Filmmaking and production Books

Book SynopsisRidley Scott returns to the universe he created with Alien: Covenant, a new chapter in the groundbreaking Alien franchise.The crew of the colony ship Covenant discover what they think is an uncharted paradise, but it is actually a dark, dangerous world, whose sole inhabitant is the synthetic David, survivor of the doomed Prometheus expedition.Alien: Covenant - The Art of the Film reveals how the visual style of the film evolved, with breathtaking concept art accompanied by insight and interviews with key cast and crew.This official companion book explores all the major environments, creatures and technology that feature in this exciting new movie. It explores the intricate technology of the eponymous colony ship and its auxiliary vehicles, designs of the crew's uniforms and weaponry, artwork of key locations and breathtaking alien art imagery in amazing detail.Packed with fascinating sketches, blueprints, diagrams, full-color artwork, final film frames and behind-the-scenes shots from the set, Alien: Covenant - The Art of the Film is the ultimate literary companion to this highly anticipated movie event.TM & (c) 2017 Twentieth Century Fox Film Corporation. All rights reserved.Trade Review“a staggeringly beautiful coffee table book collecting some of the movie’s most eye-stimulating imagery” - ComingSoon.net“This is a great art book that stands out from most as it has so many quotes and thoughts from the actors and art team. It has a decidedly human perspective that makes it a must read on top of a must see.” AiPt!“Alien fans can never have too much Alien in their life, and this will be another lovely piece of the evolutionary time capsule that grows the Xenomorph and fan base until we, too, are the perfect organism.” Hey Poor Player“leaves fans wanting more and anxiously awaiting the next film.” GeekDad.com“With its well-written, in-depth look at the making of the film and tons of fantastic concept design images, The Art and Making of Alien: Covenant makes for a great compendium to the film and is an easy recommend” Film Pulse “a must own for the cult following this movie is already gathering” Joblo (Arrow in the Head)“For anyone looking to delve even deeper into the further adventures of Michael Fassbender's David and his encounter with the crew of the Covenant, this book is obviously for you.” IGN“The detailed, colorful pictures, and cast/crew interviews are well worth the price” Latino Review“Ridley Scott has an incredible team of craftsmen who work around him and this volume is proof of their indomitable skill.” rogerebert.com“The Art and Making of Alien: Covenant is another fine art book from Titan Books, and it will surely satisfy fans of the film, as well as the medium with its deep dives into Covenant's production processes.” Entertainment Buddha “still more than a handful of images in the book that are still haunting my brain.” fangirlnation.com “I am a sucker for large coffee table books and this one will remain proudly displayed in my office. Whether or not the film itself made the grade for you, there’s no doubt this book passes with flying colors.” - Ravenous Monster“gorgeous film stills and character concepts” - Film Stage“Simon Ward delivered a perfect tour on what went into the making of Alien: Covenant. I, for one, found a richer experience than I had hoped for.” scifimoviepage.com

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Book SynopsisUniversal Studios' JAWS is one of the most compelling and enduring movies ever made. Thrilling generations of audiences worldwide with its tight plot, memorable characters, and ground-breaking special effects - those that brought the great white shark to terrifying life even after many said it couldn't be done. Buoyed by an energetic young director, Steven Spielberg, and through collaboration with trusted and equally determined production designer Joe Alves, the two proved integral to the making of this classic motion picture. Joe Alves: Designing JAWS provides the production designer's view into the development of this world-renowned film. Included are Joes' stunning pre-production illustrations; handwritten location and production notes; on-set photographs; blueprints of the shark's design and first-time publication of his complete catalogue of storyboards used to chart the heart-stopping action. Painstakingly compiled and written by Joe Alves' biographer and JAWS expert, Dennis Prince, Joe Alves: Designing JAWS is a must-have addition to every film reference library.Trade Review"the most up-my-alley making of release this year" - Birth.Movies.Death "It's a quality work...fans of the film won't want to miss it" - Borg.com "beautiful, nostalgic" - Slice of SciFi

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Book SynopsisFollowing the global success of Godzilla and Kong: Skull Island comes the next chapter in Warner Bros. Pictures’ and Legendary Pictures’ cinematic Monsterverse, an epic action adventure that pits Godzilla against some of the most popular monsters in pop culture history. The new story follows the heroic efforts of the crypto-zoological agency Monarch as its members face off against a battery of god-sized monsters, including the mighty Godzilla, who collides with Mothra, Rodan, and his ultimate nemesis, the three-headed King Ghidorah. When these ancient super-species—thought to be mere myths—rise again, they all vie for supremacy, leaving humanity’s very existence hanging in the balance. The Art of Godzilla: King of the Monsters is an in-depth behind the scenes look at the epic movie. Packed with concept art, on-set photography, and insight from key members of the production—including director Michael Dougherty—this beautiful book tells the story of how Godzilla, Mothra, Rodan, and King Ghidorah were brought to terrifying life.Trade Review“A hefty book that will keep kaiju fans staring for long hours into the night, The Art of Godzilla: King of the Monsters is a delight.” - Adventures in Poor Taste“particularly fun for anyone who is a fan of concept art and mega-monsters” - Borg.com “stunningly gorgeous” - Fangirl Nation“a must have for anyone interested in making films or if you’re a Godzilla fan - or both!” - Toho Kingdon“a fantastic and informative book for those who enjoy and are interested in the process of making movies” - Cinema Sentries “extremely well done with stunning artwork and interesting looks at the decisions made and roads not taken” - Forces of Geek “A labor of love through and through... A great collector’s item for any fan of the Godzilla franchise. It ties well into the film of which it was created and it gives lots of details.” - Geekisphere

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Book SynopsisAcclaimed as one of the best books ever published on the subject, "A Complete Guide to Special Effects Makeup" covers everything from basic facial makeup styles, and simple scars and gashes, to masks, molds and cast-making: everything you need to know to create vampires, zombies and other fantastical characters. This title is presented with clear step by step instructions and hundreds of color photos.

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Book SynopsisAnimation is one of the hottest and most creative areas of film-making today .

