Naked Filmmaking: How To Make A Feature-Length Film - Without A Crew - For $10,000 Or Less

Naked Filmmaking: How To Make A Feature-Length Film - Without A Crew - For ,000 Or Less Review

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Naked Filmmaking: How To Make A Feature-Length Film - Without A Crew - For ,000 Or Less Feature

• ISBN13: 9781450510264
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Price Drop Special for the 2012 Holidays. Award-winning filmmaker Mike Carroll guides you through his proven step-by-step process of how to single-handedly make a full-length hour and a half to two hour movie and not go bankrupt or lose your house in the process. Mike has single-handedly produced three feature-length films as a writer-producer-director-cinematographer-sound recordist-editor and had all of his films play on the big screen in film festivals. In this book he walks you through the process involved in how to write a script for a film that will essentially require no money to make it, then into his unique style of casting, choosing the right camera, locations, filming and lighting, working with actors, microphones and how to record perfect audio, and how to start editing it all. Then how to get it out to film festivals & sell it to the world. You've read all the screenwriting books. Attended the writer's workshops. You've got that great, perfectly-formatted script for your Sundance debut film. Only one problem: nobody will read it. Thousands of scripts arrive in Hollywood every week - never to be heard from again. Stop banging your head against the wall. Make Your Movie Yourself. Illustrated with 150 photos - behind-the-scenes and frame blowups from the films themselves. Also including script extracts. Mike's films "Dog Soldiers," "Year" and "Nightbeats" are all available on DVD from Amazon and make perfect filmmaking companions to this book. Each DVD includes in-depth audio commentaries and "Year" and "Nightbeats" also include making-of documentaries and detailed alternative examples of how sequences were edited. For more information visit mikecarrollfilms

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Nov 29, 2011 17:14:01

H.P. Lovecraft Goes to the Movies: The Classic Stories That Inspired the Classic Horror Films

H.P. Lovecraft Goes to the Movies: The Classic Stories That Inspired the Classic Horror Films Review

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With more than 100 movies based on his writing, H.P. Lovecraft ranks among the most adapted authors in history--along with Edgar Allan Poe and Stephen King.  His unnervingly scary tales appeal to both diehard fans of horror and readers with mainstream tastes, and H.P. Lovecraft Goes to the Movies presents the very best of his filmed stories. Additionally, this unique collection provides an enlightening historical introduction, short headnotes for each story calling out interesting trivia, and an appendix with credits for each screen version.

 

THE STORIES INCLUDE:
"The Colour out of Space": filmed twice, once as a vehicle for Boris Karloff called Die, Monster, Die!
"The Dunwich Horror," also filmed two times, once with Dean Stockwell
"Pickman's Model" and "Cool Air": both for Rod Serling's Night Gallery TV program
"The Call of Cthulhu," which laid the foundation for the Cthulhu Mythos

 

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Nov 28, 2011 15:26:26

The Film Snob*s Dictionary: An Essential Lexicon of Filmological Knowledge

The Film Snob*s Dictionary: An Essential Lexicon of Filmological Knowledge Review

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From the same brain trust that brought you The Rock Snob*s Dictionary, the hilarious, bestselling guide to insiderist rock arcana, comes The Film Snob*s Dictionary, an informative and subversively funny A-to-Z reference guide to all that is held sacred by Film Snobs, those perverse creatures of the repertory cinema. No longer must you suffer silently as some clerk in a “Tod Browning’s Freaks” T-shirt bombards you with baffling allusions to “wire-fu” pictures, “Todd-AO process,” and “Sam Raimi.” By helping to close the knowledge gap between average moviegoers and incorrigible Snobs, the dictionary lets you in on hidden gems that film geeks have been hoarding (such as Douglas Sirk and Guy Maddin movies) while exposing the trash that Snobs inexplicably laud (e.g., most chop-socky films and Mexican wrestling pictures). Delightfully illustrated and handily organized in alphabetical order for quick reference, The Film Snob*s Dictionary is your fail-safe companion in the video store, the cineplex, or wherever insufferable Film Snobs congregate.

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Nov 27, 2011 05:53:36

Making Documentary Films and Videos: A Practical Guide to Planning, Filming, and Editing Documentaries

Making Documentary Films and Videos: A Practical Guide to Planning, Filming, and Editing Documentaries Review

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The classic guide to making documentaries, now revised and expanded for today's filmmaker
 

The second edition of Making Documentary Films and Videos fully updates the popular guidebook that has given readers around the world the knowledge and confidence to produce their first documentary film. It traces two main approaches--recording behavior and re-creating past events--and shows you how to be successful at each. Covering all the steps from concept to completion, with chapters on visual evidence; documentary ethics; writing for documentaries; budgeting; assembling a crew; film and sound recording; casting and directing actors and nonactors; and editing for the audience, this book can help you successfully bring to life the documentary you want to make.
The second edition includes
• a discussion of truth, "reality," and honesty in the current
   filmmaking environment
• new advice on how to get started in documentary filmmaking
• an expanded section on researching and writing the proposal,
   treatment, and script
• an exhaustive list of resources

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Nov 19, 2011 19:12:06

Judy: A Legendary Film Career

Judy: A Legendary Film Career Review

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Through her incomparable work on screen, stage, record, radio, and television, Judy Garland earned renown as “The World’s Greatest Entertainer.” It was as a motion picture star though, that she first rose to international fame. From her feature film debut in 1936 through the aptly titled I Could Go on Singing in 1963, she lit up the screen with a magic uniquely hers—and dazzled world-wide audiences of all ages.

