1935) is one of America's most idiosyncratic filmmakers, with an unparalleled output of nearly one film every year for over three decades. His movies are filled with rapid-fire one-liners, neurotic characters, anguished relationships, and old-time jazz music. Allen's vision of New York--whether in comedies or dramas--has shaped our perception of the city more than any other modern filmmaker. "On the screen," John Lahr wrote in the New Yorker in 1996, "Allen is a loser who makes much of his inadequacy; off-screen, he has created over the years the most wide-ranging oeuvre in American entertainment."Woody Allen: Interviews collects over twenty-five years of interviews with the director of Manhattan, Hannah and Her Sisters, Crimes and Misdemeanors, Bullets Over Broadway, and Annie Hall, for which he won an Oscar. The book's interviews reveal a serious director, often at odds with his onscreen persona as a lovable, slap-stick loser. Allen talks frankly about his rigorous work habits; his biggest artistic influences; the attention he devotes to acting, screenwriting, and directing; and how New York fuels his filmmaking.Along with discussing film techniques and styles, Allen opens up about his love of jazz, his Jewish heritage, and the scandal that arose when he left his longtime partner Mia Farrow for her adopted daughter. Including four interviews from European sources, three of which are now available in English for the first time, Woody Allen: Interviews is a treasure trove of conversations with one of America's most distinctive filmmakers.Robert E. Kapsis is professor of sociology at Queens College and is the author of Hitchcock: The Making of a Reputation. His work has appeared in the Village Voice, Variety, Journal of Popular Film and Video, and Cineaste and at the Museum of Modern Art. Kathie Coblentz is special collections cataloger at the New York Public Library. Kapsis and Coblentz coedited Clint Eastwood: Interviews (University Press of Mississippi).

    Soderbergh's freshman film, sex, lies and videotape, inaugurated a movementin US independent cinema. Lester's freewheeling work in the '60s and '70s (Help!, A Hard Day's Night, The Knack, How I Won the War, Petulia) helped create a 'new wave' of British film-making. Here, the two cineastes discuss their mutual passion for the medium in a frank,funny and free-ranging series of interviews. Also included is Soderbergh's diary of an extraordinary twelve months in which he ventured into 'guerilla film-making' with offbeatprojects Schizopolis and Gray's Anatomy, before returning to the Hollywood fray with the George Clooney hit Out of Sight.

    From her treatment in the US and the wonderful care provided by the oncologists there to how she rebuilt her life once she returned home, the book takes us on an emotional roller-coaster ride through her many fears and struggles and shows how she eventually came out triumphant.Today, as she completes six years of being cancer-free, she shares her story-one marked by apprehensions, disappointments and uncertainties-and the lessons she learnt along the way. Through her journey, she unravels cancer for us and inspires us to not buckle under its fear, but emerge alive, kicking and victorious.

    

    Over the next forty years, Satyajit Ray came to be regarded as one of the world's finest film-makers ever. Today, more than a decade after his death, he continues to be India's most respected name in international film circles. Apart from his achievements as a director, Ray was also a prolific writer of novels, short stories, and essays on cinema. Speaking of Films brings together some of Ray's most memorable writings on film and film-making. With the masterly precision and clarity that characterize his films, Ray discusses a wide array of subjects: the structure and language of cinema with special reference to his adaptations of Tagore and Bibhuti Bhushan Bandopadhyay, the appropriate use of background music and dialogue in films, the relationship between a film-maker and a film critic, and important developments in cinema like the advent of sound and colour. He also writes about his own experiences, the challenges of working with rank amateurs, and the innovations called for when making a film in the face of technological, financial and logistical constraints. In the process, Ray provides fascinating behind-the-scenes glimpses of the people who worked with him - the intricacies of getting Chhabi Biswas, who had no ear for music, to play a patron of classical music in Jalsaghar; the incredible memory of the seventy-five-year-old Chunibala Devi, the Indir Thakrun of Pather Panchali, and her remarkable attention to details. This first-ever translation of Bishay Chalachitra, a seminal collection of essays on cinema, Speaking of Films retains the lucidity and simplicity that is a hallmark of Ray's writing, and gives an invaluable insight into the mind of a genius.