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Book SynopsisWinner of 3 Oscars [registered] and the highest grossing film of its time, "Jaws" was a phenomenon. This book focuses on how 26-years-old Steven Spielberg transformed Peter Benchley's best-selling novel into the classic film it became.Trade Review"The Jaws Log is like a little movie director bible. Whenever I'm having a bad day at work, I got back and read a chapter...and thank the Lord I'm not shooting on the ocean." -- -Bryan Singer, Director, The Usual Suspects, X-Men "Carl Gottlieb's work is as entertaining as the movie it is about. In fact, you have not had the full Jaws experience until you have read, make that devoured, this wonderful book." -- -Rod Lurie, Director, The Contender "Like Jonah writing from the belly of the whale, Carl Gottlieb's journal of the process of making Jaws comes from the unique perspective of one of the major players in the collaboration that resulted in Spielberg's classic movie." -- -John Landis, Director, The Blues Brothers

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Book SynopsisThe Northman: A Call to the Gods is the official look at how this epic Viking revenge thriller was conceived, written, cast, and produced by acclaimed director Robert Eggers. Set against the ruthless backdrop of tenth-century Norse territory, The Northman is an epic Viking revenge thriller by acclaimed director Robert Eggers (The Witch [2015] and The Lighthouse [2019]), featuring an all-star cast including Alexander Skarsgard, Nicole Kidman, Ethan Hawke, Anya Taylor-Joy, Willem Dafoe, and Bjoerk. Compiled from fascinating interviews with the cast and crew, inspiring storyboards, exclusive behind-the-scenes photographs-including the director's own firsthand account of his creative processes in writing and directing-The Northman: A Call to the Gods explores the cold and forbidding world of the Vikings, their customs, traditions, and relentless thirst for battle and vengeance that inspired Eggers to write this compelling Norse saga. Learn how the wardrobe department recreated the intricate chainmail armor and costumes of Viking berserkers and warriors; and delve into the research behind the art department's visual inspiration for replicating the villages of Hrafnsey and Freysdalur.

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Book SynopsisAnimation is one of the hottest and most creative areas of film-making today . During his more than

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Book SynopsisA behind-the-scenes look at the extraordinary and meticulous design of graphic objects for film setsTrade Review'Annie makes the unreal seem hyperreal, and the real more supremely alive and utterly magical.' – Jeff Goldblum 'This is the notebook of an artisan who persistently moves forward on her own path – a wonderful guide demonstrating how on-screen realities are constructed out of forgery. After working as a production designer for many years, it's exciting to find a book dedicated to the essence of graphic design in film. It will be a great help to many juniors in the industry. No one should turn down the chance to peek inside a senior's notebook!' – Ha-jun Lee, Oscar-nominated production designer of Parasite 'A delightful, zoomed-in look at the behind-the-scenes work that goes into making props for movies. A treat for graphic design geeks, film nerds, and all readers interested in the creative process.' – Austin Kleon, the New York Times bestselling author of Steal Like an Artist 'Annie Atkins has an extraordinary gift for inventing graphic design for things real and imagined. Her work elevates the mundane into the irresistible. As prop designer, she expertly transforms everyday documents, passports, letterheads, telegrams, milk bottle tops, street signs, prison escape maps, and tea stains into movie stars.' – Louise Fili, graphic designer and author 'As much a love letter to the magic of movie-making as it is a showcase for Atkins herself. She's passionate about the tiny, telling details ... and just as passionate about the graft of her craft: there are spreads in her book devoted to everything from her collections of ephemera... to recipes for ageing paper ... to top it off, the book opens with a love letter to Atkins herself from none other than Jeff Goldblum.' – Observer 'Letters, signs, books, all manner of products, you name it: if they're in a film, particularly one not set in the present, they're all specially created by a graphic designer, and behind all that design is star creator Annie Atkins.' – Sunday Business Post Magazine 'Dublin-based graphic designer Annie Atkins explores her role in helping create a believable narrative for some of the world's best-loved stories.' – Design Week 'Dedicated to the craft of prop-making.' – GQ 'In her debut monograph, Atkins invites readers to dive into the detective work that goes into creating graphic props for films. With 200 color illustrations and abundant detail, this book takes readers behind the scenes to show the research and imagination behind the passports, tickets, packaging, and newspapers that populate your favorite movie sets.' – MyDomaine '...a riveting, behind-the-scenes look into the ultra-detailed process of creating passports, street signs, tea stains, and hundreds of other on-screen ephemera. Opening with a love letter to Atkins from none other than Jeff Goldblum, this unforgettable book is at once a treasure for film buffs and a visual feast.' – Esquire 'An extraordinary read for any film buff or budding designer.' – Elephant Magazine

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Book SynopsisThis Very Short Introduction provides a lucid, accessible, and engaging overview of the subject of film music, from the pragmatic to the theoretical and from the historical to the personal. It is informed throughout by a global perspective which understands film music as an international phenomenon.Trade ReviewKathryn Kalinak has emerged as one of the freshest and most authoritative commentatory on film music of her generation. * Michael Quinn, Classical Music *Both an admirable thumbnail portrait of the history of film music and an impressive precis of key issues * Michael Quinn, Classical Music *You won't find a better primer than this pocket-size one...Her scope is enorous. * Classic FM Magazine, *Her scope is enormous...and her tone is intelligent, invigorating and well-informed. Superb. * Classic FM Magazine, *Table of Contents1. What does film music do? 2. How does film music work? 3. Why does film music work? 4. A History of early film music: from the beginnings to the synchronized score 5. A History of Film Music in the Sound Era: The Twentieth Century 6. Composers and their Craft 7. Popular Music and Film 8. Closing Credits

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Book SynopsisDive into the fascinating world of movie make-up effects with this stunning illustrated oral history of the art form. Masters of Make-Up Effects is a celebration of make-up artists and acclaimed make-up effects from the world of film and television. Authors Howard Berger and Marshall Julius have gleaned untold stories from the sets of cult classics (Planet of the Apes, An American Werewolf in London, The Thing), fan-favourite film and TV franchises (Star Trek, Star Wars, Harry Potter and the MCU) and modern blockbusters like Dune to chart the fascinating evolution of an industry.Lavishly illustrated with hundreds of behind-the-scenes photos, many of which have never before been seen in print or on social media, it showcases some of the most iconic make-up effects of all time, while revealing how they came to be in the artists' own words.Featuring a foreword by Guillermo del Toro, an afterword by Seth MacFarlane, and contributions from more than 50 make-up effects legends, as well as iconic actors including Doug Jones, Robert Englund, James McAvoy and Doug Bradley, and directors Mick Garris and John Landis, Masters of Make-Up Effects is the most complete book on movie make-up history ever assembled, and a must read for cinema fans everywhere.Table of ContentsForeword by Guillermo del Toro • Hall of Fame • What Dreams are Made of • Breaking In • The Seed of Invention • The Monster Club • Featured Creatures • The Gore the Merrier • They're Alive! • Making Faces • To Glue or Not to Glue • Teamwork Makes the Dream Work • Let's Do the Time Warp • Reel Lives • War Stories • Lessons Learned • Afterword by Seth MacFarlane.

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Book SynopsisOver nearly sixty years, Agnès Varda (b. 1928) has given interviews that are revealing not only of her work, but of her remarkably ambiguous status. She has been called the ""Mother of the New Wave"" but suffered for many years for never having been completely accepted by the cinematic establishment in France. Varda's first film, La Pointe Courte (1954), displayed many of the characteristics of the two later films that launched the New Wave, Truffaut's 400 Blows and Godard's Breathless. In a low-budget film, using (as yet) unknown actors and working entirely outside the prevailing studio system, Varda completely abandoned the ""tradition of quality"" that Truffaut was at that very time condemning in the pages of Cahiers du cinema. Her work, however, was not ""discovered"" until after Truffaut and Godard had broken onto the scene in 1959. Varda's next film, Cleo from 5 to 7, attracted considerably more attention and was selected as France's official entry for the Festival in Cannes. Ultimately, however, this film and her work for the next fifty years continued to be overshadowed by her more famous male friends, many of whom she mentored and advised. Her films have finally earned recognition as deeply probing and fundamental to the growing awareness in France of women's issues and the role of women in the cinema. ""I'm not philosophical,"" she says, ""not metaphysical. Feelings are the ground on which people can be led to think about things. I try to show everything that happens in such a way and ask questions so as to leave the viewers free to make their own judgments."" The panoply of interviews here emphasize her core belief that ""we never stop learning"" and reveal the wealth of ways to answer her questions.

