Böcker utgivna av Silman-James Press,U.S.

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.

This is one of the most respected books on film making ever published. With the aid of hundreds of photographs and diagrams, it clearly and concisely presents the essential concepts and techniques of motion picture camerawork and the allied areas of film making that they interact and impact with. Branching out from five central subject areas, the five Cs -- camera angles, continuity, cutting, close-ups, composition -- Mascelli offers film makers a detailed and practical course in visual thinking. Included are discussions of: cinematic time and space; compositional rules; point-of-view; camera height and angle; master scenes; types of editing; screen direction.

Color & Light is an essential practical guide to how color works in light. Written from the perspective of a theatrical lighting designer, it discusses how to see color, how to construct effective lighting palettes, and how to make use of both color filters and color-mixing LED fixtures to create compositions that work well with scenery and costumes to tell compelling stories. We are presently at the leading edge of a revolution in theatrical lighting, redefining how it can be used to create and communicate. Today's LED-based additive color-mixing fixtures require new methodologies and new ways of thinking, and Color & Light directly addresses this technology's potentials and challenges. But underpinning lighting's many recent technological changes is the fundamental language of color that artists have worked with since the birth of humanity's artistic urges.

Following in the spirit and style of Scored to Death (2016), his popular first book of interviews with horror music greats, J. Blake Fichera's Scored to Death 2 collects 16 brand-new, info-packed, terrifyingly entertaining interviews with renowned composers who have provided the music for some of horror's most revered films, film franchises, and TV shows, including Get Out, Us, Martin, Re-Animator, The Walking Dead, Puppet Master, Saw, Creepshow, Day of the Dead, A Nightmare on Elm Street 4: The Dream Master, Evil Dead, Army of Darkness, Dark Shadows, Burnt Offerings, The Terminator, The Serpent and the Rainbow, Ring, Killer Klowns from Outer Space, Audition, Ghoulies, Happy Death Day, It Follows, Gretel & Hansel, and many more! Interviewed are composer-director-producer John Harrison and eminent scary-good composers Michael Abels, Richard Band, Charlie Clouser, Brad Fiedel, Joe LoDuca, Donald Rubinstein, John Massari, Bear McCreary, Craig Safan, Kenji Kawai, Holly Amber Church, Koji

"These authors' knowledge of the nuances of movie and television accounting shines through the pages of this book, which is sure to become a standard reference in this field.""€"Harold L. Vogel, author, Entertainment Industry Economics The distribution of a motion picture's "profits" is, for most filmmakers, a murky, labyrinthine domain ruled by studio/distributor accountants and lawyers.

Saxophonist and composer Charles Lloyd has been a strong and important voice in the jazz world since the late 1950s. This freewheeling, fascinating unauthorized biographybased on twenty years' worth of interviews covers the extreme ups and downs of an uncommonly eventful life, often in the musician's own words. The story begins in the heated musical milieu of Memphis in the Forties and Fifties, where Lloyd grew up with Phineas Newborn Jr. and Booker Little and cut his professional teeth as a teen playing with such blues giants as Howlin' Wolf. After high school, he moved to Los Angeles, where he attended USC and began to work with the Gerald Wilson and Chico Hamilton bands, Scott LaFaro, Gbor Szab, Don Cherry, and others. Following a notable stint with Hamilton's ensemble, contributing compositions and arrangements as well as playing, Lloyd joined Cannonball Adderley's band and moved to New York. There he worked with Herbie Hancock, Ron Carter, Richard Davis, Henry Grimes, Roy Hay

An account of the often strange and surprising stories behind 300 rejected and replaced film scores dating from the 1930s through the 2000s, in which "dedication collides with miscommunication, musical geniuses clash with the tone-deaf, commercialism brawls with artistic purity, and a lot of hard work goes unrewarded"--P. [4] of cover.

