Download Ebook Making Movies

Download Ebook Making Movies

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Making Movies

Download Ebook Making Movies

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Audible Audiobook

Listening Length: 7 hours and 23 minutes

Program Type: Audiobook

Version: Unabridged

Publisher: Recorded Books

Audible.com Release Date: December 5, 2017

Whispersync for Voice: Ready

Language: English

ASIN: B077XLY247

Amazon Best Sellers Rank:

"Making Movies" is one of the best books on the nuts and bolts of film-making ever. It deserves the highest rating simply because it is both well presented and full of practical insights. Lumet is brilliant on the psychology of movie-making in the old days, for instance, when each producer had the power to order cuts at will. The director who knew this would deliberately leave some weak scenes in during early screenings so that the producers could order them removed and thus later claim to have "saved" the picture – if, that is, it turned out to be a hit. That said, Lumet's overall approach is not historical but topical, from selecting a writer to making the final cut. In Chapter Three, he raises a point I often try to impress upon my students: The way you tell a story should relate somehow to what that story is about. That gets to the whole question of the importance of style, which he terms "the most misused word since love." (pg. 49) Good, practical advice can be found on every page. Here's how he can tell if something is off when watching a scene during rushes: "If my concentration breaks, something is wrong." (pg. 141) This, I might add, applies equally well to reading as to watching – if our attention drifts, there may be something wrong with the book we are reading, or the text of the speech we are delivering. Here's something that may seem counter-intuitive: The audience's perception of the length of a film depends not on the tempo of the movie itself so much as the presence or absence of changes in tempo. The fewer the changes, even if the tempo is fast, the longer the movie will seem. Most melodramas accelerate speed towards the end. Inexperienced directors adopt an up-tempo from the start, then believe they have left themselves nowhere to go except even faster, thus exhausting the audience long before the final credits. Lumet candidly confesses he doesn't know what makes a hit, and doubts that anyone really does. It is certainly not the stars alone. He talks about those he has worked with (including Paul Newman and Al Pacino) without indulging in gossip, and when he has something negative to say, he does so without naming names. One movie of his, which he refuses to identify, suffered from the limited range of one of its stars. "On the second day of shooting, I began to realize that the leading actress lacked the tenderness her part called for. She simply didn't have it in her as an actress or a person. She was superb with anger; she had humor. But if she was asked to show the simplest affection for the person playing opposite her, a falseness crept into her acting that was readily apparent, particularly since her acting was otherwise so real and true…. Since the movie was fundamentally a love story, I knew that we were in trouble." (pp. 143-144) I wonder if the movie in question might not have been "The Morning After." The only hint he provides is that the film "had three very high-powered stars in it." "Morning After" featured Jane Fonda, Jeff Bridges and Raul Julia. On the other hand, Fonda did receive an Oscar nomination for her performance here, so I can't be certain. Though most (but not all) of the examples are taken from movies he himself directed, the book is most definitely not a survey of his career. While "Murder on the Orient Express," for example, gets mentioned at least a dozen times, "Fail Safe" rates only a single one, early on. Incidentally, what he has to say about "Murder…" gives me a higher opinion of that movie than I ever had before; now I am tempted go back and take another look at it. The chapter on the "lens plot" in "12 Angry Men" – how he used differing lenses to create an increasing sense of claustrophobia – is justly famous. On the whole, Making Movies is an enlightening introduction to the craft, presented by an insider. If you are like me, you will be amazed at what you hadn't noticed in movies you thought you knew.For a longer version of this review, please go to hamiltonbeck dot wordpress dot com

Having lived in L.A. for 20 years and having been raised to despise the film industry, I didn't expect to learn from or like this book. I was very surprised to find so much to admire and wonder at: Lumet's work, his creative process, the clarity of his goals and how he meticulously works to meet those goals, and the logic behind all the expensive, difficult, tedious processes that go into making a movie. This vivid, engaging book was recommended to me by Dianne Durante, an art critic on Patreon (I recommend her recommendations).

After reading almost countless books on the subject of making films, Sidney Lumet's humble treatise on how he does it is almost 95% meat and 2% fat (the remainder is, IMHO, the title page and the covers). It's surprisingly simple stuff about how he goes about his process using a method culled from years of experience and training from others before him, as well as his television experience in the 50s. And yet, despite his tact and simplicity, the details he gives can probably shave weeks and months off of a production in terms of helping one consider what is important, what is not, and how to organize your people. Most useful, though, is how he describes the process of dividing your crew into units and then how to schedule and task them in the most efficacious and satisfying way. He also gives a rare glimpse into the process of test audiences and how they work, practically blow by blow.Although the information pre-dates the digital era (printed 1995), almost everything in it still applies today as it's more about production process than the actual technology (although there is some of that too). In short, this book is a brisk and valuable read, and I will never sell my copy.

Sidney Lumet's "Making Movies" is a wonderful insight into the director's role in the filmmaking process. The entire book reads like Lumet has sat you down to tell you a story. We get a chance to peer into his mind as he makes small but critical choices throughout the Pre-Production, Production, and Post-Production phases in the movie's life. Lumet gives many clear and specific examples of moments in his career where he had to overcome the odds to get the shot or performance that the film called for. This book is great for the aspiring filmmaker and seasoned industry veteran alike.I knocked off 1 star only because some of the technical processes of filmmaking described in the book are no longer used, and it made the book feel very dated. The writing is still great and it's nice to hear about how films used to be made. The techniques of working with actors still hold up, as well as the detailed descriptions of the director's role within the larger company of talent and executives.I highly recommend this book to anyone who wants to advance their cinema education and gain deep appreciation for the art form.

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Making Movies PDF

Making Movies PDF

Making Movies PDF

Making Movies PDF