    But the time is not far off, Live Cinema and Its Techniques demonstrates, when a director or a collaborative team of filmmakers working across the internet will create "live" movies that will be sent instantly via satellite for viewing throughout the world.Yet the creative demands posed by airing live sporting contests, as impressive as the final product is, pale in contrast with the ambitions of "cinematic auteurs," who are inspired by great directors, like Serge Eisenstein, Max Ophuls, or Alfred Hitchcock, among many others. As daunting as the challenge is, the process of integrating the highest artistic standards of previous generations into the medium of "live cinema" can, Coppola explains, be achieved, thus creating an entirely new art form for the so-called "screen." Tapping into his own encyclopedic knowledge of twentieth-century film history, Coppola threads his vision of this burgeoning cinematic medium with autobiographical and historical vignettes gleaned from the past, recalling his own boyhood obsession with film and his early fascination with the "Golden Age of Television," when 1950s viewers were treated to live productions of classics, like Days of Wine and Roses and Requiem for a Heavyweight.Especially exciting is the exhilaration and drama that results from retraining actors and using a multitude of cameras to create a film that has the in-the-moment energy of a live event. Having already tried out this new medium with "proof-of-concept workshops" at Oklahoma City Community College and at UCLA, Coppola has created an invaluable guide for students and teachers alike. Filled with discussions of how to rehearse actors, how to choose scenery and location, and how to overcome theatrical, as well as technical, obstacles, Live Cinema and Its Techniques reveals how the spontaneity of this new genre can ultimately transport filmmaking into a new era of creativity still unimaginable today.Featuring chapters on:A Short History of Film and TelevisionThe Actors, Acting, and RehearsalThe Question of Style in the CinemaObstacles and Other Thoughts on Live Cinema No Matter What They May BeEquipment: Now and in the Near Future

    In How to Write a Selling Screenplay, he takes writers through the entire process, from developing a story to finding the best agent. Using an annotated version of an often-optioned screenplay of his own, and citing examples from movies ranging from Casablanca and Lethal Weapon to Sling Blade and The English Patient, he discusses how to create three-dimensional characters, find a compelling story, build an airtight plot structure, fine-tune dialogue, and much more. Keane's tips on the difference between writing for film and television, as well as his advice on dealing with Hollywood movers and shakers, make this an essential companion for people writing their first--or their fortieth--screenplay.

    In interviews with Hollywood screenwriters from across the board—Oscar winners and novices alike—Cohen explores what sets apart the blockbuster successes from the downright disasters.Tracing the fortunes of twenty-five films, including Troy, Erin Brockovich, Lost in Translation, and The Aviator, Cohen offers insider access to back lots and boardrooms, to studio heads, directors, and to the over-caffeinated screenwriters themselves. As the story of each film evolves from the drawing board to the big screen, Cohen proves that how a script is written, sold, developed, and filmed can be just as dramatic and intriguing as the movie itself—especially when the resulting movie is a fiasco.Covering films of all kinds—from tongue-in-cheek romps like John Waters's A Dirty Shame to Oscar winners like Monster's Ball and The Hours—Screen Plays is an anecdote-filled, often inspiring, always revealing look at the alchemy of the movie business. With Cohen as your expert guide, Screen Plays exposes how and why certain films (such as Gladiator) become "tent poles," those runaway successes every studio needs to survive, and others become train wrecks. Full of critical clues on how to sell a script—and avoid seeing it destroyed before the director calls Action!—it's the one book every aspiring screenwriter will find irresistible.

