Direction & Production Books - Page 2

The Ultimate Guide to Video Game Writing and Design

Flint Dille, John Zuur Platten

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Customer Reviews:
Total reviews: 14 Average rating: 5.0 of 5

The Ultimate Guide to Video Game Writing and Design 5 out of 5 stars.
0 of 0 people found this review helpful.

The Ultimate Guide to Video Game Writing and Design balances the artistic and the technical sides of writing smoothly. The incorporation of writing exercises throughout coupled with examples in the back allows the fledgling writer to evaluate their own writing compared to the author's. The Ultimate Guide to Video Game Writing and Design starts with basics for an beginning writer, continues with the nitty gritty of game specific writing, and finishes with a valuable look into the business aspects of writing for video games. Over all The Ultimate Guide to Video Game Writing and Design is a comprehensive, easy-to-use tool for the first time writer and a great resource for the veteran as well.

Editorial Review:

• Authors are top game designers
• Aspiring game writers and designers must have this complete bible

There are other books about creating video games out there. Sure, they cover the basics. But The Ultimate Guide to Video Game Writing and Design goes way beyond the basics. The authors, top game designers, focus on creating games that are an involving, emotional experience for the gamer. Topics include integrating story into the game, writing the game script, putting together the game bible, creating the design document, and working on original intellectual property versus working with licenses. Finally, there’s complete information on how to present a visionary new idea to developers and publishers. Got game? Get The Ultimate Guide to Video Game Writing and Design.

Scorsese by Ebert

Roger Ebert

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Customer Reviews:
Total reviews: 3 Average rating: 4.5 of 5

Editorial Review:

Roger Ebert wrote the first film review that director Martin Scorsese ever received—for 1967’s I Call First—when both men were just embarking on their careers. Ebert had never been touched by a movie in quite the same way before, and this experience created a lasting bond that made him one of Scorsese’s most appreciative and perceptive commentators. Scorsese by Ebert offers the first record of America’s most respected film critic’s engagement with the works of America’s greatest living director. The book chronicles every single feature film in Scorsese’s considerable oeuvre, from his aforementioned debut to his 2008 release, the Rolling Stones documentary, Shine a Light.
Here Ebert puts Scorsese’s career in illuminating perspective, exploring the different phases of his development and the abiding themes (many of which reflect Scorsese’s Catholicism) that give his work such complexity and depth. All of Ebert’s incisive reviews of Scorsese’s individual films are here, of course, but there is much more. In the course of eleven interviews done over almost forty years, the book includes Scorsese’s own insights on both his accomplishments and disappointments. One of these interviews, the single longest ever conducted with Scorsese, appears here for the first time. Ebert has also written and included six new reconsiderations of the director’s less commented upon films, as well as a substantial introduction that provides a framework for understanding both Scorsese and his profound impact on American cinema.
As Scorsese himself notes in his foreword to this volume, history is the only critic that counts, but the dialogue from which its judgments arise begins with the kind of emotionally alert, historically informed, and intellectually honest writing that Ebert has collected here in this, the ideal pairing of filmmaker and critic.

In the Blink of an Eye Revised 2nd Edition

Walter Murch

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Customer Reviews:
Total reviews: 40 Average rating: 4.5 of 5

Very helpful! 4 out of 5 stars.
0 of 0 people found this review helpful.

This book has a wealth of information for the inexperienced and beginner, film editer, or anyone who is looking for a good book on the subject. I have found it to be very helpful, as I am still learning how to do professional editing!

Editorial Review:

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.

The Pixar Touch: The Making of a Company

David A. Price

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Customer Reviews:
Total reviews: 13 Average rating: 4.5 of 5

Another whitewashed PR job for Pixar/Disney 1 out of 5 stars.
12 of 18 people found this review helpful.

I don't expect anyone to believe this, but I have to get it off my chest. Price's book gives credit to John Lasseter's wife for creating the character of Jessie in Toy Story 2. Nothing could be further from the truth. I wrote the second draft of TS2 as an independent contractor at Pixar for three months when Ralph Guggenheim was the producer and Ash Brannon was the sole director. Ken Mitchroney was a story artist on the project and the person who had recommended me to try to fix the ungodly mess that was the first draft. He had suggested the film have a cowgirl, and I agreed.