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Book SynopsisIn The Art of Film, legendary Art Director Terry Ackland-Snow lifts the lid on his extraordinary career in cinema

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Book SynopsisThis book provides the most complete account of Paul Thomas Anderson’s career to date, encompassing his evolution from a self-anointed auteur to one of his generation’s most distinctive voices. It is at once an unconventional primer on Anderson’s films and a provocative reframing of what makes his work so essential.Trade ReviewThe Cinema of Paul Thomas Anderson is a feast of a book. With consummate clarity and inventiveness, Warren brings the films into rich, often fractious dialogue with one another. The results are extraordinarily illuminating. The entire book is infused with the kind of energy and delectable unpredictability that I associate with Anderson’s art at its best. Warren’s study shakes up conventional approaches to director-centered analysis in a fashion that will have lasting influence. -- George Toles, University of Manitoba, author of Paul Thomas AndersonEthan Warren should be commended for his razor-sharp analysis and rich knowledge of Anderson’s unique perspective and worldview, as well as Anderson’s contribution to American cinema. Warren leaves no stone unturned in this book, and his insightful enthusiasm makes these multifaceted films come alive through his careful study of Anderson’s life and influences. -- Whitney Crothers Dilley, author of The Cinema of Wes AndersonSmart and compelling. -- Christopher Schobert * The Film Stage *[Warren] brings his cinephilic eloquence to bear upon unknotting the enigmatic plots of, or characters in, Anderson’s films as well as Anderson’s ethos. To be sure, this is not a film theory text. Rather, Warren’s biography holds this boy genius (or brat) up to the light like a prism and slowly allows every refraction of Anderson to shine. -- Hannah Bonner * Senses of Cinema *Table of ContentsAcknowledgmentsForeword, by Lindsay ZoladzIntroduction1. On Paul Thomas Anderson’s Career to Date2. On Places and Spaces3. On Influence4. On Domesticity5. On Screenwriting6. On Gender Performance7. On Alienation Effects8. On Faith and Belief9. On Music Videos10. On HistoryNotesIndex

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Book SynopsisThis book, written by an industry expert, covers the duties of an assistant editor over the course of an entire feature film.Throughout the book, the author provides key insights and advice from years of experience which will help assistant editors hit the ground running, keep up the pace, and continue thinking critically and creatively. The easy-to-navigate structure loosely follows that of the typical job and outlines four phases: Dailies, Directorâs Cut, Screenings, and Finishing. Discussed therein are also passages which outline Pre-Production, the first day on the job, preparing for additional photography as well as wrap and archive.Special features include screenshots, a detailed breakdown of the dailies process as viewed by an assistant editor, a differentiation between the first and second assistant editors and their responsibilities, and a forward-looking technological section opining on emerging technologies. Also included are advanced tips for interacting wi

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Book SynopsisThe Costumes of Hollywood details the design, creation, and influence of over 100 ensembles from some of the most iconic designers, films, and roles in Hollywood history, spanning the 1920s through the early 21st century.All costumes featured are from The Collection of Motion Picture Costume Design, one of the worldâs largest private collections, curated over thirty-five years by leading Hollywood costume historian and archivist, Larry McQueen. The book presents full costumes on display in addition to close-ups, and rarely seen interior details of some garments. Iconic costumes, including many with Academy Award nominations, from Some Like It Hot, Hello Dolly, Cabaret, Rear Window, Ben Hur, Mildred Pierce, Angel, Masters of the Universe, The Piano, The Hunger Games, and so many others are featured. This book gives the audience a rare and heretofore unpublished insight into what collecting, restoring, and reproducing entails, and highl

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Book SynopsisThe next expert special effects makeup guide to all things gory, bloody, disgusting, and fantastic. Uncover the secrets of horror makeup in the third volume of the acclaimed special effects makeup series. Learn how to apply gory, realistic, and captivating scar and wound makeup from leading Japanese special effects makeup artists. Discover the hidden tricks behind special effects makeup, mask-making, and more.

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Book SynopsisDrawing on his experiences directing films in Ireland, Haiti, Brazil and South Africa, McLaughlin reflects on the potential of documentary film to provide a platform for those who have experienced political violence to challenge dominant narratives that marginalises them, and that offers potential for personal and public healing. Using participatory methodologies, each case study analyses conditions of production, political context, participatory potential, and impact of the films on both survivors and the general public. Challenges are addressed and lessons suggested for similar projects in the areas of documentary film, transitional justice, participatory ethnography and political activism.Trade Review“McLaughlin radically listens to stories of trauma most people do not want to hear. His exploration into these liminal spaces is an extensive study on participant-led mitigation of colonial violence and documentary hierarchy. It occupies a risky territory, between governments, terrorists, and political waves with innocent people at its core.” —Soumyaa Behrens, Director, Documentary Film Institute, Faculty, School of Cinema, San Francisco State University, USA.“This timely book is valuable in its discussion of ethical issues and subject participation in documentary films where survivors of violence and trauma, generally excluded from public discourse, return to the locations of their traumatic experiences. The book challenges the notion of a one-size-fits-all ethical protocol for subject trust and collaboration.” —Dr Jill Daniels, Senior Lecturer Film, University of East London, UK.Table of ContentsList of Figures; Acknowledgements; Introduction; 1 Practice as Research; 2. Prisons Memory Archive; 3. It Stays with You; 4. Right Now I Want to Scream; 5. We Never Gave Up; Conclusion; References; Index

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Book SynopsisThe acclaimed follow-up to one of the most widely heralded special effects makeup tutorial books ever published. A Complete Guide to Special Effects Makeup Volume 2 incorporates a variety of supernatural and sci-fi character and creature designs, from zombies to dark fantasy, with step-by-step tutorials and materials guides, as well as an extended gallery section showcasing work by the best of the best!

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Book SynopsisOver 200,000 sold! Adopted for use by over 700 college courses!Written by a working professional, here is the most user-friendly book available on the subject of film and video production; it reduces the shooting experience to its essence, making complicated concepts easy to grasp. Using simple clear language and more than 150 illustrations, the book explains: Exposure Lenses Composition Basic sequence Crossing the line Lighting Montages Sound Editing And much more! When you finish this book, you will know and understand how to shoot good pictures that will edit together seamlessly in post-production. With added chapters on sound and editing, this new edition of The Bare Bones Camera Course for Film and Video rounds out the education of any filmmaker.Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.