    Over more than four decades, he built a reputation writing reviews for the Chicago Sun-Times and, later, arguing onscreen with rival Chicago Tribune critic Gene Siskel and later Richard Roeper about the movies they loved and loathed. But Ebert went well beyond a mere “thumbs up” or “thumbs down.” Readers could always sense the man behind the words, a man with interests beyond film and a lifetime’s distilled wisdom about the larger world. Although the world lost one of its most important critics far too early, Ebert lives on in the minds of moviegoers today, who continually find themselves debating what he might have thought about a current movie.The Great Movies IV is the fourth—and final—collection of Roger Ebert’s essays, comprising sixty-two reviews of films ranging from the silent era to the recent past. From films like The Cabinet of Caligari and Viridiana that have been considered canonical for decades to movies only recently recognized as masterpieces to Superman, The Big Lebowski, and Pink Floyd: The Wall, the pieces gathered here demonstrate the critical acumen seen in Ebert’s daily reviews and the more reflective and wide-ranging considerations that the longer format allowed him to offer. Ebert’s essays are joined here by an insightful foreword by film critic Matt Zoller Seitz, the current editor-in-chief of the official Roger Ebert website, and a touching introduction by Chaz Ebert. A fitting capstone to a truly remarkable career, The Great Movies IV will introduce newcomers to some of the most exceptional movies ever made, while revealing new insights to connoisseurs as well.

    Are you looking for information about a gluten-free diet? Have you been diagnosed with Celiac Disease and need some helpful information? Do you have gluten intolerance or gluten sensitivity? Are you interested in eating a low carb diet? If you answered yes to any of these, then Going Gluten Free is a great quick-start and how-to guide that will help you find out what you need to get started.In Going Gluten Free: Learn what gluten is and how it can affect your body Find out how gluten-free differs from grain-free Discover some unusual products where gluten is used and can hide Use the extensive gluten-free shopping list to guide you at the store Learn tips on how to eat out in restaurants without getting sick If a gluten-free diet or a low-carb diet is what you are researching and desiring to do, this quick-start guide is full of helpful information that will give you a thorough overview as you make needed changes and learn how to eliminate gluten in your diet.

    I. PUDOVKIN Translated by IVOR MONTAGU Introduction by LEWIS JACOBS BONANZA BOOKS NEW YORK CONTENTS PAGE CONTENTS FILM TECHNIQUE A separate table of contents for FILM ACTING appears at the beginning of that volume. INTRODUCTION BY LEWIS JACOBS iii INTRODUCTION TO THE GERMAN EDITION . . xiii I. THE FILM SCENARIO AND ITS THEORY FOREWORD 1 PART I. THE SCENARIO .... 3 The meaning of the shooting-script The construction of the scenarioThe theme The action-treatment of the theme Conclusion. PART H. THE PLASTIC MATERIAL . . 26 The simplest specific methods of shooting-Method of treatment of the material struc tural-editing Editing of the scene Editing of the sequence Editing of the Scenario-Editing as an instrument of impression rela tional editing. II. FILM DIRECTOR AND FILM MATERIAL PART I. THE PECULIARITIES OF FILM MATERIAL 51 The film and the theatre The methods of the film Film and reality Filmic space and time The material of films Analysis Editing the logic of filmic analysis The necessity to interfere with movement Organisation of the material to be shot Arranging setups The organisation of chance material Filmic form The technique of directorial work. PART H. THE DIRECTOR AND THE SCENARIO 93 The director and the scenarist The environ ment of the film-The characters in the envir iv uUC aiY MO. 7158987 PAGE onment The establishment of the rhythm of the film. PABT III. THE DIRECTOR AND THE ACTOR 105 Two kinds of production The film actor and the film type Planning the acting of the film type The ensemble Expressive movement-Expressive objects The director as creator of the ensemble. PART IV. THE ACTOR IN THE FRAME . 118 The actor and the filmic image The actor and light. PART V. THE DIRECTOR AND THE CAMERA MAN 120 The cameraman and the camera The camera and its viewpoint The shooting of movement The camera compels the spectator to see as the director wishes The shaping of the com position-The laboratory-Collectivism the basis of film-work. III. TYPES INSTEAD OF ACTORS . 137 IV. CLOSE-UPS IN TIME 146 V. ASYNCHRONISM AS A PRINCIPLE OF SOUND FILM 155 VL RHYTHMIC PROBLEMS IN MY FIRST SOUND FILM 166 VII. NOTES AND APPENDICES A. GLOSSARIAL NOTES . 175 B. SPECIAL NOTES 180 C. ICONOGRAPHY OF PUDOVKINs WORKS . 192 D. INDEX OF NAMES .... 196 The numerals in the text refer to Appendix B. INTRODUCTION THERE are few experiences more important in the education of a newcomer to motion pic tures than the discovery of V. I. Pudovkins Film Technique and Film Acting. No more valuable manuals of the practice and theory of film making have been written than these two handbooks by the notable Soviet director. So sound are their points of view, so valid their tenets, so revelatory their analyses, that they remain today, twenty years after their initial appear ance, the foremost books of their kind. First published abroad in 1929 and 1933 respectively, Film Technique and Film Acting brought to the art of film making a code of principles and a rationale that marked the mediums analytic coming of age. Until their publication, the motion picture maker had to eke out on his own any intellectual or artistic considera tions of film craft. No explicit body of principles existed upon which the film maker could draw with confidence. Film technique was a more or less hit or miss affair that existed in a kind of fragmentary state which, in the main, leaned heavily upon theatrical methods. These pioneering books made clear at once that movie making need no longer flounder for a methodol ogy or for its own standards. They elucidated what iv FILM TECHNIQUE AND FILM ACTING were the fundamentals of film art and defined the singular process of expression that distinguished it from all other media. Now film theory and practice could be attacked with greater assurance and efficiency...

