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.

    O’Bannon also includes his insights on subjects such as the logic of the three-act structure, the role of the producer in screenplay development, and the psychological principle known as “hedonic adaptation,” which has a unique effect on the structuring of screen stories.

    His best-known films, Blue; White; Red; The Double Life of Veronique; and The Decalogue, remain watershed events in lmmaking history. Author Annette Insdorf, Kieslowskis close friend and translator, offers a revealing portrait of his life and monumental body of work. From the gold-bathed images of The Double Life of Veronique to the emotionally dark, visually haunting Blue, Kieslowskis films explore personal and social issues with inimitable brilliance. This paperback edition includes an updated introduction with information on the much anticipated release of Heaven (March 2002) which Kieslowski wrote and planned to film, before he died unexpectedly in March 1996.

    In this fun and thoughtful follow-up to his bestselling Rules of the Red Rubber Ball (2007), Carroll switches the playing field to the workplace, where innovation, motivation, engagement, and teamwork are the headline issues. Drawing on "play profiles" from thought leaders, change agents, and business leaders, he explains how to bring a sense of play into the workplace to stimulate creativity, encourage risk-taking, achieve goals--and have a great time doing it.Fully illustrated, with 31 profiles of successful "players" including ESPN president George Bodenheimer, bestselling authors Seth Godin and Malcolm Gladwell, Food Network host Duff Goldman, South Bronx activist Majora Carter, renowned author Paulo Coehlo, and many others

    This is the only book that focuses exclusively on the relationship between the director and cinematographer.

    From his marriage to Ali McGraw, his cocaine bust, the accusations of murder, the friendships with the likes of Jack Nicholson and Dustin Hoffman, to his legendary court case and bust up with Francis Ford Coppola, this is the tell-all autobiography from Robert Evans, the legendary Hollywood producer (The Godfather, Rosemary's Baby and Chinatown) who's lived the Hollywood dream.

    Included are discussions on: cinematic time and space; compositional rules; and types of editing.

    In Filmish, Ross's cartoon alter-ego guides readers through the annals of cinematic history, introducing us to some of the strange and fascinating concepts at work in the movies. Each chapter focuses on a particular theme - the body, architecture, language - and explores an eclectic mix of cinematic triumphs, from A Trip to the Moon to Aliens. Sitting within the tradition of bestselling non-fiction graphic novels like Scott McClouds Understanding Comics and the Introducing...series, Filmish tackles serious issues - sexuality, race, censorship, propaganda - with authority and wit, throwing new light on some of the greatest films ever made.

    What further sets him apart is his role in bringing to the screen some of the most acclaimed Oscar-winning films of our time: Apocalypse Now, One Flew Over the Cuckoo's Nest, Amadeus, The Silence of the Lambs, Philadelphia, and Sleepless in Seattle are just some of the projects he green-lighted at United Artists, Orion, TriStar, his own Phoenix Pictures. "The ultimate lose-lose situation for a studio executive: to wind up with a commercial bomb and a bad movie." Of course, there are the box office disasters, and the films, as Medavoy says, "for which I should be shot." They, too, have a place in his fascinating memoir -- a pull-no-punches account of financial and political maneuvering, and of working with the industry's brightest star power, including Steven Spielberg, Martin Scorsese, Francis Ford Coppola, Kevin Costner, Robert De Niro, Jodie Foster, Sharon Stone, Michael Douglas, Meg Ryan, and countless others. "Putting together the elements of a film is a succession of best guesses." Medavoy speaks out on how movie studio buyouts have stymied the creative process and brought an end to the "hands-off" golden age of filmmaking. An eyewitness to Hollywood history in the making, he gives a powerful and poignant view of the past and future of a world he knows intimately.

    Written by filmmakers for filmmakers, this essential text now includes the latest information on digital age filmmaking, where the shifting boundaries between film, video, and computer systems have introduced a wide range of methods and equipment every filmmaker must master to be competitive. This comprehensive reference guide addresses the techniques necessary to make feature, documentary, industrial, and experimental films while detailing the possibilities and limitations of various formats. New chapters spotlight video camera and video editing, essential information for modern film students and makers who focus on video production exclusively. "The Filmmaker's Handbook" is the perfect primer to guide novices and professionals alike into the twenty-first century of motion picture production.