Ken did preliminary character sketches, one of which was quite similar to the final character (and modeled on his redheaded wife). The final design was done by Jill Colton, also uncredited. I created Jessie on the page -- she was named and partially modeled after my friend Jessie Horsting, former West Coast Editor of Fantastic Films Magazine -- along with most of the film structure as it currently exists (the major exception being the third act, which I was much less involved with).

Not only did Lasseter's wife not have a thing to do with the movie, Lasseter didn't have much to do with it either. I never saw him once during my time at the production (and his taking co-credit for, and accepting awards on behalf of, the movie was a factor in Ash Brannon [SURF'S UP] leaving Pixar as well). After I left Disney showed up with their army of useless middle management, fired everybody, replaced them with their corporate flunkies, and let the project languish for another year. Rita Hsiao wrote a credited version, yet as far as I know what she did was stick post-its under storyboards. But, you know, she worked for Disney and was credited with Mulan. Woo hoo.

Finally Lasseter threw Andy Stanton at the project, the smartest thing he could have done. He made changes I wish I'd thought of and gave it a strong third act. Of Rita Hsiao's influence on the script I can't imagine a trace. Yet when story credit was handed out, Disney (yes, Disney; nobody actually involved with the picture determined story credit, and as a result people who literally did not write a word on the project got equal or higher billing, along with, quelle surprise, the aforementioned Ms. Hsiao) did not credit my script. If anything, I created Jessie and the Woody's Roundup scenes.

Ken Mitchroney designed the character of Zurg as well. Ken was a friend of Ed "Big Daddy" Roth and has done a ton of Rat Finks and Hotrod/Tiki designs. Hey, what a surprise: Zurg is really a Tiki head! Look at him again. Ken also conceived, storyboarded, and pretty much created the traffic cone scene. He's the voice of Zurg on the ride at Disneyland.

Does Prices' book go even mention us? It is to laugh. This is just another book-length press release in which the writer nods his fannish head excitedly and scribbles on a legal pad while essentially acting as a mouthpiece for someone who is more than happy to take credit for the considerable work of others far more creative than he will ever be. It happily abandons any attempt at research and jumps on the bus of easily digestible corporate myth. Do you seriously think John Lasseter co-directed Toy Story 2? If you folks saw the pile of bodies those cute li'l characters stand on -- well, I have no doubt you'd still pony up your $12 and pack the theaters.

You never hear about this stuff because writers are afraid they won't work in this industry again. I, on the other hand, have nightmares that I will. Maybe this will help prevent that.

Is Price's book worthless because I didn't get credit? No, that's not the axe I'm grinding here. It's worthless because it's essentially a souvenir, a piece of memorabilia created, by proxy, by its subject matter. And I'm mad about it even now because I get to see paper towels and toy store aisles and coupon ads chock full of stuff that came out of my head (without any credit or compensation beyond a weekly salary -- and try finding a lawyer who will take on Disney), and continually witness people fed this lying corporate pablum, and here's yet another example by a lazy fanboy who doesn't bother to go beyond the same self-serving sources. It ain't so, folks.

Editorial Review:

The roller-coaster rags-to-riches story behind the phenomenal success of Pixar Animation Studios, and the first in-depth look at the company that forever changed the film industry and the "fraternity of geeks" who shaped it.

How Not to Write a Screenplay: 101 Common Mistakes Most Screenwriters Make

Denny Martin Flinn

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Customer Reviews:
Total reviews: 66 Average rating: 4.5 of 5

Less negative than I hoped, but very effective. 4 out of 5 stars.
0 of 0 people found this review helpful.

The writing examples used in this book were mostly from quality scripts, when I expected the book to focused on tearing apart bad scripts. I believe the jacket's assertion that there's much to be learned this way, and it sounds like a lot of fun. This probably has a lot more bad examples than any typical guide, and regardless of what I anticipated, it was very effective.