Filled with industry-savvy advice, Production Stage Management clearly details everything the seasoned professional, the young professional looking to amp up his or her skills, or the wet-behind-the-ears trainee needs to know, including Who's who on a stage production and how they all interact Getting the job The pre-production period, including pre-rehearsal duties and responsibilities Production meetings from early conceptualizing through rehearsals and previews Choosing and organizing a stage management team Handling rehearsals Running technical rehearsals Organizing your calling scripts Managing previews Planning for opening night and the critics Structuring the running of an ongoing show Indispensable Charts and Graph templates and examples include: Production calendar Musical pit layout PSM's casting notes format Daily rehearsal report Wardrobe breakdown Prop list Tech table layout Ideal layout of the PSM's calling desk Cues to begin dry tech Dry tech goals Tech rehearsal goals Musical calling script Dance calling script Daily performance report Weekly stage manager's report Weekly schedule Cast history forms Commercial shoot schedule

Contracts for the Film and Television Industry is an invaluable collection of sample entertainment contracts accompanied by legalese-free discussions of their key concepts and terms. The third edition of this popular handbook is revised and expanded (adding 18 new contracts) making it the ultimate entertainment-law guide for all independent filmmakers, who, armed with it, can save themselves thousands of dollars in legal fees. Contracts for the Film and Television Industry contains 80 contracts covering: Basic provisions of entertainment contracts; Depiction and copyright releases; Literary submissions and sales; Artist employment; Collaborations; Music; Financing; Production; Distribution and exhibition; Merchandising; Retainers; and much more, including a glossary of relevant terms.

Robert Wise, winner of multiple Academy Awards, is one of America's most celebrated directors. Wise's films include Curse of the Cat People, Blood on the Moon, The Set-Up, The Day the Earth Stood Still, Executive Suite, Somebody Up There Likes Me, I Want to Live!, West Side Story, The Sound of Music and Star Trek -- The Motion Picture. Each of Wise's films is presented here with photos, a complete cast and credits, a story synopsis and Robert Wise's own comments. Illustrated with 270 photographs.

"The first thorough guide to the subject. A unique and vital work for filmmakers." --Michael Deeley, Oscar-winning producer of The Deer Hunter and Blade Runner "Paul Lazarus's book is not only an essential tool for aspiring technicians, writers, directors, and producers, it is also informative and entertaining reading for anyone who loves the movies." --Richard Donner, producer and director, The Omen, Lethal Weapon, Conspiracy Theory This concise and well-written guide takes the novice producer (or interested film buff) on an informative and insightful tour of the film producer's world?from the development process through the various stages of production and the final marketing of a completed project. Lazarus discusses the role of the producer at each moment of a project's life and clearly explains the duties and roles of all the rest of a production's principals, crew, and staff and the primary legal, accounting, and creative concepts underlying any film production.

Four years after writing his first novel, The Big Sleep, Raymond Chandler found himself sitting in an office at Paramount Studios earning a weekly salary that amounted to almost half of what he had received film rights to his second novel, Farewell My Lovely. Despite the considerable rewards, he was always uncertain, often disgruntled, never at ease. Raymond Chandler in Hollywood is an entertaining and comprehensive assessment of Chandler's turbulent association with Hollywood, both as a screenwriter whose credits included Double Indemnity, The Blue Dahlia and Strangers on a Train and as the provider of source material -- his six filmed novels have so far yielded ten movies. Illustrated with over 100 rare stills, this book provides a special insight into the work of the world's most acclaimed writer of detective fiction.

African-American Screenwriters Now paints a vivid picture of the opportunities and obstacles that face today's black filmmakers. These writers discuss their influences, their goals, the writing process, alongside their comments on racial barriers and the portrayal of blacks in film. Interviewed are Robert Townsend, Charles Burnett, Lawrence Andries, Rusty Cundieff, Eric Daniel, Michael Dinwiddie, Carl Franklin, Julie Dash, Dwayne Johnson-Cochran, Yvette LeeBowser, Tim Reid, Carol Munday Lawrence, and Jeanne Williams."Fascinating words of wisdom and practical day-to-day advice from a broad range of talented and ground-breaking writers. Indispensable for emerging and professional screenwriters of any race". -- Trey Ellis, screenwriter, Tuskegee Airmen,

One of the most respected screenwriting teachers distills his many years of teaching at USC and UCLA into an insightful and witty primer that is both fresh and timeless. Froug does not rehash the time-worn formulas promoted in most other screenwriting books. Instead, he presents a practical approach to following one's own muse. Abundant examples from numerous films, this popular book will take the reader from a first urge to write through the completion of a well-wrought script.

Naked Playwriting is a complete playwriting course?from developing a theme through plotting and structuring a play, developing characters, creating dialog, formatting the script, and applying methods that aid the actual writing and rewriting processes. Naked Playwriting also offers sound guidance on marketing and submitting play scripts for both contests and production, protecting one's copyright, and working with directors and theater companies. Well-written, comprehensive, and filled with illustrative examples, Naked Playwriting includes both innovative and tried-and-true writing techniques, sage advice from veteran writers, a short study of the major schools of dramatic thought, and writing anecdotes. This one-of-a-kind playwriting book, which covers both the basics of playwriting and the practical advice on getting a play published and produced, will help both novices and working writers discover and improve their playwriting skills and see their plays performed on a stage.

