Acknowledgments |
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xii | |
Introduction |
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xiii | |
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1 | (28) |
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1 | (1) |
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2 | (3) |
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5 | (1) |
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The process/the what if... |
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4 | (3) |
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Cards and outlines, journals and boxes |
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7 | (2) |
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9 | (2) |
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Research: it's all in the details |
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11 | (4) |
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Structure-, building the perfect beast |
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15 | (1) |
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Comedy structure: a funny thing happened... |
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15 | (1) |
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The driver's seat character versus story |
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16 | (1) |
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Creating unforgettable characters |
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17 | (1) |
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18 | (1) |
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From script to theme: what's it all about? |
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19 | (2) |
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Rewriting: making the good script great |
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21 | (3) |
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Close-up: the writer: Akiva Goldsman |
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24 | (3) |
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27 | (2) |
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2 The producer and the long run |
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29 | (29) |
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31 | (2) |
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The script: working with the writer |
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33 | (1) |
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But what if something goes wrong? |
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34 | (1) |
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The right "direction" for the vision team |
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35 | (1) |
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Collaboration, stars and "the vertical line" |
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36 | (1) |
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37 | (1) |
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So how does a producer get the money? |
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38 | (1) |
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Putting together the independent film |
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39 | (3) |
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No matter what, it takes a while |
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42 | (1) |
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The bridge over troubled waters |
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43 | (2) |
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45 | (1) |
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Postproduction and studio relations |
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46 | (2) |
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48 | (1) |
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49 | (1) |
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50 | (2) |
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Close-up: an interview with the producers: Brian Grazer, Ron Howard and Karen Kehela |
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52 | (5) |
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57 | (1) |
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3 The director: from vision to action |
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58 | (35) |
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Scripts and directors: choose me! |
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59 | (2) |
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It starts with the script |
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61 | (2) |
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63 | (1) |
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Research: getting inside the material world |
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64 | (1) |
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64 | (2) |
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"Every picture tells a story" |
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66 | (1) |
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67 | (2) |
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69 | (1) |
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Blocking and storyboarding |
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70 | (2) |
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72 | (1) |
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Rehearsal: searching for "slightly unrealized" |
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72 | (2) |
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74 | (3) |
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The moving camera: a matter of degrees |
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77 | (2) |
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79 | (2) |
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81 | (1) |
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Actors: the number one storytelling tool |
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82 | (3) |
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85 | (2) |
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Close-up: Ron Howard, director, A Beautiful Mind |
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87 | (4) |
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91 | (2) |
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4 The actor and the kindness of strangers |
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93 | (35) |
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95 | (2) |
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Forever known for the role |
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97 | (2) |
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99 | (1) |
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Research: you are the details |
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100 | (1) |
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101 | (3) |
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102 | (1) |
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Physical training for difficult roles |
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102 | (2) |
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104 | (2) |
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106 | (1) |
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107 | (2) |
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Rehearsal: the self-discovery channel |
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109 | (2) |
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111 | (3) |
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Energy and synergy: collaboration with other actors |
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114 | (1) |
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Clothes encounters: love and sex scenes |
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115 | (2) |
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Playing a supporting role |
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117 | (1) |
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Collaboration with the director |
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118 | (3) |
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Collaboration and the actor: the kindness of strangers |
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121 | (1) |
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121 | (1) |
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Close-up: the actors: Russell Crowe and Jennifer Connelly |
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122 | (4) |
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126 | (2) |
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5 Behind the scenes: ready on the set |
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128 | (37) |
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The unit production manager |
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128 | (1) |
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128 | (3) |
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129 | (1) |
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130 | (1) |
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What are the challenges to the job? |
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130 | (1) |
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What are the qualities needed to be a UPM? |
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131 | (1) |
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131 | (1) |
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131 | (5) |
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On being a production designer |
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132 | (1) |
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133 | (1) |
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133 | (1) |
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134 | (1) |
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135 | (1) |
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136 | (1) |
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136 | (5) |
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137 | (1) |
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137 | (1) |
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138 | (1) |
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139 | (1) |
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139 | (1) |
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140 | (1) |
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140 | (1) |
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141 | (6) |
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141 | (1) |
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142 | (1) |
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Moving camera, moving pictures |
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143 | (1) |
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143 | (1) |
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143 | (5) |
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144 | (1) |
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145 | (1) |
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146 | (1) |
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146 | (1) |
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147 | (1) |
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148 | (1) |
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148 | (3) |
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149 | (1) |
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150 | (1) |
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150 | (1) |
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151 | (1) |
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The world of special effects |
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151 | (7) |
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153 | (1) |
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Live action versus special effects |
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154 | (1) |
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State of the art: Death Becomes Her |
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155 | (2) |
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157 | (1) |
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158 | (1) |
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Close-up: the production designer: Wynn Thomas |
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158 | (3) |
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Close-up: director of photography: Roger Deakins |
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161 | (2) |
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Close-up: makeup: Greg Cannon |
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163 | (1) |
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Close-up: special effects: Kevin Mac |
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163 | (2) |
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6 The editor: a way of seeing |
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165 | (21) |
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166 | (1) |
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167 | (1) |
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168 | (1) |
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168 | (2) |
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Focusing the theme, playing with style and rhythm |
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170 | (1) |
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171 | (1) |
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Collaboration with the actor |
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172 | (2) |
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The first assemblage: the editor's cut |
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174 | (1) |
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Collaboration with the director |
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175 | (1) |
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176 | (2) |
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JFK: the ultimate challenge |
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178 | (2) |
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180 | (1) |
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181 | (1) |
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The audience; the final collaborator |
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182 | (1) |
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Close-up: the editors: Mike Hill and Dan Hanley |
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183 | (2) |
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185 | (1) |
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7 The composer: translating emotions |
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186 | (24) |
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188 | (1) |
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188 | (2) |
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Going last: the final influence |
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190 | (1) |
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191 | (1) |
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192 | (3) |
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195 | (1) |
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195 | (1) |
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What is the composer doing and how does the composer do it? |
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196 | (1) |
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197 | (1) |
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Music and pictures: together at last! |
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198 | (3) |
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The score and more: interesting choices |
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201 | (4) |
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205 | (1) |
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205 | (1) |
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205 | (1) |
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Close-up: the composer: James Horner |
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206 | (3) |
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209 | (1) |
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8 The audience: the last collaborator |
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210 | (5) |
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Quantitative response: the preview factor |
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211 | (1) |
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Qualitative response: social responsibility |
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212 | (3) |
Index |
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215 | |