised by the author.
Four years of preperation in one book. Every student, professional filmmaker, enthusiast should have it. I have even allowed persons/subjects whom I was documenting to read this book. It made the process that much easier. They were extremely thankful. PURCHASE THE BOOK.
Great source of info..........2001-03-21
I find myself opening this book up over and over again . I have learned alot from the writer of this book . I would tell anyone who is going to make a documentary , they should have this book on there desk.
Amazon.com
This is essential reading for anyone interested in directing or acting. Judith Weston's brilliance is to recognize that directors, actors, writers, and technicians are involved in a process that is at essence a collaboration. In order for them to have the best shot at creating something true and meaningful, they must share a language and a method of exchange that fosters creative cooperation. Weston rightly sees the director as the central figure in inspiring the energy of a production's harmony. She advises the prospective director on every aspect of a stage or film production, showing how the director can draw the best performances possible from actors.
Book Description
Internationally-renowned directing coach Weston demonstrates what constitutes a good performance, what actors want from a director, what directors do wrong, script analysis and preparation, how actors work, and shares insights into the director/actor relationship.
Customer Reviews:
Buy this book now!.......2007-04-15
If you are even thinking that this book might be of some interest to you, I can assure you it will change the way you work -- all for the good. Weston has boiled down and focused the art of getting a performance in a clear and brilliant manner. What else can I say, why are you still reading this - buy it. Simple.
Simple techniques that WORK!.......2007-02-05
Judith Weston has outlined for the director (of any performance, not just film) quick and effective ways to communicate and elicit the performance you want... at the very least, you will get something different. I am an actress who has had the privilege of working with Judith and her directors. I have seen the process in action. I've used it. When someone has truly applied the techniques that this book recommends, it doesn't matter if the actors have just started, or if they're old pros, with vastly different methods, the performances are fresh. The performances change. The performances improve! READ THIS BOOK!
No other book on acting or directing comes close.......2006-10-18
This book isn't just for directors. It is an invaluable resource for actors as well. I've taught film and video acting for a number of years and never found a book that was worth having students read even part of. Until this one. Unlike most books on acting which focus on techniques that may work great on stage but are worse than disastrous on film, Judith Weston goes under the surface of acting and directing to the core of what a close-up camera needs to see. That, in a nutshell, is "lending the character your unconscious," so that absolutely nothing looks (or is) fake or "pretend." Even more importantly, she provides down-to-earth, extremely effective techniques for directors that support and demand genuine, affect-free performances. She discusses the creative process of the director at a level that is not idiosycratic or based on her personal "style" (as so many books for directors and actors do). Her advice is both common-sensical and deeply insightful, it's what every good director knows but often can't articulate consistently enough. Don't miss this book if you work in film or video, whether you are a director, actor, teacher, editor, DP, AD, or even a gaffer. After reading Weston, you will see every aspect of the actors performances more truly and clearly, and find yourself finding new ways to get the most out of every second on screen. One of those books that changes your life by telling you what you already knew more clearly than you ever thought it could be said, and giving you fresh new ways to put it into practical use. Highest recommendation.
the best book on directing actors.......2006-02-17
This book teaches the most important skill a director can possess: getting great performances from actors.
She breaks things down into logical bits and helps you avoid many common mistakes directors make, such as giving unplayable directions, giving too many directions, talking too much, etc.
She writes with wisdom, insight, and humor.
If you're a director or a wannabe director, do the world a favor and read this book so the world has better performances to watch.
This book is the best kept secret in show business. An even more valuable secret is her workshop, which she teaches regularly in L.A. as of this review (Spring 2006).
Great beginner book.......2005-10-14
I agree with Thor Vadir's review in that it did favor the actor more often than not. But that is ok as long as you are aware ahead of time.
As a very first time director, I read this book through 2x before my shoot. It is a 40 min short film with paid actors.
It was very helpful as a true newbie.
This, coupled with some experience under my belt, has given me a great start to my (hopeful) career.
Book Description
This book describes the major aesthetic image elementslight and color, space, time-motion, and soundand how they are used in television and film. Zettls comprehensive coverage of aesthetic theory and his inclusion of effective visuals and examples place this text in a class by itself.