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Book SynopsisFilm production is a highly creative and collaborative industry, full of multi-skilled artists and craftsmen. The fast-moving pace of technology makes it hard to keep abreast of current practices in production design. However, the ethos and skills behind filmmaking remain the same. In The Art of Illusion, renowned Art Director Terry Ackland-Snow shares his passion and knowledge of traditional film design from over fifty years of industry experience, using real-life case studies from some of the UK's most iconic films, including Batman, Labyrinth, the James Bond franchise and The Deep. Featuring over 100 original sketches, as well as rare behind-the-scenes photographs, storyboards and artwork, this book is exquisitely illustrated throughout, demonstrating the skills and techniques of film design with stunning intricacy.Trade ReviewTo any film student, this book is a must read. Terry's experience is immense. -- John Glen, Director of five James Bond films

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Book SynopsisTrade Review“It’s gossipy and funny and sometimes wistful and sad, but it’s page-turning. . . . For a film lover like me, Alright, Alright, Alright is an endless feast of facts and revelations. I’m gonna guess that for the casual filmgoer (and even someone who’s never seen Dazed and Confused) it will be fascinating just for the thrill of reading older people looking back with joy, bewilderment and sometimes anger at a time when they were not only young, but when their youth blazed.” — Patton Oswalt, New York Times Book Review “The story of Dazed and Confused has been told before, but never with the depth, breadth, or remarkable reproduction of the film’s conversational rhythms found in Melissa Maerz’s new oral history. . . . Like Linklater’s depiction of the last day of school circa 1976, Maerz’s book envelops readers in time and place. But while the movie’s more of a snapshot, Alright, Alright, Alright is a panorama, enriched by deep background…. It’s a class reunion that doesn’t suck, attended by almost all of the living principals.” — AV Club “[Maerz] does a lot more than just weave the oral history behind a famous movie. She makes it feel like the story of a generation….. This book does for the Nineties what the movie did for the Seventies: a lovingly detailed portrait of an era, celebratory but inevitably elegiac, full of tiny comic moments that seem to sum up the decade’s craziest hopes and dreams…. Like the movie, the book is pure pleasure because makes you feel like you’re hanging out with these friends—it’s a joy to jump and join them on a slow ride.” — Rob Sheffield, Rolling Stone “A charming oral history of everyone’s favorite stoner film. . . . Essential for fans of the film but also for anyone with ambitions to work in film on either side of the camera.” — Kirkus, starred review “Fun reading, enhanced by veteran entertainment journalist Maerz’s expert chapter introductions and many, well-organized conversations with everyone from Linklater to the stars to the film crew. But Alright, Alright, Alright is also an interesting peek into the many relationships that must be navigated in the making of a film, and a surprising foray into the nature of memory and nostalgia. A must for fans of the movie and readers interested in the moviemaking experience.” — Booklist, starred review “Thorough, funny, and bittersweet.” — Texas Monthly “Touches on the volatility of young artists, the hormones of youthful performers, the conflicts between corporate and artistic stakeholders, the ways our entertainment is presented to us and how we consume it. The book, like the film, is a story about time. ... One of the joys in Alright, Alright, Alright is the perspective Maerz attains with the time that has passed since the making of “Dazed,” as well as its release, its lukewarm reception and its long-tail embrace. Her book becomes less specifically tied to the film and more about how time affects all of us after adolescence.” — Houston Chronicle “An at times humorous chronicle of how a small film became a touchstone of 1990s cinema, with introspective analysis of directing techniques, casting, and performance. . . . Linklater devotees, those who love Dazed and Confused, and anyone interested in 1990s indie film will appreciate Maerz’s detailed tribute.” — Library Journal “An intricate oral history… any cinephile would be happy to check out.” — Publishers Weekly

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Book SynopsisOFFICIAL STAR WARS IN-UNIVERSE BOOK FEATURING NOTES ON TACTICS, ARMOR, AND VALOR FROM GALACTIC CONFLICTS IN THE STAR WARS UNIVERSE From the Clone Wars and the Rebellion to the clashes with the First Order, the galaxy is defined by war. Star Wars: On the Front Lines chronicles the tactics, weapons, and armor used in pivotal battles along with acts of valor achieved during the campaign. By focusing on elements of the battles that occurred "off screen," this collection brings the struggles faced by ground soldiers and starfighter pilots to life like never before, placing the reader on the battlelines. With full-spread, classic illustrations that capture the sweeping scale of these historical battles, On the Front Lines brings a fresh look at the forces who fought on the front lines.Trade Review“clearly a must have for ‘Star Wars’ collectors” - Sciencefiction.com“really cool artwork here” ForceCast podcast review“really fun and a wicked cover” Rebel Force Radio podcast review “a visual and tactile delight” - Black Girl Nerds“so much of the full-page art is worthy of framing” - Geek Dad “A unique, sometimes exceptional retelling of major Star Wars battles” - Adventures in Poor Taste “incredible artwork” - Fangirl Nation“Beautifully illustrated, it’s a handsome, clever trek through all eight films” - The Film Stage“a fantastic book lavished with amazing stories and paintings of the conflicts enclosed...giving the book a real history feel, that many science fiction/ movie books fail to capitalize on” - Action Figure Junkies“It's not too often something comes along that makes Star Wars better, but this book does just that” - Cinema Sentries

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Book SynopsisDesign is at the essence of storytelling, but how does a production find its style and identity? This book explains how to approach design, whether for film, television, video promo or commercial making, and introduces the techniques needed to make ideas happen. Through theory and practical exercises, it looks at design in a different way and shows how the simplest decisions can become powerful ideas on screen.

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Book SynopsisThe latest hot camera is pretty irrelevant if one can''t understand what''s happening on screen. The key to any narrative is in the dialogue and voice over, but if this is unintelligible or difficult to hear, viewers will soon lose interest. With real world applications and a narrative to keep the reader's interest, Production Sound Mixing is the indispensable guide for film and video audio recording. Written by veteran sound mixer John J. Murphy, the book offers a step by step collaborative journey through the basic physics of sound, concluding with a practical guide of the latest techniques and equipment available to all who are interested in the best audio for their projects. Structured to mimic a 14-week semester, each chapter begins with an audio problem to be solved and ends with a solution drawn from information gleaned from past chapters. Suggested movie scenes that demonstrate the relevant audio techniques will also be included. Equally applicable to studio and locationTrade ReviewAn excellent, comprehensive, and contemporary primer for those interested in becoming sound recordists or mixers. John J. Murphy’s Production Sound Mixing guides you through all you need to know to understand sound recording and technique. * Bill Linsman, Associate Professor of Film and Television, Boston University, USA, and Former Professional Sound Recordist and Mixer *Full of detailed, specific, practical knowledge as well as tips that only pros can teach, Production Sound Mixing is a valuable resource with a relaxed, readable style. With professional—but not overly technical—insights, John M. Murphy covers the physics of sound, equipment, work practice, and troubleshooting for faculty, students, and amateurs in sound production. * Peter Kiwitt, Assistant Professor, School of Film and Animation, Rochester Institute of Technology, USA, and Direcor Member of the Directors Guild of America *I've waited years for this book: it is far and away the most useful book on production audio for first-time students that I've encountered. * Piers Storey, University of Suffolk, UK *Comprehensive guide to the theory, technology and working practices involved in capturing location sound. With plenty of diagrams and an accessible style, this will be of huge value to Film sound students and aspiring professionals. * Simon Waite, Staffordshire University *Table of ContentsPreface Acknowledgements Introduction Chapter 1: What is Sound? Chapter 2: Microphones: The Basic Types and How They Work Chapter 3: The DSLR Shoot: Making the Most of What’s at Hand Chapter 4: The Audio Mixer Chapter 5: Choosing a Location Chapter 6: Booming: The View from Above Chapter 7: Wireless Microphones: What They Are, How They Work, and How and Why We Use Them Chapter 8: Interviews! Chapter 9: On the Set Chapter 10: Prep Is Everything: Your Basic Kit Chapter 11: Synchronization Chapter 12: Post-Production: Where Does It GO From Here? Chapter 13: Opportunities for Sound Work in Film/Video Chapter 14: Stereo: When Two Become One Appendix Glossary Index

