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Collaborative Art of Filmmaking: From Script to Screen 3rd edition [Minkštas viršelis]

(Independent script consultant, USA)
  • Formatas: Paperback / softback, 220 pages, aukštis x plotis: 234x156 mm, weight: 560 g
  • Išleidimo metai: 12-Feb-2019
  • Leidėjas: Routledge
  • ISBN-10: 0815382995
  • ISBN-13: 9780815382997
Kitos knygos pagal šią temą:
  • Formatas: Paperback / softback, 220 pages, aukštis x plotis: 234x156 mm, weight: 560 g
  • Išleidimo metai: 12-Feb-2019
  • Leidėjas: Routledge
  • ISBN-10: 0815382995
  • ISBN-13: 9780815382997
Kitos knygos pagal šią temą:

The Collaborative Art of Filmmaking: From Script to Screen explores what goes into the making of Hollywood’s greatest motion pictures. Join veteran script consultant Linda Seger as she examines contemporary and classic screenplays on their perilous journey from script to screen. This fully revised and updated edition includes interviews with over 80 well-known artists in their fields including writers, producers, directors, actors, editors, composers, and production designers. Their discussions about the art and craft and filmmaking - including how and why they make their decisions - provides filmmaking and screenwriting students and professionals with the ultimate guide to creating the best possible ‘blueprint’ for a film and to also fully understand the artistic and technical decisions being made by all those involved in the process.

Recenzijos

'A very thorough and fascinating look at the whole filmmaking process - the art and the craft. Highly readable and interesting for filmmakers or beginners with a special emphasis on the power of collaboration. A well researched insiders guide - like taking the hand of accomplished filmmakers and learning from the best.'

Ron Howard, Director and Co-Founder of Imagine Entertainment

'An invaluable overview of how movies are made, from script through release, brought to life through revealing interviews with the people involved, including producers, writers, directors, and the many artists behind and in front of the camera.'

Joanna E. Rapf, Professor Emerita, University of Oklahoma

Praise for the Previous Editions:

This book does an excellent job of clarifying and defining the often misunderstood role of the producer in the filmmaking process. Lively and well written, its a unique resource for film professionals and movie buffs alike. We need more books like it

Kathleen Kennedy, E.T., Solo: A Star Wars Story, Jurassic Park

Insightful, instructive and a great read to boot.

Akiva Goldsman, A Beautiful Mind, The Da Vinci Code, Batman and Robin

A classic of its kind. Readers are unlikely to ever see the movies in quite the same way again.

David Puttnam, Producer, The Killing Fields, Chariots of Fire

A treasure trove full of insight and inspiration that every writer will cherish. I couldnt put it down

Dale Launer, Screenwriter, Ruthless People, My Cousin Vinnie

This book unites us all in the context of our common goal: to put the best possible story up on the screen.

Carol Littleton, Editor, E.T., Wyatt Earp "A very thorough and fascinating look at the whole filmmaking process - the art and the craft. Highly readable and interesting for filmmakers or beginners with a special emphasis on the power of collaboration. A well researched insiders guide - like taking the hand of accomplished filmmakers and learning from the best."

Ron Howard, Director and Co-Founder of Imagine Entertainment

"An invaluable overview of how movies are made, from script through release, brought to life through revealing interviews with the people involved, including producers, writers, directors, and the many artists behind and in front of the camera."

Joanna E. Rapf, Professor Emerita, University of Oklahoma

Praise for the Previous Editions:

"This book does an excellent job of clarifying and defining the often misunderstood role of the producer in the filmmaking process. Lively and well written, its a unique resource for film professionals and movie buffs alike. We need more books like it."

Kathleen Kennedy, E.T., Solo: A Star Wars Story, Jurassic Park

"Insightful, instructive and a great read to boot."

Akiva Goldsman, A Beautiful Mind, The Da Vinci Code, Batman & Robin

"A classic of its kind. Readers are unlikely to ever see the movies in quite the same way again."

David Puttnam, Producer, The Killing Fields, Chariots of Fire

"A treasure trove full of insight and inspiration that every writer will cherish. I couldnt put it down."

Dale Launer, Screenwriter, Ruthless People, My Cousin Vinnie

"This book unites us all in the context of our common goal: to put the best possible story up on the screen."

