Right now, you're wondering, "Gee, what kind of information is in this cute yet stylish guide?" Sure, there are a bunch of other books that will take you through the filmmaking process, and if your name is Beaver Cleaver, you might be interested in them.
But you should know that filmmaking is a war, and this book will lead you through it like no other. These pages contain information learned from years spent in the filmmaking trenches.
Anyone with a credit card can rent a camera and buy film stock -- but who can: Rent a camera for two weeks and pay for only two days? Set the exposure on the camera without a light meter? Feed a crew of twenty with yesterday's chicken soup?
Not many.
You want more? Then turn the book over and crack her open.
Still here?
Fine -- we'll do it the hard way: This book will tell you how to shoot a sex scene, tell you what a stinger is. And if you need help writing your script, we'll give you some scenes to copy right into your screen-play -- and yes, we even provide the characters.
In short, everything you need to know about filmmaking in the real world is in this book. Everything. We'll even help you select the proper baseball cap so you can look like a big-time director.
Now start reading. Let's make film history.
Sprache
Verlagsort
Verlagsgruppe
HarperCollins Publishers Inc
Produkt-Hinweis
Broschur/Paperback
Klebebindung
Maße
Höhe: 203 mm
Breite: 133 mm
Dicke: 19 mm
Gewicht
ISBN-13
978-0-06-008467-7 (9780060084677)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Bret Stern started making feature films the day after college. He and some fanatical friends waited for the campus to empty out over Christmas break, and after taking the stuff in the school's equipment room, Bret and his crew spent seven days cranking out a feature film -- the only setbacks were the foreign students who raided the set for reading materials and the fake blood with chicken giblets that backed up the dorm's drainage system. After that there was only one alternative left -- to keep making movies. A brief stint as a location scout and then as Slaveboy at a New York commercial production company followed. Before getting fired Bret moved up from Slaveboy to Whipping Boy and then shot some commercials as Director of Photography. Once the hammer dropped, Bret had to decide which path to pursue, and although commercial work pays better, who could resist the opportunity to sleep in a cot in a bar for a week and take showers with a garden hose in the basement? What followed were the feature films Perfect Lies and Dark Tides (where Bret got to sleep on a real bed but he had to share it with his Assistant Director). After much abuse, he felt back into his role as DP, shooting and directing many commercials. Days after he had enough money for the down payment on a house (and faster than his wife could say "Hutch and China set"), Bret was at work on Road to Park City, which opened the 2000 Slamdance Film Festival and played in over fifteen others. What's next for Bret? After acquiring the grandfather clock for the house, it was time for the next feature -- a sci-fi extravaganza with a budget of $10,000, minus one cent.