    This ultimate insider's guide reveals the secrets that none dare admit, told by a show biz veteran who's proven that you can sell your script if you can save the cat!

    From his explosion onto the pro boxing scene with seventeen straight knockouts, he struck fear into opponents and awe into spectators. He featured in some of the most thrilling bouts ever and became the first champion to win six titles at different weights. He will forever be known by his chilling nickname: Hit Man.Growing up in the urban wasteland of inner-city Detroit, Hearns learned to defend himself at the notorious Kronk gym. There he came under the tutelage of master trainer Emanuel Steward, who turned him into the deadliest puncher in the game. From his destruction of Pipino Cuevas to his now-legendary fights with fellow greats Sugar Ray Leonard and Roberto Duran, Hearns carved out a reputation for skill, courage, and stunning power. His epic 1985 challenge against middleweight champion Marvin Hagler, billed as "The War," has gone down as the most exciting three rounds in boxing history.Defeats only seemed to make Hearns stronger, and he achieved the extraordinary feat of winning titles in every weight category, from welterweight to cruiserweight. Lately he has devoted his energies to his promotions company, Hearns Entertainment, yet he still toys with the idea of winning "one more belt." Hit Man delves inside this complex, charismatic character to present a compelling portrait of a modern sports legend.Brian Hughes is a boxing trainer and the author of numerous boxing biographies. His son, Damian Hughes, is a leadership consultant. Both live in Manchester, England.

    In this book, Shawn Bolz reveals a fascinating message from Heaven that will pentrate the deep places of your heart. His stories and wisdom will guide you to a more noble place.

    The reality is that film has never gone away, and in recent years has experienced a surging, renewed popularity-sometimes simply for its retro, analog status, but mostly for film's ability to create a look and feel that many believe digital can still not achieve. If anyone can attest to this, it's Utah photographer Jonathan Canlas, who exclusively shoots with film, and has both an extremely successful wedding photography business as well as a series of popular workshops held numerous times per year around the world. In "Film Is Not Dead: A Digital Photographer's Guide to Shooting Film, " Canlas teams up with co-author Kristen Kalp to open the doors for anyone who wants to begin-or return to-shooting film. Casual, irreverent, fun, inspiring, and beautiful, this unique 10x8 hardcover book teaches the reader the basics of film, cameras, and shooting in this medium. Whether it's discussing the different tone and color characteristics of different films (Kodak, Fuji, etc.), how to load a medium-format camera back, how to create proper exposures, how and where to get film processed, or how Jonathan uses fun, plastic cameras like the Holga in his commercial and personal work, "Film Is Not Dead "appeals to anyone who is searching to finally begin creating that film look, but until now hasn't known where to start.