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Book SynopsisBefore the turn of the twentieth century, before the nickelodeon, even before the first cinemas, Georges Méliès began making movies.. Directing, editing, producing, designing, and starring in over 500 films between 1896 to 1912, Méliès was also the first cinematic auteur.. This is the first study of Méliès''s films to appear in English in over twenty years and the only book to interpret his work using the tools of modern film analysis.. Locates the roots of modern narrative cinema in Méliès''s work, identifying techniques of editing and mise-en-scène previously thought to have originated with D. W. Griffith.Table of ContentsIntroduction - Narrative Attractions1. Méliès does tricks2. Fantastic realism3. The amazinf flying woman4. Imaginary voyagesConclusion

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Book SynopsisProduction Management on Location is your essential companion for mastering the complexities of international documentary production. Written by an experienced production manager who has spent years on location, this book offers a rare, hands-on look at the realities of producing unscripted documentaries in diverse global settings.From adrenaline-fueled adventures to projects featuring celebrity presenters, this guide demystifies the process of prepping, producing, and managing on-location shoots. Whether you're coordinating a small crew or handling high-profile talent, you'll find step-by-step guidance on pre-production planning, logistical coordination, and managing people under demanding circumstances. Featuring exclusive case studies and interviews with award-winning professionals and presenters, the book brings firsthand insights and practical advice from the field. It also delves into the latest trends in production, including sustainability practices and innovat

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Book SynopsisThis book, an exclusive interview with Berlin-based, Irish artist and filmmaker Declan Clarke, provides a detailed insight into the creative process of an artist at a key stage in his career. Clarke is a master communicator and storyteller - always open, amusing, inspiring - and highly readable.

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Book SynopsisShoot, edit, and share action-packed video with a GoPro The world moves fastso if you want to capture it in real time, only a fast-moving camera will do. Enter the GoPro! This small but powerful camera is easy to hold, wear, or mount to capture video of all your high-speed adventures. Unfortunately, to the uninitiated, it can be a bit intimidatingbut fear not! With the help of this revised edition of GoPro Cameras For Dummies, you''ll acquire the skills needed to shoot high-quality video or photos, edit raw footage into a final masterpiece, and share your GoPro works of art with the world. Compared with traditional digital video devices, the GoPro is a superhero. Okay, so it can''t scale high rises, but it can go virtually anywhere and produce thrilling new perspectives of an epic slalom down the slopes or awesomely scenic hikeand everything in between. When still photos simply won''t do the trick, GoPro Cameras For Dummies shows you step by step how tTable of ContentsIntroduction 1 Part 1: Getting Started with Your GoPro Camera 5 Chapter 1: Getting to Know GoPro 7 Chapter 2: Accessorize Me 33 Part 2: Moviemaking Technique 53 Chapter 3: Getting through GoPro Boot Camp 55 Chapter 4: Understanding Effective Camera Techniques 75 Chapter 5: Framing the Shot 91 Chapter 6: Shooting Fun Stuff with Your GoPro 111 Chapter 7: Mastering the Light 133 Chapter 8: Of Sound Movie and Body 155 Part 3: Movies Are Made in Postproduction 169 Chapter 9: Equipping Your Edit Station 171 Chapter 10: Getting to Know GoPro Studio Edit 185 Chapter 11: Editing with GoPro Studio Edit 205 Chapter 12: Presenting Your Movie 225 Part 4: The Part of Tens 243 Chapter 13: Ten Fun Ways to Use Your GoPro 245 Chapter 14: Ten Professional Uses for GoPro Cameras 257 Chapter 15: Ten Pitfalls to Avoid 267 Chapter 16: Ten Ways to Improve Your Moviemaking Skills 277 Index 287

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Book SynopsisPost Sound Design provides a practical introduction to the fascinating craft of editing and replacing dialog, creating Foley and sound effects, editing music, and balancing these elements to a final mix. Based on years of experience and teaching this material to students at Drexel University, award-winning film composer John Avarese offers user-friendly knowledge and stimulating exercises to help compose story, develop characters and create emotion through skillful creation of the sound track. Starting each chapter with a real-life example, the textbook is structured in such a way to create a fundamental understanding of the physics and the biological foundation of hearing, and putting it into practice with suggested movie scenes demonstrating the discussed audio techniques. Post Sound Design engagingly demonstrates the individual areas essential to creating a soundtrack that will enhance any media production.Trade ReviewPost Sound Design is perfect for all aspiring Sound Designers. It’s an excellent guidebook for all aspects of film audio, from initial capture to final product, covering both aesthetic and technical concerns. John Avarese draws from his long career as a composer and sound designer to share priceless practical and organizational advice, as well as pitfalls to avoid. And it’s written in John’s down-to-earth style, making the information easy to digest. Sound is a vital component to any successful film. Good sound gives the visuals an extra magical dimension of context and character, adding elements and realities that can’t be captured by a camera alone. On the other hand, poor sound will ruin excellent visuals. John Avarese offers key points to consider, even before a single scene is shot, to help ensure professional sound quality for films of any budget. Over the years, I’ve worked with John, and his musical and sonic talents really make my films come to life – the result of knowing what each other needs. So, let me go one step further and say: every filmmaker should read this book! If you understand the audio process, it’ll improve your film and save you lots of heartache later on in post-production. * Michael Bailey, Independent Filmmaker, Philadelphia, PA, USA *Post Sound Design is an essential guide to the invisible, yet indispensable art of sound design for motion pictures. All notable, great works in cinema include great sound design. Sound is, after all, half the picture. No question, this book is required reading for emerging filmmakers! Post Sound Design tackles a complex subject and makes it highly accessible for readers at all levels to thoroughly understand the essentials of sound, as well as value the requisite expertise of advanced audio for film. This is essential reading for all filmmakers. I highly recommend this book! * Dede Maitre, Assistant Professor, Post Production Film and Media Arts Department, Center for the Arts, Temple University, Philadelphia PA *A comprehensive and practical guide to sound design for film, including the fundamentals of digital audio, getting the best out of your mixes, working with artists, studio set up and more. The case studies discuss real world sound projects and give aspiring artists valuable insight into the working practises of a sound designer and what is required when undertaking commercial projects. * Dave Payling, Senior Lecturer, Staffordshire University, UK *Excellent introductory text for post-production audio with detailed practical examples. Well laid out and accessible style with great diagrams. * Simon Waite, Staffordshire University, UK *Table of ContentsAcknowledgements 1: What is Sound Design? 2: DAWs 3: Audio Connectors, Microphones 4: Organizing OMFs (or AAFs) 5: Narration 6: Dialog Editing 7: Equalization and Dynamics 8: ADR 9: Sound Design 10: Editing Music 11: Reverbs & Delays 12: Mixing 13: Deliverables 14: Case Studies Index