A good read! 4 out of 5 stars.
0 of 0 people found this review helpful.

This guy is funny. I burned through this book in short order. A little heavy on the inclusion of other writers work, but it does illustrate his points. That is the only reason I didn't give it five stars.

He claims that the screenplays he faults are actual screenplays. It's not hard to imagine somebody who bought this book recognized their work. Not good.

Editorial Review:

Finally, what may be the last screenwriting book a writer will ever need to buy! Written by a Hollywood screenwriter, How NOT to Write A Screenplay carefully identifies and examines the common mistakes screenwriters invariably make when writing a screenplay.

Film Directing: Shot by Shot: Visualizing from Concept to Screen (Michael Wiese Productions)

Steven Katz

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Customer Reviews:
Total reviews: 39 Average rating: 4.0 of 5

Not good enough 2 out of 5 stars.
1 of 1 people found this review helpful.

This is a book about all the types os shots, but it has a serious problem. The writer doesn't explain the emotional meaning of all those shots. If you read this book, you will know the positions and angles that a cameraman uses; but you won't know nothing about when, and why, employ this angles. Katz doesn't talk about the art of direction and the connection between the script, the characters, and the camera shots.

If you want to learn the complicated art of the direction you must read other more interesting books, like "Film Directing Fundamentals" by Nicholas Proferes. Also you can analyze an Hitchcock's movie "shot by shot". Any movie of Hitch is a master class.

Editorial Review:

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.

Hollywood Dreams Made Real: Irving Thalberg and the Rise of M-G-M

Mark A. Vieira

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Total reviews: 2 Average rating: 5.0 of 5

Journey back to the heyday of MGM 5 out of 5 stars.
5 of 5 people found this review helpful.

I found this book delightful; chock full of photos rarely if ever seen. The accompanying text is up to this author's usual high standards. I highly recommend this book to anyone who loves the history and lore of old Hollywood. If you like this book,the other Hollywood books written by this author available at this website are equally informative, entertaining, and lavishly illustrated.

Editorial Review:

Nicknamed the “Boy Wonder,” Irving G. Thalberg was running Universal Pictures at the age of twenty, and he cofounded Metro-Goldwyn-Mayer at twenty-four. Between 1924 and 1936, he supervised 400 memorable movies, making stars of Lon Chaney, Jean Harlow, Clark Gable, Joan Crawford, John Gilbert, and Greta Garbo. By the time of his death at thirty-seven, Thalberg had lifted film to the level of fine art. In this groundbreaking book, Mark A. Vieira draws on newly discovered interviews and production records; the unpublished autobiography of Thalberg’s wife, superstar Norma Shearer; and a treasure trove of unseen images to vividly recount the making of Ben-Hur, The Big Parade, Tarzan the Ape Man, Grand Hotel, Mutiny on the Bounty, A Night at the Opera, and scores of other classics. Hollywood Dreams Made Real is a fresh portrait of the prime architect of the studio system and an enchanting tour of the magical world he created.

The Garden Primer: Second Edition

Barbara Damrosch

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Total reviews: 10 Average rating: 4.5 of 5

Editorial Review:

The most comprehensive, entertaining, down-to-earth one-volume gardening reference ever, and highly praised:

"Barbara Damrosch delivers the goods."—Chicago Tribune
"Best of the crop."—House Beautiful
"Barbara Damrosch's writing has the snap of a good snowpea and the spice of an old rose."—The Seattle Times/Post Intelligencer
"Covers just about everything you could think of and then some." — The Atlanta Journal-Constitution
"An extraordinarily comprehensive guide." — The San Francisco Examiner-Chronicle
"Takes your soaring visions of garden splendor and plants them firmly in the ground."—The Toronto Star

Now the beloved classic is revised front-to-back. The new edition has gone 100% organic, which in Barbara Damrosch's hands also means completely accessible. It reflects the latest research on plants, soils, tools, and techniques. There is updated and expanded information on planning a garden, recommended plants, and best tools. Ecological issues are addressed much more extensively, covering lawn alternatives, the benefits of native species, wildlife-friendly gardens, and how to avoid harmful invasive species. More attention is paid to plants appropriate to the South, Southwest, and West Coast, while cold-climate gardeners are given detailed advice on how to extend the growing season. Simply put, the book is a richer and fuller compendium than ever before, with more text, more illustrations and garden plans, expanded plant lists, and gardener's resources. But Barbara Damrosch's core of practical, creative ideas and friendly style remain—she is still an "old-fashioned dirt gardener" at heart.