Customer Reviews:
Inexpensive Textbooks.......2007-10-16
I love that you offer these books so inexpensively. If I went to my universtiy bookstore I would have paid three times as much. I can use my own money without having to use loan money to pay for books!
5 stars.......2005-10-10
The book is totally new and under very good condition, and the dilievery time is much earlier than i expected.
Best in field.......2004-12-28
This text thoroughly explains the intricacies of applied media asthetics in a concise and completely accessible way. It is a well organizied text that ehances its presentation through the use of many illustrations. I believe that this is the best text on the subject and that it has been since its first edtion.
motion graphics professor.......2002-06-04
"Sight, Sound, Motion: Applied Media Aesthetics explains the WHY of film and video production. If you're looking for HOW then turn to another book."
I would disagree with the above review. Only by learning WHY first, can we learn HOW later. This book is more than a cookie cutter approach to film and video. If you want to "click and drag" your way through an editing program, then true, this book is not for you. Add this to your collection if you want a book that teaches how to see and create film. Sight, Sound, Motion: Applied Media Aesthetics has staying power.
Fundamental book on the theory of the moving image.......2001-05-20
This was the assigned textbook for my digital video 2 class, and it is simply wonderful. Zettl is a very knowledgable man on the subject of creating images for film, video, and even new media. (Zettl's text Video Basics 3 was used in my digital video 1 class as well) This book lays a solid foundation for the theory behind how and why the viewer perceives the moving image, and how the filmmaker and video producer can create more pleasing and coherent productions.
While the biggest complaint I've heard about this book is it's over-reliance on theory, it still does a good job of contextualizing theory into practical application. Thus the title of the book: APPLIED Media Aesthetics. Although I haven't read any of Eisentien's theories behind filmmaking, I suspect that Zettl's treatment would compete rather well, and is probably more accessible for a modern reader.
This book covers all the bases from color and light, time and space and structuring audio to image. Zettl succintcly deconstructs the intelligent mind behind the images and sound of our cultures film and television productions.
Sight, Sound, Motion: Applied Media Aesthetics explains the WHY of film and video production. If you're looking for HOW then turn to another book.
Amazon.com
According to David Mamet, a film director must, above all things, think visually. Most of this instructive and funny book is written in dialogue form and based on film classes Mamet taught at Columbia University. He encourages his students to tell their stories not with words, but through the juxtaposition of uninflected images. The best films, Mamet argues, are composed of simple shots. The great filmmaker understands that the burden of cinematic storytelling lies less in the individual shot than in the collective meaning that shots convey when they are edited together. Mamet borrows many of his ideas about directing, writing, and acting from Russian masters such as Konstantin Stanislavsky, Sergei M. Eisenstein, and Vsevelod Pudovkin, but he presents his material in so delightful and lively a fashion that he revitalizes it for the contemporary reader.
Customer Reviews:
Excellent Concise Guide.......2007-02-15
Excellent supplement to McKee's STORY, to be used to break a scene into the shots that will show the story. As he says, in the end, all you have is your shot list. Also very useful for animation planning, comics, and graphic fiction writing. Mamet has been criticized because he has not actually directed many movies -- but sometimes a beginner's mind can document insights into a craft better than the old pros, for whom everything has become second-nature.
Makes it's point succintly.......2006-05-31
I'll keep it short. For one, this book is really short. I read it on the way to and from work in the same day. Secondly, Mamet says more in these hundred or so pages than most textbooks on the same subject. All that matters is that every scene serves a purpose and drives the story forward. True, there are exceptions to this rule but hearing Mamet tell it like it is with very little fat around his words is a refreshing alternative to long winded suggestions. Definitely worth a read if you are interested in directing anything at all.