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Book SynopsisWith the move of cinema away from film, the adoption of electronic-based production throughout all media is now complete. In order to exploit its advantages, the accurate definition, measurement and reproduction of colour has become more important than ever to achieve the best fidelity of colour reproduction. This book is concerned with providing readers with all they need to know about colour: how it is perceived and described, how it is measured and generated and how it is reproduced in colour systems. It serves as both a tutorial and a reference book, defining what we mean by colour and providing an explanation of the proper derivation of chromaticity charts and through to the means of ensuring accurate colour management. Key Features: Addresses important theory and common misconceptions in colour science and reproduction, from the perception and characteristics of colour to the practicalities of its rendering in the fields of television, photography and cinemTrade Review“Michael Toom's book is the technical manual about colour that every colour scientist or engineer working in professional digital imaging has ever dreamt of reading. Not only it does cover and elegantly narrates the generic aspects of the discipline and the pragmatic reasons behind many technical and/or historical choices. It's also a fundamental compendium of detailed formulae, hard to find at all (if ever, well organized, in one piecework).” - Walter Arrighetti, Frame by Frame Italia srl “The author’s approach in developing the subjects from a fundamental level will be of great benefit to those who want a thorough grasp of colour reproduction, and should avoid some of the misconceptions that can arise where the fundamentals are only given a cursory treatment. The book deserves to be regarded as a ‘go to’ resource for those working in the field of colour reproduction, or those who have a strong interest in colour reproduction. It is a book well suited to the needs of engineers and scientists.” - The Imaging Science Journal, 2016 Vol. 64 No. 3 Table of ContentsPreface xiii Acknowledgements xv About the Companion Website xix Introductions xxi The Book xxi The Colour Reproduction Workbook xxii Part One Colour – Perception, Characteristics and Definition 1 1 The Perception of Colour 3 1.1 Introduction 3 1.2 Setting the Scene 3 1.3 Characterising the Responses of the Eye to Light 8 1.4 The Three Characteristics of the Eye Relevant to Reproduction 10 1.5 The Quantitative Response or Tonal Range of the Eye 10 1.6 The Qualitative Response of the Eye 13 2 Mapping, Mixing and Categorising Colours 19 2.1 Primary Colours 19 2.2 Colour Mixing 31 2.3 Colour in Three Dimensions 34 2.4 Colour Terminology 37 2.5 Categorising Colours 38 2.6 The Effects of Illumination on the Perception of Colour 42 Part Two the Measurement and Generation of Colour 43 3 A Practical Approach to the Measurement of Colour 45 3.1 The Fundamentals of Colour Measurement 45 3.2 Colour Matching Functions 46 3.3 Measuring Colour with the CMFs 51 3.4 Chromaticity Diagrams 52 4 Colour Measurement Standardisation – The CIE System of Colour Measurement 61 4.1 Limitations of the Fundamental Approach to Colour Measurement 61 4.2 The CIE 61 4.3 The CIE 1931 Standard Observer 62 4.4 The CIE 1931 X, Y, Z System of Colour Measurement 64 4.5 Transforming the CIE X, Y, Z Parameters to Perceptually Related Parameters 72 4.6 The CIE 1976 UCS Diagram 72 4.7 The CIE 1976 (L*, u*, v*) Colour Space 76 4.8 Surface Colours within the LUV Colour Space 84 4.9 Limitations of the LUV Colour Space as an Accurate Colour Appearance Model 91 5 Colour Measurement and Perception 97 5.1 Chromatic Adaptation 97 5.2 Metermerism 98 5.3 Quantifying Chromatic Adaptation 102 6 Generating Coloured Light 105 6.1 Introduction 105 6.2 The Physics of Light Generation 105 6.3 Incandescence: Light from Heat – Blackbody or Planckian Radiation 106 6.4 Colour Temperature 111 6.5 Luminescence 113 6.6 Electroluminescence 114 6.7 Fluorescence 126 Part Three The Concepts of Colour Reproduction 131 7 Sources of Illumination 133 7.1 Overview 133 7.2 Illuminant Colour Rendering Quality 134 7.3 Daylight 143 7.4 Incandescent-based Lamps 148 7.5 Electrical Discharge-based Lamps 150 7.6 LED Lamps 155 7.7 Summary of Sources of Illumination 158 8 The Essential Elements of Colour Reproduction 161 8.1 The Basic Reproduction System 161 8.2 The Camera 162 8.3 Display Devices 165 8.4 Reconciling Minimum Image Resolution with Maximum Perceivable Resolution 171 9 Colorimetry in Colour Reproduction 175 9.1 The Relationship between the Display Primaries and the Camera Spectral Sensitivities 175 9.2 The Choice of Reproduction Display Primaries 177 9.3 Derivation of Colour Reproduction System Camera Spectral Sensitivities 181 10 Appraising the Reproduced Image 185 10.1 Introduction 185 10.2 The Environmental Lighting 186 10.3 Reflections from the Display 187 10.4 Image Size 187 10.5 Managing the Viewing Environment 187 10.6 System Design Parameters 188 Part Four The Fundamentals of Colour Reproduction 189 11 System White and White Balance 193 11.1 System Reference White 193 11.2 White Balance 195 11.3 Adapting to Scenes with Different Illuminant SPDs 200 12 Colorimetric Processing 203 12.1 Introduction 203 12.2 Manipulating the Colour Space – Chromaticity Gamut Transformation 205 12.3 Gamut Mapping 213 12.4 A Colorimetrically Ideal Set of Camera Spectral Sensitivities 216 12.5 An Ideal Media Neutral Colour Reproduction System 222 12.6 Using System Primaries or Device-Independent Encoding 223 13 Preserving Tonal Relationships – Tone Reproduction and Contrast Laws 225 13.1 Introduction 225 13.2 Terms and Definitions 226 13.3 Contrast Ranges 229 13.4 Gamma Correction 238 13.5 Standard or Reference Displays 251 13.6 Masking Artefacts 252 13.7 Matching the Contrast Law to the Viewing Environment 257 13.8 Overall Opto-electro Transfer Characteristics in Actual Reproduction Systems 260 13.9 Producing a Greyscale Test Chart 261 14 Storage and Conveyance of Colour Signals – Encoding Colour Signals 271 14.1 Introduction 271 14.2 The Imperatives for Encoding RGB Colour Signals 272 14.3 System Compatibility and Retention of Colour Balance 275 14.4 A Simple Constant Luminance Encoding System 280 14.5 Exploiting the Spatial Characteristics of the Eye 282 14.6 A Practical Constant Luminance System 283 14.7 A Non-Constant Luminance System 285 14.8 The Ramifications of the Failure of Constant Luminance 287 15 Specifying a Colour Reproduction System 289 15.1 Introduction 289 15.2 Deriving the Specifications 289 15.3 A Representative Closed Colour Reproduction System Specification 291 Part Five The Practicalities of Colour Reproduction – Television, Photography and Cinematography 295 Part Five A Colour Reproduction in Television 299 16 The Television