The show runner is the television producer who commands a show's moment-to-moment, day-to-day details. The show runner hires and supervises the staff, decides what will be included in each show, coordinates the casting of each segment, makes sure that a show adheres to its budget, and oversees a production's flow of activities in conjunction with other producers, staff members, technical crews, and post-production personnel. The only book to deal with the subject, this lively, wide-ranging, informative book covers all aspects of show running variety and talk shows for television. Filled with examples from actual television shows, it covers ? making, pitching, and selling a pilot show; ? production development; ? a show runner's duties and weekly schedule; ? working with other members of a production's staff and crew; ? producing a season of shows.

This is the first book to fully integrate the technical aspects of screen directing with practical methods for directing actors, deeply and carefully exploring how these two primary aspects of the director''s craft work together. Viewed from a perspective that seeks a balance successful work with actors and technically high-level production values, the complete directing process is discussed in detail from the start of script development through the delivery of a finished project covering every aspect of preparation and decision-making with solid background information, practical suggestions, and clear illustrations. Topics include: Project development; Screenplay analysis; Choosing and working with a production team; Auditioning and casting; Script preparation; Using the language of acting; Working with a set; Understanding screen acting styles; Conducting a rehearsal; Blocking camera and actor moves; Using improvisation; Working with storyboards; The Hollywood continuity style; Choosing camera shots and lighting; Multi-camera directing; Preparing for each day''s shoot; Editing and working with editors and much more.

Stephen Book is a top Hollywood acting coach and teacher and a theatre director. His students have won Oscars, Emmys, Tonys, Obies, and Grammys. Thirteen of his present or former students are featured in either starring roles or as cast regulars in the current primetime television schedule. This book contains film and television scenes in which Book-coached actors, used his Improvisation Technique to create their performances. These scenes, showing the actors' performance choices, demonstrate the use of Improvisation Technique in different genres of acting. Well-known theatre and film scenes are included, as well as scenes from such TV shows as 'Frasier', 'Melrose Place', 'Star Trek: Voyager', 'LA Law' and 'The Practice'.

The Comic Toolbox is a straightforward, often humorous workbook approach to creative problem solving. Vorhaus offers writers and comics, the tools of the trade -- "clash of context, " "tension and release, "the law of comic opposites, " "the wildly inappropriate response" and more. Readers will learn that comedy = truth and pain -- the essence of the comic situation -- and that fear is the biggest roadblock to comedy. Kill your ferocious editor within, and rich, useful comic ideas will flow.

This unique magnum opus -- 640 pages and 1,500 illustrations -- of the visual narrative techniques that form the "language of filmmaking has found an avid audience among student filmmakers everywhere. This "language" is basic to the very positioning and moving of players and cameras, as well as the sequencing and pacing of images. It does not date as new technologies alter the means of capturing images on film and tape. Basic to the very scripting of a scene or planning of a shoot Arijon's visual narrative formulas will enlighten anyone involved in the film industry -- including producers, directors, writers and animators etc.

This unusual screenwriting book takes up where William Froug's earlier books left off. It offers the reader a tapestry of short essays and in-depth interviews with top screenwriters. Froug's essays cover such topics as avoiding the obvious, the birth of ideas, the process of rewriting, dealing with writer's block, creativity and spontaneity, handling rejection, breaking the screenwriting "rules, " and episodic forms. The interview subjects are: Frank Darabont (The Shawshank Redemption), Callie Khourie (Thelma & Louise), Eric Roth (Forrest Gump), Ruth Prawer Jhabvala (A Room with a View), David Peoples (The Unforgiven), Janet People (12 Monkeys), Bo Goldman (One Flew Over the Cuckoo's Nest), Laurence Dworet (Outbreak), Stuart Kaminsky (Once Upon a Time in America), Larry Gelbart (Tootsie). Zen and the Art of Screenwriting is a fresh, insightful, informative and entertaining read for both novice and veteran screenwriters. William Froug is an Emmy-winning writer-producer whose television credits include "Playhouse 90" and "The Twilight Zone" He was named Producer of the Year in 1956 by the Producers Guild of America and received the Writers Guild of America's Valentine Davies Award in 1987. He is a professor emeritus at UCLA, where he founded the present Film and Television Writing Program.