It is a fascinating "virtual roundtable discussion" with more than 50 of the top editors from around the globe. Included in the discussion are the winners of more than a dozen Oscars for Best Editing and the nominees of more than forty, plus numerous Emmy winners and nominees. Together they have over a thousand years of editing experience and have edited more than a thousand movies and TV shows.Hullfish carefully curated over a hundred hours of interviews, organizing them into topics critical to editors everywhere, generating an extended conversation among colleagues. The discussions provide a broad spectrum of opinions that illustrate both similarities and differences in techniques and artistic approaches. Topics include rhythm, pacing, structure, storytelling and collaboration.Interviewees include Margaret Sixel (Mad Max: Fury Road), Tom Cross (Whiplash, La La Land), Pietro Scalia (The Martian, JFK), Stephen Mirrione (The Revenant), Ann Coates (Lawrence of Arabia, Murder on the Orient Express), Joe Walker (12 Years a Slave, Sicario), Kelley Dixon (Breaking Bad, The Walking Dead), and many more. Art of the Cut also includes in-line definitions of editing terminology, with a full glossary and five supplemental web chapters hosted online. This book is a treasure trove of valuable tradecraft for aspiring editors and a prized resource for high-level working professionals. The book's accessible language and great behind-the-scenes insight makes it a fascinating glimpse into the art of filmmaking for all fans of cinema.

    Explores the epic human drama behind the making of the five movies nominated for Best Picture in 1967-Guess Who's Coming to Dinner, The Graduate, In the Heat of the Night, Doctor Doolittle, and Bonnie and Clyde-and through them, the larger story of the cultural revolution that transformed Hollywood, and America, forever.

    The Brothers McMullen went on to win the Grand Jury Prize at the Sundance Film Festival in 1995, and established the working-class Irish American filmmaker as a talent to watch. In the twenty years since, Burns has made ten more films (She’s the One, Sidewalks of New York, and The Fitzgerald Family Christmas), while also acting in big budget Hollywood movies (Saving Private Ryan), hit television shows (Entourage and Mob City), and pioneering a new distribution network for indie filmmakers online and with TV’s On Demand service (“why open a film in twenty art houses when you can open in twenty million homes?”).Inspired by Burns’s uncompromising success both behind and in front of the camera, students and aspiring filmmakers are always asking Burns for advice. In Independent Ed, Burns shares the story of his two remarkable decades in a fickle business where heat and box office receipts are often all that matter. He recounts stories of the lengths he has gone to to secure financing for his films, starting with The Brothers McMullen (he told his father: “Shooting was the twelve best days of my life”). How he found stars on their way up—including Jennifer Aniston and Cameron Diaz—to work in his films, and how he’s adhered religiously to the dictum of writing what you know, working as if he was just starting out, and always “looking for the next twelve best days of my life.”Chronicling the struggles and the long hours as well as the heady moments when months of planning and writing come to fruition, Independent Ed is a must-read for movie fans, film students, and everyone who loves a gripping tale about what it takes to forge your own path in work and life.

    For over forty years he has dominated Hollywood and his success both in front of and behind the camera has assured his place in cinema history alongside such superstars as Marlon Brando, John Wayne and Robert De Niro..."Clint" reveals the man behind the myth. Bestselling author Douglas Thompson draws on exclusive interviews with the star, to provide the definitive portrait of Clint Eastwood. From his early days as a jobbing actor on $75 a week to his directorial triumph with "Million Dollar Baby", "Clint" reveals the personal highlights of one of the most celebrated careers in cinema history.

    Chris Jones and Genevieve Jolliffe provide a step-by-step guide to all aspects of production, from copyright law to casting agents, directions to stuns, cash sources to distribution. Case studies and a Producer's Toolkit with information on legal documentation, including blank forms and a complete budget breakdown make this an invaluable tool for any independent filmmaker.

    An understanding of the visual components will serve as the guide in the selection of locations, set dressing, props, wardrobe, lenses, camera positions, lighting, actor staging, and editorial choices. The Visual Story divides what is seen on screen into tangible sections: contrast and affinity, space, line and shape, tone, color, movement, and rhythm. The vocabulary as well as the insight is provided to purposefully control the given components to create the ultimate visual story. For example: know that a saturated yellow will always attract a viewer's eye first; decide to avoid abrupt editing by mastering continuum of movement; and benefit from the suggested list of films to study rhythmic control. The Visual Story shatters the wall between theory and practice, bringing these two aspects of the craft together in an essential connection for all those creating visual stories.

    In this engrossing volume, film historian Richard Barrios recounts how the drama and rivalries seen onscreen played out to equal intensity behind-the-scenes, while still achieving extraordinary artistic feats.The making and impact of West Side Story has so far been recounted only in vestiges. In the pages of this book, the backstage tale comes to life along with insight on what has made the film a favorite across six decades: its brilliant use of dance as staged by erstwhile co-director Jerome Robbins; a meaningful story, as set to Leonard Bernstein and Stephen Sondheim's soundtrack; the performances of a youthful ensemble cast featuring Natalie Wood, Rita Moreno, George Chakiris, and more; a film with Shakespearean roots (Romeo and Juliet) that is simultaneously timeless and current. West Side Story was a triumph that appeared to be very much of its time; over the years it has shown itself to be eternal.