 

Judy Garland starred in two dozen of the all-time classic movie musicals, among them A Star is Born, Meet Me in St. Louis, Babes in Arms, Easter Parade, For Me and My Gal, and The Harvey Girls. Her dramatic turns in Judgment at Nuremberg, The Clock, and A Child is Waiting won added acclaim. And perhaps most unforgettably, she starred as Dorothy Gale in the best-loved motion picture of all time: The Wizard of Oz.

 

Judy: A Legendary Film Career tells the story of Garland’s movie work in unprecedented detail. Hundreds of never-before-published photos, newly-assembled contemporary reviews, insight from her costars and coworkers, and production histories are provided for each film in which she appeared. Highlighting and complimenting the feature films is a definitive biography; an examination of Judy’s short subjects; details of the movies she did not complete; and an enthralling compendium of film projects for which she was considered or rumored. The text is illustrated by more than five hundred photos, encompassing poster art; costume tests; behind-the-scenes candids; onstage and backstage glimpses of her theatrical successes; and personal snapshots.

 

Judy is the exhaustively researched work of historian John Fricke. He celebrates as never before the heart, humor, and incandescent motion picture achievement of the one-and-only Judy Garland.

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Nov 17, 2011 04:43:05

Farber on Film: The Complete Film Writings of Manny Farber

Farber on Film: The Complete Film Writings of Manny Farber Review

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Manny Farber (1917-2008) was a unique figure among American movie critics. Champion of what he called "termite art" (focused, often eccentric virtuosity as opposed to "white elephant" monumentality), master of a one-of-a- kind prose style whose jazz-like phrasing and incandescent twists and turns made every review an adventure, he has long been revered by his peers. Susan Sontag called him "the liveliest, smartest, most original film critic this country ever produced"; for Peter Bogdanovich, he was "razor-sharp in his perceptions" and "never less than brilliant as a writer."

Farber was an early discoverer of many filmmakers later acclaimed as American masters: Val Lewton, Preston Sturges, Samuel Fuller, Raoul Walsh, Anthony Mann. A prodigiously gifted painter himself, he brought to his writing an artist's eye for what was on the screen. Alert to any filmmaker, no matter how marginal or unsung, who was "doing go-for-broke art and not caring what comes of it," he was uncompromising in his contempt for pretension and trendiness-for, as he put it, directors who "pin the viewer to the wall and slug him with wet towels of artiness and significance."

The excitement of his criticism, however, has less to do with his particular likes and dislikes than with the quality of attention he paid to each film as it unfolds, to the "chains of rapport and intimate knowledge" in its moment-to- moment reality. To transcribe that knowledge he created a prose that, in Robert Polito's words, allows for "oddities, muddles, crises, contradictions, dead ends, multiple alternatives, and divergent vistas." The result is critical essays that are themselves works of art.

Farber on Film contains this extraordinary body of work in its entirety for the first time, from his early and previously uncollected weekly reviews for The New Republic and The Nation to his brilliant later essays (some written in collaboration with his wife Patricia Patterson) on Godard, Fassbinder, Herzog, Scorsese, Altman, and others. Featuring an introduction by editor Robert Polito that examines in detail the stages of Farber's career and his enduring significance as writer and thinker, Farber on Film is a landmark volume that will be a classic in American criticism.

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Nov 10, 2011 03:19:06

Reservation Reelism: Redfacing, Visual Sovereignty, and Representations of Native Americans in Film

Reservation Reelism: Redfacing, Visual Sovereignty, and Representations of Native Americans in Film Review

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In this deeply engaging account Michelle H. Raheja offers the first book-length study of the Indigenous actors, directors, and spectators who helped shape Hollywood’s representation of Indigenous peoples. Since the era of silent films, Hollywood movies and visual culture generally have provided the primary representational field on which Indigenous images have been displayed to non-Native audiences. These films have been highly influential in shaping perceptions of Indigenous peoples as, for example, a dying race or as inherently unable or unwilling to adapt to change. However, films with Indigenous plots and subplots also signify at least some degree of Native presence in a culture that largely defines Native peoples as absent or separate.

 

Native actors, directors, and spectators have had a part in creating these cinematic representations and have thus complicated the dominant, and usually negative, messages about Native peoples that films portray. In Reservation Reelism Raheja examines the history of these Native actors, directors, and spectators, reveals their contributions, and attempts to create positive representations in film that reflect the complex and vibrant experiences of Native peoples and communities.

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Nov 01, 2011 22:58:06