The Filmmaker's Handbook: A Comprehensive Guide for the Digital Age

Steven Ascher, Edward Pincus

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Customer Reviews:
Total reviews: 10 Average rating: 4.5 of 5

Editorial Review:

The authoritative guide to funding, preparing, shooting, lighting, editing, finishing and distributing your film or video

Widely acknowledged as the "bible" of film and video production and used in courses around the world, this indispensable guide to making movies is now updated with the latest advances in high- definition formats. For students and teachers, the professional and the novice filmmaker, this clear and comprehensive handbook remains the reliable reference to all aspects of moviemaking.
• Techniques for making narrative, documentary, corporate, experimental and feature films.
• Working with high-definition and standard-definition digital video formats, including DV, HD, and HDV.
• Extensive coverage of video editing with the latest nonlinear editing systems.
• Thorough grounding in lenses, lighting, sound recording, and sound editing.
• The business aspects of financing and producing movies.

Written by filmmakers for filmmakers, this book will give you the skills you need to take your dreams from script to screen.

The Making of Star Wars: The Definitive Story Behind the Original Film (Star Wars)

J.W. Rinzler

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Total reviews: 63 Average rating: 5.0 of 5

Editorial Review:

After the 1973 success of American Graffiti, filmmaker George Lucas made the fateful decision to pursue a longtime dream project: a space fantasy movie unlike any ever produced. Lucas envisioned a swashbuckling SF saga inspired by the Flash Gordon serials classic American westerns, the epic cinema of Japanese auteur Akira Kurosawa, and mythological heroes. Its original title: The Star Wars. The rest is history, and how it was made is a story as entertaining and exciting as the movie that has enthralled millions for thirty years–a story that has never been told as it was meant to be. Until now.

Using his unprecedented access to the Lucasfilm Archives and its trove of never-before-published “lost” interviews, photos, production notes, factoids, and anecdotes, Star Wars scholar J. W. Rinzler hurtles readers back in time for a one-of-a-kind behind-the-scenes look at the nearly decade-long quest of George Lucas and his key collaborators to make the “little” movie that became a phenomenon. For the first time, it’s all here:

• the evolution of the now-classic story and characters–including “Annikin Starkiller” and “a huge green-skinned monster with no nose and large gills” named Han Solo
• excerpts from George Lucas’s numerous, ever-morphing script drafts
• the birth of Industrial Light & Magic, the special-effects company that revolutionized Hollywood filmmaking
• the studio-hopping and budget battles that nearly scuttled the entire project
• the director’s early casting saga, which might have led to a film spoken mostly in Japanese–including the intensive auditions that won the cast members their roles and made them legends
• the grueling, nearly catastrophic location shoot in Tunisia and the subsequent breakneck dash at Elstree Studios in London
• the who’s who of young film rebels who pitched in to help–including Francis Ford Coppola, Steven Spielberg, and Brian DePalma

But perhaps most exciting, and rarest of all, are the interviews conducted before and during production and immediately after the release of Star Wars–in which George Lucas, Mark Hamill, Harrison Ford, Carrie Fisher, Sir Alec Guinness, Anthony Daniels, composer John Williams, effects masters Dennis Muren, Richard Edlund, and John Dykstra, Phil Tippett, Rick Baker, legendary production designer John Barry, and a host of others share their fascinating tales from the trenches and candid opinions of the film that would ultimately change their lives.

No matter how you view the spectrum of this thirty-year phenomenon, The Making of Star Wars stands as a crucial document–rich in fascination and revelation–of a genuine cinematic and cultural touchstone.