System and the Image Capture Operation 301 16.1 The Television System Workflow 301 16.2 The Television System Signal Path 303 16.3 The Television Standards Organisations 304 17 A Brief History of Colour in Television 307 17.1 The Beginnings 307 17.2 The NTSC, PAL and SECAM Colour Television Systems 309 17.3 The Introduction of Digital Television 324 17.4 The Rise of High Definition Television 329 18 Lighting for Colour Television in the 2010s 331 18.1 Background 331 18.2 The EBU Television Lighting Consistency Index – 2012 332 18.3 The ColorChecker Chart 332 18.4 The TLCI Standard Television Reproduction System Model 333 18.5 Selecting a Colour Metric for the TLCI (EBU Tech 3354) 337 18.6 Measuring the TLCI of Luminaires (EBU Tech 3355) 338 19 Colour in Television in the 2010s – The High Definition Colour Television System 341 19.1 The High Definition System Specification 341 19.2 Evaluating the Performance of the HDTV System 348 19.3 Appraisal of the Rec 709 Recommendation 357 20 Colour in Television in the 2020s 359 20.1 The Potential for Improved Colour Reproduction 359 20.2 Colour Specification of a Practical Ideal Colour Television System 360 20.3 Acknowledging the Requirement to Expand the Colour Gamut 371 20.4 UHDTV – The ITU-R BT.2020 Recommendation 382 21 Colour Management in Television 389 21.1 Introduction 389 21.2 Scene Illumination 390 21.3 The Vision Control Operation 391 21.4 The Vision Control Room Environment 391 21.5 The Line-up Operation 396 21.6 Capturing the Scene 399 21.7 Displaying the Image 401 Part Five B Colour Reproduction in Photography 403 22 An Overview of the Photographic System and Its Workflow 405 22.1 Introduction 405 22.2 An Overview of the Workflow 405 22.3 The Requirement for Technical Standards in Photography 409 23 The Printing Process 413 23.1 Introduction 413 23.2 Conceptual Considerations in Photographic Printer Design 413 23.3 Colour Fundamentals in Printing 416 23.4 Deriving a Model for Colour Half-tone Printing 422 23.5 Practical Printer Performance 425 23.6 Conclusions 437 24 Colour Spaces in Photography 439 24.1 Introduction 439 24.2 Colour Spaces in Image Capture 439 24.3 Colour Spaces in the Computer 449 24.4 Colour Spaces in Displays 454 24.5 Printer Colour Spaces 455 24.6 Conclusions 456 25 Component and File Formats 457 25.1 Introduction 457 25.2 A Review of Component Formats 457 25.3 File Formats 459 26 Appraising the Rendered Image 467 26.1 Introduction 467 26.2 The Monitor and its Environment 467 26.3 Reference Conditions 468 26.4 Conditions for Appraising and Comparing Images – ISO 3664 470 26.5 Colour Proofing 476 26.6 Conditions for Displays for Colour Proofing – ISO 12646:2008 476 26.7 Summary 479 27 Colour Management in the Workflow Infrastructure 483 27.1 Introduction to Colour Management 483 27.2 Establishing the Requirements of a Colour Management Infrastructure Strategy 485 27.3 The International Colour Consortium 487 27.4 The ICC System in Practice 491 27.5 Summary 493 28 Colour Management in Equipment and Scene Capture 495 28.1 Why there is Sometimes a Failure to Match Scene, Display and Print 495 28.2 The Exercise of Matching Scene, Display and Print 496 28.3 The Matching Tests 497 28.4 Image Capture 504 29 Colour Management in the Desktop Workflow 507 29.1 Introduction 507 29.2 Establishing the Desktop Working Practice Colour Management Parameters 509 29.3 Image Preview 522 29.4 Colour Managing Raw Files 524 29.5 Matching the Display to the Scene 526 29.6 Previewing the Soft Proof 539 29.7 Matching the Print to the Display and the Scene 542 29.8 Summary of Activities to Assist in Obtaining Good Colour Reproduction 550 30 Colour Management by Profile Maintenance 551 30.1 The Requirement to Incorporate New Profiles 551 30.2 Preparing to Generate a Profile 552 30.3 Generating Profiles 553 Part Five C Colour Reproduction in Digital Cinematography 559 Acronyms 560 31 The Evolution of Digital Cinema 563 31.1 Background 563 31.2 Workflow at Project Commencement 565 31.3 Common Goals of the Specifications 566 31.4 The Digital Cinematographic Systems Specifications 566 32 Colour in Cinematic Production – The Academy Color Encoding System 569 32.1 Introduction 569 32.2 System Definition 569 32.3 The ACES Colour Space 572 32.4 Reference Input Capture Device (RICD) 576 32.5 The Input Device Transform 578 32.6 An IIF System Configuration for Viewing the Graded Signals Defined in the ACES Colour Space 579 32.7 The Reference Rendering Transform 583 32.8 The Reference Display and Review Room 583 32.9 The IIF Output Device Transforms (ODT) 585 32.10 Colour Management in Production and Post 587 33 Colour in the Cinema – The Digital Cinema System 589 33.1 Introduction 589 33.2 System Requirements 589 33.3 Image Structure 590 33.4 The D-Cinema Encoding Colour Space 590 33.5 DCDM Interfaces 599 33.6 Distribution 601 34 Colour in Cinematography in the 2010s 603 34.1 Progress in Adopting the Digital Specifications 603 34.2 The ACES in the 2010s 604 34.3 Production and Post — System Configuration and Workflows 615 Appendices 629 A Photometric Units 631 A.1 The Physical Aspects of Light 631 A.2 Power in a Three-Dimensional Environment 632 A.3 A Useful Theoretical Source of White Light 634 A 4 The Physiological Aspects of Light 634 A.5 Photometry 636 B The CIE XYZ Primaries 641 B.1 Deriving the Chromaticities of the CIE XYZ Primaries from CIE RGB Primaries 641 B.2 The XYZ Primaries Located on the CIE RGB Primaries Chromaticity Diagram 644 C The Bradford Colour Adaptation Transform 645 C.1 The Standard Bradford Transform 645 C.2 The Linear or Simplified Bradford Transform 647 D The Semiconductor Junction 649 E Light Amplification in Lasers 651 E.1 Boltzmann Distributions and Thermal Equilibrium 651 E.2 The Interaction of Light with Matter 652 E.3 Selection Rules 654 E.4 Creating a Population Inversion 654 E.5 Three-Level Lasers 655 E.6 Four-Level Lasers 656 F Deriving Camera Spectral Sensitivities 659 F.1 General Solution for Deriving the Camera Spectral Sensitivities from the Chromaticity Coordinates of the Display Primaries in Terms of the CIE Colour Matching Functions 659 G Chromaticity Gamut Transformation 661 G.1 Introduction 661 G.2 Procedure 661 H Deriving the Standard Formula for Gamma Correction 667 H.1 General 667 H.2 Establishing the Gamma Correction Parameters for the General Situation 668 H.3 Calculating the Gamma Correction Parameters for a Particular Situation 670 H.4 Specifying the Opto-Digital Transfer Characteristic of a Colour Reproduction System 671 H.5 Practical Calculations 671 I CIE Colour Matching Functions 673 I.1 Values for a 2 Degree Field 673 J Guide to the ‘Colour Reproduction Workbook’ 677 J.1 Introduction 677 J.2 Structure of the Workbook 677 J.3 Some General Guidance on Using the Worksheets 678 J.4 The Data Worksheets 679 J.5 The Chapter Worksheets 682 References 693 Index 697