Good place to start to get a few basic points.......2005-11-11
This book represents Mamet's notes from a guest lecture course at Columbia. I began reading this after seeing Heist, which is a movie I like very much visually. I was about 2/3 through with my script at that time. I had only used a camcorder a few times - at the beach and shooting a wedding reception (both works of art :)) I watched Sparta while reading through the first few chapters of this book. Yes, Mamet definitely has his own "style," where dialogue is terse and images flow one after the other. His 'mentor' in the biz is Sidney Lumet, and I'm reading his book, Making Movies, currently. Mamet's is more a theoretical-style course as one would expect from course notes from Columbia. Lumet's is more a great director telling stories about the aspects of Hollywood movie making, chillin' with Pacino and Hepburn, taking a shot at Teamsters every 10 pages or so... Mamet's basic point is keep the plot/dialogue to a minimum and tell your story visually by combining different images in a way that it tells your story. He stresses using what I'll call a 'visual logic' to get from point A (opening shot) to point B (closing shot) - asking, what is the simplest, most logical way of getting there? There are some examples that are rather basic and may get tiresome. 1 important thing is don't TELL your audience everything - do some of it (shots)and leave the rest for the audience to fill in- this won't be random, however - the audience will fill in the rest the way you want it to through the way you've edited your shots together - logic is universal - you are not only directing actors - you are directing the audience! It is a minimalist philosophy that I happen to enjoy. I really don't need a character to narrate his previous and next action to me - that seems very stale... to each their own -
This book helped me understand the basic point of movie making even when heavily narrative - it still is all about the shots and editing them together. If you already know all of this then why are you reading? Go out and make your movie.
I have only read up to the sentence - "Go make your storyboards," as that is what I'm currently doing - mapping every little shot with camera angles/heights/zoom outlined. I've already discovered my script, perhaps like this review, is too "wordy." Anyway, the book is a quick read, cheap, and to me, worthwhile. For many, including Lumet, the magic of film is light. For Mamet, what I got is the magic is in the editing. Obviously combined, outside of story line, which is true of various mediums, lights/editing are what movie making is all about. Best of luck fellow travelers!
Very clear and direct.......2005-09-18
I'm working on my own small film project and this book was just what I wanted. A clear logical method of reasoning to determine what to shoot and what not to shoot.
The focus of this book is not on the technical aspects of film making but on the story telling. It gives you a simple litmus test for knowing what will best serve your film.
Informed the making of my first feature film.......2005-08-03
I found Mamet's book especially useful as a writer/director. Among other benefits, it will give you a renewed perspective on your script. As a writer turned director, you can get hung up on conveying story through dialogue, instead of visually--Mamet helps you break the wordy habit. Use his techniques in tightening both the dialogues and the visuals in your scenes--get this book!
Average customer rating:
- Required reading for directors
- Landmark Work
- What All Beginning Directors Cannot Be Without
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Fundamentals of Play Directing
Alexander Dean
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Directing for the Stage: A Workshop Guide of 42 Creative Training Exercises and Projects
ASIN: 003014843X |
Book Description
This thorough, detailed introduction to modern stage directing focuses on fundamentals, with an emphasis on the director's interaction with actors. The material is organized in a clear, step-by-step teaching format, from explanations to demonstrations and exercises.
Customer Reviews:
Required reading for directors.......2007-06-14
This textbook is the standard work for student directors. It is a dense, dry read (as are most textbooks) but it contains invaluable information about how to stage plays.
Get a used copy at a reasonable price, but definitely read this book if you want to be a director.
Landmark Work.......2004-07-12
Arguably the most significant text on directing for the stage, originally published after Alexander Dean's death (1893-1939) in 1941 from his posthumous class notes and revised several times. Alexander Dean was a professor at Yale in the 1930s. Lawrence Carra, now in his 90s, was his student and then went on to head the Drama Department at Carnegie Mellon University, the oldest degree-conferring school of theatre in the United States.
This book has influenced generations of stage directors and is considered by many the most influential book of its kind. It is both theoretical and practical. Although the prose style is somewhat dry, the content and information is invaluable. The book presents five basic "fundamentals" of directing: composition, picturization, movement, rhythm and pantomimic dramatization. Carra's follow-up book, Controls in Stage Directing, although out of print, is a worthy companion which explains how the five fundamentals may applied to plays of various genres and styles.
The book presents a true method of how to approach the staging of plays. It is not just an outline of basic principles but also gives insight into the art of directing. The basic principles provide working techniques for the realization of the values of a play onstage. The book begins with an excellent essay on "Drama as Art," continues with a chapter on basic technique for the actor and then the heart and soul of the book are the five major chapters covering the basic fundamentals of directing. It ends with a chapter on Production Procedures.