    These changes can be seen in every field of life. For instance, the way of supplying basic needs or the way how to make own life better, but also certain norms and values are quite different today. Instead of visiting a theatre in order to be entertained, people can watch TV or use the internet. If a man and a woman live together unmarried, hardly anybody will be shocked about that fact. But often certain attitudes are anchored in society and can hardly be changed. One example is the determination which individual role men and women are likely to play as members of a society and how their image appears in every culture. It is especially interesting to see how the media represent women, the so called -weaker sex-. The following pages respond with the representation of women through the years. Additionally, they deal with problems and consequences coming up because of the difference between men and women.

    Crafting Short Screenplays That Connect is the first screenwriting guide to introduce connection as an essential, although essentially overlooked, aspect of creating stories for the screen and of the screenwriting process itself. Written with clarity and humor, this book teaches the craft of writing short screenplays by guiding the student through carefully focused writing exercises of increasing length and complexity. Eight award-winning student screenplays are included for illustration and inspiration.The text is divided into three parts. Part one focuses on preparing to write by means of exercises designed to help students think more deeply about the screenwriter's purposes; their own unique vision, material and process; and finally about what screenplays are at their simplest and most profound level—a pattern of human change, created from specific moments of change—discoveries and decisions. Part two teaches students how to craft an effective pattern of human change. It guides them through the writing and re-writing of "Five (Not So Easy) Pieces"—five short screenplays of increasing length and complexity—focusing on a specific principle of dramatic technique: The Discovery, The Decision, The Boxing Match, The Improbable Connection, and The Long Short Screenplay. Part Three presents the five screenplays used throughout the book to illustrate the dramatic principles that have beendiscussed, and includes interviews with the screenwriters, a look at where they are now and what they are doing, and brief discussion of how each film evolved. * Groundbreaking book that stresses human connection as the basis of a good screenplay&151;not conflict* The only screenwriting book that includes a DVD that contains performances of the short films and screenplays that are featured in the book* Ample exercises for practice and inspiration

    In the process they made computer history.

    It's a distinction he's long been building, through a directing career that includes such cinematic landmarks as "The Terminator," "Aliens," "The Abyss," and the highest grossing movie of all time, "Titanic." The Futurist is the first in-depth look at every aspect of this audacious creative genius--culminating in an exclusive behind-the-scenes glimpse of the making of "Avatar," the movie that promises to utterly transform the way motion pictures are created and perceived. As decisive a break with the past as the transition from silents to talkies, "Avatar" pushes 3-D, live action, and photo-realistic CGI to a new level. It rips through the emotional barrier of the screen to transport the audience to a fabulous new virtual world. With cooperation from the often reclusive Cameron, author Rebecca Keegan has crafted a singularly revealing portrait of the director's life and work. We meet the young truck driver who sees "Star Wars" and resolves to make his own space blockbuster--starting by building a futuristic cityscape with cardboard and X-Acto knives. We observe the neophyte director deciding over lunch with Arnold Schwarzenegger that the ex-body builder turned actor is wrong in every way for the Terminator role as written, but perfect regardless. After the success of "The Terminator," Cameron refines his special-effects wizardry with a big-time Hollywood budget in the creation of the relentlessly exciting "Aliens." He builds an immense underwater set for "The Abyss" in the massive containment vessel of an abandoned nuclear power plant--where he pushes his scuba-equipped cast to and sometimes past their physical and emotional breaking points (including a white rat that Cameron saved from drowning by performing CPR). And on the set of "Titanic," the director struggles to stay in charge when someone maliciously spikes craft services' mussel chowder with a massive dose of PCP, rendering most of the cast and crew temporarily psychotic. Now, after his movies have earned over $3 billion at the box office, James Cameron is astounding the world with the most expensive, innovative, and ambitious movie of his career. For decades the moviemaker has been ready to tell the "Avatar" story but was forced to hold off his ambitions until technology caught up with his vision. Going beyond the technical ingenuity and narrative power that Cameron has long demonstrated, "Avatar" shatters old cinematic paradigms and ushers in a new era of storytelling. The Futurist is the story of the man who finally brought movies into the twenty-first century.

    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 book provides a personal commentary on the film, a brief production history and a detailed filmography. In the "BFI Film Classics" series.

    Barry Hampe, who has made more than 150 documentary films and videos, traces the two main approaches to documentary--recording behavior and re-creating past events—and shows students how to do both effectively. Covering all the steps, from conceptualization to completion, the book includes chapters on visual evidence; documentary ethics; why reality is not enough; budgeting; and casting, crew, and equipment selection.

    At the forefront of that movement were six innovative and daring directors whose films pushed the boundaries of moviemaking and announced to the world that something exciting was happening in Hollywood. Sharon Waxman of the New York Times spent the decade covering these young filmmakers, and in Rebels on the Backlot she weaves together the lives and careers of Quentin Tarantino, Pulp Fiction; Steven Soderbergh, Traffic; David Fincher, Fight Club; Paul Thomas Anderson, Boogie Nights; David O. Russell, Three Kings; and Spike Jonze, Being John Malkovich.