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Book SynopsisAt first glance, George Stevens (1904Ð1975) appears to be the quintessential Hollywood director. A closer look at his achievements shows him to be more than just the creator of some of the smartest melodramas and comedies of the 1930s and 1940s, including Annie Oakley, Swing Time, and Gunga Din. Several of his films--Giant, The Diary of Anne Frank, Shane, The Greatest Story Ever Told, and A Place in the Sun--are regarded as some of the most important and enduring dramas of postwar American cinema. As a leading producer and director of his era, Stevens repeatedly pushed against the Hollywood grain and clashed with censors. George Stevens: Interviews showcases the deep moral vision of a director who is as meticulous, discerning, and contemplative in his conversations as he is as a filmmaker. Although not regarded as an auteur during his career, Stevens can now be understood as one of America's most personal and distinguished directors. Throughout this collection, his increasing concern over the control of his films is evident, and, like Alfred Hitchcock and Howard Hawks, he became a producer/director who claimed absolute control over his work. His interviews show a man committed to his chosen art and fully aware of the responsibilities that come with that choice. Paul Cronin is a writer and filmmaker.

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Book SynopsisA new Star Wars Insider collection, featuring content previously printed in the Star Wars Insider magazine.Trade Review"Jam-packed with interviews, behind the scenes insights, and more. ... There are plenty of dynamite articles here; discussions with the tech crews from Episode III come to mind, as well as a rundown of which Episode I Easter Eggs are just rumors and which ones the fans missed" - San Francisco Book Review

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Book SynopsisThis is the first collection of original critical essays devoted to exploring the misunderstood, neglected and frequently caricatured role played by the film producer. The editors'' introduction provides a conceptual and methodological overview, arguing that the producer''s complex and multifaceted role is crucial to a film''s success or failure. The collection is divided into three sections where detailed individual essays explore a broad range of contrasting producers working in different historical, geographical, generic and industrial contexts. Rather than suggest there is a single type of producer, the collection analyses the rich variety of roles producers play, providing fascinating and informative insights into how the film industry actually works. This groundbreaking collection challenges several of the conventional orthodoxies of film studies, providing a new approach that will become required reading for scholars and students.Trade ReviewThis will prove an invaluable book, both to students and to those wishing to learn more about the film and media industries. Its spread is broad, making comparisons between different countries, practices and genres, and yet its intellectual focus is precise and well-conceived. The work of the producer has received scant attention in the past, and this important book rectifies that, and in a thorough, sophisticated and approachable way. Not to be missed. * Sue Harper, Emeritus Professor of Film History, University of Portsmouth, UK *A pioneering and timely volume emphasizing historical and transnational perspectives, Beyond the Bottom Line brings the myths and realities of the producer’s many roles into clear focus. Offering well developed case studies and conceptual clarification, the contributors deepen and extend the ongoing conversation about practitioner’s agency in thoughtful and productive ways. * Mette Hjort, Chair Professor of Visual Studies, Lingnan University, Hong Kong *This long-overdue scholarly collection represents an important step forward in the study of the role of the movie producer. Beyond the Bottom Line is a welcome addition to the burgeoning literature of production and industry studies. Its broad range of critical case studies will be a valuable resource to researchers and students alike. * Julian Hoxter, Screenwriting Coordinator, San Francisco State University, USA, and editor of Screenwriting *Table of ContentsTable of Contents List of Illustrations Notes on Contributors Acknowledgements 1. Introduction – Andrew Spicer, A.T. McKenna and Christopher Meir Part I – Theoretical and Historical Contexts 2. Joe Kember, University of Exeter, UK, “A Judge of Anything and Everything”: Charles Urban and the Role of the “Producer-Collaborator” in Early British Film 3. Audun Engelstad and Jo Sondre Moseng, Lillehammer University College, Norway, Mapping a Typology of the Film Producer – Or, Six Producers in Search of an Author 4. Andrew Spicer, University of the West of England, UK, The Independent Producer and the State: Simon Relph, Government Policy and the British Film Industry, 1980-2005 5. Paul Long, Birmingham City University, UK and Simon Spink, UK, Producing the Self: The Film Producer’s Labor and Professional Identity in the UK Creative Economy 6. Pauline Small, Queen Mary, University of London, UK, Producer and Director? Or, “Authorship” in 1950s Italian Cinema 7. Mark David Ryan, Ben Goldsmith, and Stuart Cunningham, Queensland University of Technology, Australia, and Deb Verhoeven, Deakin University, Australia, The Australian Screen Producer in Transition Part II – Media and Genre Contexts 8. Donna Kornhaber, University of Texas at Austin, USA, The Producer in Animation: Creativity and Commerce from Bray Studios to Pixar 9. Brett Mills and Sarah Ralph, University of East Anglia, UK, “Trying to Ride a Naughty Horse”: British Television Comedy Producers 10. Sonia Friel, Norwich University of the Arts, UK, Keith Griffiths’ Poetics of Production 11. James Lyons, University of Exeter, UK, The American Independent Producer and the Film Value Chain Part III – National and Transnational Contexts 12. Constanza Burucúa, Western University, Canada, Lita Stantic: Auteur Producer/Producer of Auteurs 13. A.T. McKenna, University of Nottingham, China, Beyond National Humiliation: Han Sanping and China’s Post-Olympics Historical Event Blockbusters 14. Gertjan Willems, Ghent University, Belgium, The Producer in Belgian Cinema(s): The Case of Jean (and Jan) Van Raemdonck 15. Christopher Meir, University of the West Indies, St. Augustine, Trinidad and Tobago, Post-Imperial Co-Producers: Emile Sherman, Iain Canning and Contemporary Anglo-Australian Cinema

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