An excellent and important book. I am biased, however, as I was a student of Professor Carra.
What All Beginning Directors Cannot Be Without.......2000-04-25
Dean and Carra's FUNDAMENTALS OF PLAY DIRECTING is a step-by-step manual which deciphers the major technical and visual issues of stage directing. It includes specific "tricks of the trade" which remind all directors, beginning or advanced, of the mechanics of stage work. While the authors discuss dramatic theory, the book corrects examines technique, addressing the key concepts of stage focus, framing, stage pictures, and the creation of dynamism on the stage. It allows current students of directing to understand the "fundamentals" first in order to create new and exciting works later. Though expensive, it is the definitive text for directing students. FUNDAMENTALS OF PLAY DIRECTING is an important investment in a young director's theatrical future.
Book Description
Directing: Film Techniques and Aesthetics is a comprehensive manual that teaches the essentials of filmmaking from the perspective of the director. Ideal for film production and directing classes, as well as for aspiring and current directors, Directing covers all phases of preproduction and production, from idea development to final cut. Thoroughly covering the basics, Directing guides the reader to professional standards of expression and control, and goes to the heart of what makes a director. The book outlines a great deal of practical work to meet this goal, with projects, exercises.
The third edition emphasizes the connection between knowing and doing, with every principle realizable through projects and exercises. Much has been enhanced and expanded, notably: aspects of dramaturgy; beats and dramatic units; pitching stories and selling one's work; the role of the entrepreneurial producer; and the dangers of embedded moral values. Checklists are loaded with practical recommendations for action, and outcomes assessment tables help the reader honestly gauge his or her progress. Entirely new chapters present: preproduction procedures; production design; script breakdown; procedures and etiquette on the set; shooting location sound; continuity; and working with a composer. The entire book is revised to capitalize on the advantages offered by the revolutionary shift to digital filmmaking.
*Comprehensive manual that dissolves the barriers between the aesthetic, conceptual, and technical
*Completely updated to reflect the revolutionary shift to digital filmmaking
*Practical exercises throughout along with detailed outcomes assessments to judge progress
Customer Reviews:
Good book with a slight pessimist POV.......2007-06-26
I like the overall value offered in this book and the coverage of topics is pretty nice. However I find the author is slightly pessimist or maybe pragmatic (who knows) and that is the biggest turnoff of this book. I hope if the author had written with a slight optimist POV it'd have been much better. Every one knows that the Film industry is pretty competitive but you don't have to be pessimist to convey the message.
A little discouraging.......2006-12-02
A little discouraging...but helpful. I don't think it will take nearly as long to break into the industry as a writer/director as Rabiger suggests. I think Rabiger's view is more intended for those who want to make it big in the studio production side of directing...I would definitely recommend this book as a resource and I think anyone that wants to be a director should read it....but don't take to heart too much of his pessimistic attitude towards becoming a successful director. I think if you have talent and determination, you can supersede all that "working in other areas of the industry to pay your dues B.S." Read it with a grain of salt....extract what is helpful and ignore his jaded attitude.
This thing's a beast.......2006-06-29
This is 600 pages packed with deep analysis. It will take a while to read, but you will probably know more than many Hollywood directors by the time you finish it.
Of course like anything take it with a grain of salt. I find many of the example films he uses boring and pretentious. The kind of things praised by critics but don't mean much to audiences. He really stresses subtext and that is good because it's missing in many films, but the main story line has got to be compelling and fresh along with a good subtext to make a great film in my opinion.
Just what I wanted.......2006-03-18
This book helped me to understand the inner philosophy of cinema and its techniques. I'm a Director in film and tv industry. I tried to find resources about the art of my specialty. This book is what I wanted it's writing about Low budget film making but in a totally profecional way. I was so bored of these books writing about the "HOLLYWOOD" filmmaking standards. I appreciate that this book brings the art of Cinema in the hands of ordinary people, with no money to make the "extraordinary production" films but in people which trying to find the real essence of Cinema.
Plain speak on directing.......2004-09-07
I have read many books on directing, and recently been directed my first project with a real budget, real crew. This book is the best for learning the production process, and covers it all in a plain-speak nuts & bolts fashion. A great resource ro prepare a director who wants to work at the professional level.
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