    I call your doctors office and am put on hold for 5 minutes, then informed that your prescription was phoned in to my competitor on the other side of town. Phoning the competitor, I am immediately put on hold for 5 minutes before speaking to a clerk, who puts me back on hold to wait for the pharmacist. Your prescription is then transferred to me, and now I have to get the 2 phone calls that have been put on hold while this was being done. Now I return to the counter to ask if we've ever filled prescriptions for you before. For some reason, you think that "for you" means "for your cousin" and you answer my question with a "yes", whereupon I go the computer and see you are not on file. The phone rings..." That's part of the reason why your prescription takes so long to fill, and after almost 20 years of this, a question I was never quite able to answer loomed larger and larger each day: "Why did I get into this profession?" Cranky customers whose only questions seem to involve their insurance co-pays. Pointless paperwork. People begging for early narcotic refills. Staff cuts. That was my workday. The struggle to get people the medicine and information they needed seemed almost futile at times. Then one day I got the answer. It hit me like a ton of bricks while driving home one spring evening along the California coast. I was born again, but it had nothing to do with Jesus. It did have a lot to do with a little plastic motorcycle. And I did become the pharmacist who saved Christmas. I absolutely know now why I became a pharmacist. I still don't know why your co-pay is so high.

    With the help of an experienced psychologist she relives the events of 34 years ago and in doing so discovers what happened to her business partner, Fred Handford. Following EMDR (Eye Movement Desensitization and Reprocessing) treatment the nightmares she has suffered since the day he disappeared - 19th March 1976 - stop competely and the truth is finally revealed.

    Ed Bolian’s memoir recounts his path from a conversation in high school with Cannonball Run founder, Brock Yates to setting the fastest time ever for driving from New York to Los Angeles. The journey explores goal setting, criminal psychology, and spirituality in the pursuit of finding your true purpose and using what makes you unique to achieve something extraordinary.

     But rather an essential tool for direction, motivation and innovation. No, No, No, No, No, Yes is the perfect inspirational Christmas gift for that someone in your life embarking on a great new challenge. Whether they just graduated from college, are changing careers, have set out to achieve something in the arts or the business realm, or just aspire to do something seemingly impossible, No, No, No, No, No, Yes will help them see that the “no’s” they will confront are simply directions on the map to “yes”. No. It is a word that every CEO, entrepreneur and creative professional has confronted. It is a word that both novices and seasoned professionals dread. It is a word that can easily seem like death to a dream. And yet it is also a word that can point in the right direction. It is a word that motivates us to do something differently, try something else, get better, innovate, keep going. No is a word that looms over every business person's, innovator's, and artist's life. And yet the word is universally met with trepidation and fear because the value of being told No is so little understood. ˃˃˃ No is a facilitator In No, No, No, No, No, Yes. Insights From A Creative Journey, award winning creator of visionary ad campaigns (Cannes Lions, Clios); ad exec (the Shalmor Avnon Amichay/Y&R agency); cartoonist (The New Yorker); speaker (TEDx); and teacher (School of Visual Arts) Gideon Amichay demonstrates that No is not a barrier to success it s a facilitator. No is not the end, but rather an essential tool for direction, motivation and innovation. Based on Amichay s best-selling book in Israel (published by Gordon Books in 2011) and 2013 TEDx talk of the same name, No, No, No, No, No, Yes takes the reader on an illustrated journey of the author's own lifetime confrontation, negotiation and relationship with No . Walking the reader through critical No s in his own 25 year career pitching cartoons to the New Yorker, risky ad campaign concepts as head of one of Israel s biggest ad agencies, impossible outdoor ad installations -- Amichay reveals the wisdom that No rarely ends with an exclamation point. ˃˃˃ No ends with a comma Rather, Amichay demonstrates that No usually ends with a comma: No comma, we don't have the time. No comma, we don't have the budget. No comma, can we see another option? By discovering which No comma he was confronting, Amichay shows how No s in fact led him to eventual Yes s -- including the waiting, the rejections, and the revisions and demonstrates that No, forces us to reexamine, to explore, to rethink, to change directions, to get better. ˃˃˃ No can be the best answer to get In No, No, No, No, No, Yes Amichay shares the essential revelation that sometimes No can be the best answer to get. Through illuminating anecdotes from his own illustrious career running the gamut between business and the arts, Gideon Amichay demonstrates unequivocally that No's, whether from colleagues, from clients, from life, or from within have great power, and are simply directions on the map to Yes. Authoritative, funny, whimsical, wise, and pragmatic, No, No, No, No, No, Yes. Insights From A Creative Journey. is the essential companion for every executive, innovator and artist to navigate the unavoidable odyssey of No in order to find the eventual Yes. Scroll up and grab a copy today.

    These women infiltrated the all-male domain of Disney Studios and used early technologies to create the rich artwork and iconic storylines that would reach millions of viewers across generations. Over the decades--while battling sexism, domestic abuse, and workplace harassment--these women also fought to influence the way female characters are depicted to young audiences.Based on extensive interviews and exclusive access to archival and personal documents, The Queens of Animation tells the story of their vital contribution to Disney's golden age and their continued impact on animated filmmaking, culminating in the record-shattering Frozen, Disney's first female-directed full-length feature film.