Carol Littleton, Editor, E.T., Wyatt Earp

Acknowledgments xii
Introduction xiii
1 Doing the write thing 1(28)
in the beginning
1(1)
Going it atone
2(1)
Footprints in the dark
3(1)
The process/The what if
4(3)
Cards and outlines, journals and boxes
7(2)
Creating the adaptation
9(2)
Research: it's all in the details
11(2)
Structure: building the perfect beast
13(2)
Comedy structure: a funny thing happened
15(1)
The driver's seat: character versus story
16(1)
Creating unforgettable characters
17(1)
Getting it on the page
18(1)
From script to theme: what's it all about?
19(2)
Rewriting: making the good script great
21(3)
Close-up: the writer: Akiva Goldsman
24(3)
Notes
27(2)
2 The producer and the long run 29(29)
The first decision
31(2)
The script: working with the writer
33(1)
But what if something goes wrong?
34(1)
The right "direction" for the vision team
35(1)
Collaboration, stars and "the vertical line"
36(1)
Other people's money
37(1)
So how does a producer get the money?
38(1)
Putting together the independent film
39(3)
No matter what, it takes a while
42(1)
The bridge over troubled waters
43(2)
Producers on board!
45(1)
Postproduction and studio relations
46(2)
To market, to market...
48(1)
The revenue game
49(1)
At the end of the day
50(2)
Close-up: an interview with the producers: Brian Grazer, Ron Howard and Karen Kehela
52(5)
Notes
57(1)
3 The director: from vision to action 58(35)
Scripts and directors: choose me!
59(2)
It starts with the script
61(2)
Finding the style
63(1)
Research: getting inside the material world
64(1)
Shaping the script
64(2)
"Every picture tells a story"
66(1)
Myth and meaning
67(2)
Finding the rhythm
69(1)
Blocking and storyboarding
70(2)
The casting quandary
72(1)
Rehearsal: searching for "slightly unrealized"
72(2)
Lights, camera, action!
74(3)
The moving camera: a matter of degrees
77(2)
Problems, problems
79(2)
Ready on the set?
81(1)
Actors: the number one storytelling tool
82(3)
The collaborative art
85(2)
Close-up: Ron Howard, director, A Beautiful Mind
87(4)
Notes
91(2)
4 The actor and the kindness of strangers 93(35)
Finding the write stuff
95(2)
Forever known for the role
97(2)
Scripts and tips
99(1)
Research: you are the details
100(1)
Preparation for the role
101(3)
Accents: say what?
102(1)
Physical training for difficult roles
102(2)
The inside trick
104(2)
Being there
106(1)
"You must remember this"
107(2)
Rehearsal: the self-discovery channel
109(2)
Ready on the set
111(3)
Energy and synergy: collaboration with other actors
114(1)
Clothes encounters: love and sex scenes
115(2)
Playing a supporting role
117(1)
Collaboration with the director
118(3)
Collaboration and the actor: the kindness of strangers
121(1)
After the shoot
121(1)
Close-up: the actors: Russell Crowe and Jennifer Connelly
122(4)
Notes
126(2)
5 Behind the scenes: ready on the set 128(37)
The unit production manager
128(3)
Managing the team
128(3)
How do you become a LJ PM?
129(1)
Who hires the UPM?
130(1)
What are the challenges to the job?
130(1)
What are the qualities needed to be a UPM?
131(1)
Production designer
131(5)
"Dream a little dream"
131(5)
On being a production designer
132(1)
From script to set
133(1)
Preparation
133(1)
The Last Emperor
134(1)
Toys
135(1)
Costume design
136(5)
The lines of illusion
136(5)
Research
137(1)
Tricks of the trade
137(1)
Pretty Woman
138(1)
Action pictures
139(1)
Take-offs and put-ons
139(1)
Make them look good!
140(1)
Collaboration
140(1)
Photographic design
141(2)
The cinematographer
141(2)
Preparation
142(1)
Moving camera, moving pictures
143(1)
Makeup design
143(5)
The subtle art
143(5)
Working with the stars
144(1)
On the set
145(1)
The no-makeup makeup
146(1)
In case of violence
146(1)
Special challenges
147(1)
Sound design
148(3)
"I con hear it now"
148(3)
Creative sound
149(1)
Body Heat
150(1)
Children of a Lesser God
150(1)
Illusion design
151(7)
The world of special effects
151(7)
Creating visual effects
153(1)
Live action versus special effects
154(1)
State of the art: Death Becomes Her
155(2)
Its always complicated
157(1)
Cause and effects
158(1)
Close-up: the production designer: Wynn Thomas
158(3)
Close-up: director of photography: Roger Deakins
161(2)
Close-up: makeup: Greg Cannon
163(1)
Close-up: special effects: Kevin Mac
163(2)
6 The editor: a way of seeing 165(21)
Now did it all begin?
166(1)
From script to screen
167(1)
Getting started
168(600)
Looking at the dailies
768
Focusing the theme, playing with style and rhythm
170(1)
Now much to show?
171(1)
Collaboration with the actor
172(2)
The first assemblage: the editor's cut
174(1)
Collaboration with the director
175(1)
The director's cut
176(2)
JFK; the ultimate challenge
178(2)
Working with disaster
180(1)
The preview process
181(1)
The audience: the final collaborator
182(1)
Close-up: the editors: Mike Hill and Dan Hanley
183(2)
Notes
185(1)
7 The composer: translating emotions 186(24)
Preparation for the job
188(1)
To read or not to read?
188(2)
Going last: the final influence
190(1)
Telling the story
191(1)
The temp track
192(1)
The spotting session
193(2)
Getting it down
195(1)
What is the composer doing and how does the composer do it?
196(1)
The theme's the thing
197(1)
Music and pictures: together at last!
198(3)
The score and more: interesting choices
201(2)
Take it from the top
203(1)
Making final decisions
204(1)
Emotion in motion
205(1)
Close-up: the composer: James Horner
206(3)
Notes
209(1)
8 The audience: the last collaborator 210(5)
Quantitative response: the preview factor
211(1)
Qualitative response: social responsibility
212(3)
Index 215
Linda Seger is the author of fifteen books (many spanning several editions and numerous foreign translations). Nine of these books are on screenwriting and filmmaking, including the best-selling Making a Good Script Great, Creating Unforgettable Characters, and Writing Subtext. She has consulted on over 2,000 scripts including over 50 produced feature films and over 35 produced television projects, and has given seminars in over 30 countries around the world.