| Edition |
First edition. |
| Description |
xi, 239 pages ; 22 cm |
| Note |
Includes index. |
| Summary |
Film production veteran Tom Reilly has worked on motion picture sets for more than three decades. Here, he explores the art and the craft of filmmaking from the vantage point of someone actually running the movie set. Using examples unlike those in other books on film, Reilly exposes not only the power and the personalities, but the secrets of the pros. He shares the insights he gleaned while working with more than sixty Oscar-winning professionals--from Woody Allen, Al Pacino, Robert De Niro, and Vanessa Redgrave to Sydney Pollack, Sven Nykvist, and Barbra Streisand. In these fifty entertaining, illuminating short essays, Reilly answers such questions as: What is it like to shoot a love scene? How do you do a full body burn? What is it like to film in the Everglades or in a morgue? How do you decide when to build a set? And many more.--From publisher description. |
| Contents |
Learn the vocabulary of film -- Learn the language of the set -- Pick your ten best shots -- What is a shot, anyway? -- If it's not in the shot, it doesn't matter -- Stories don't have to be linear : consider creative ways to warp time -- Don't leave money on the editing room floor : size matters -- Don't underestimate the power of a single line -- Move the walls, not the trucks : building a set gives you total control -- Know your way around the marketplace as well as the palace -- Great cinematographers are worth their weight in gold -- Seal the deal with a great operator -- Shoot on a low floor -- Shoot in flat light -- --Unless the sun plays a role in the film -- The color palette is critical -- Move into your car -- The strip board is the Rosetta Stone of filmmaking -- What should be in your back pocket when you show up on set -- Face the realities of the budget : even fifty million won't seem like enough -- Fifty-three shooting days--now what? : how to schedule a movie -- Shoot a short day -- Blocking is overlooked and undervalued -- The background action : how to keep it real and why to get it right -- Matching for continuity : why it's critical -- Working between the sheets : the only thing "hot" is the lights --The wisdom of the unrehearsed scene -- The actors don't always have to be in frame -- Consider stealing some shots -- A film is a work in progress -- Expensive toys aren't always worth the money -- Don't use a flamethrower when a match will do -- Forget about the monitor -- Move the camera : they invented the dolly for a reason -- Then let it stand still : virtues of the static camera -- The absolute brilliance of the single master shot -- Assume nothing -- Night work : know when the suffering is worth it -- Earth, wind, and rain : you can't ignore the fundamental elements -- Fire and brimstone : full-body burns and the impossible shot -- The set has a chemistry : big egos, big money, big art -- Magic hour, magic moments -- But it's not all autographs and sunglasses -- "Poor man's process" : consider ways to go "cheap" -- Sweat the small stuff--routinely -- Filmmaking is always about both the art and the money -- Or is it? : The auteur filmmaker versus the gun for hire -- If you're not in a union, you probably won't get to work on a feature film -- Hire the best crew : the teamsters matter -- Always have a nice lunch. |
| Subject |
Motion pictures -- Production and direction.
|
|
Cinematography.
|
| ISBN |
9780312380380 alkaline paper |
|
0312380380 alkaline paper |
|
