Tuesday, October 29, 2019
Review of Setting Up Your Shots by Jeremy Vineyard (2008)
Patrick Charsky
10/29/2019
Setting Up Your Shots by Jeremy Vineyard is an introductory text about various filmmaking techniques. The author is a filmmaker himself. Illustrations are used throughout the book to show how a filmmaking technique is presented visually. The illustrations are done by Jose Cruz who is also a filmmaker. The book is rather short. It only runs 146 pages and it’s format is more like powerpoint presentation slides than a typical text page from a book. The book I also horizontally longer than a typical book. It gives you a visual sense of how each technique would be reflected on a large rectangular screen.
The book talks about a plethora of filmmaking techniques. It shows how to use various camera shots, angles, and setups. The pan, tilt, the birds eye view are among the many that are discussed in the book. Montage is also talked about. So is the composition of a film shot using deep focus or triple or quadruple figures in a shot. Layering is also discussed. The film also talks about new or experimental techniques like biomass which is when an abundance of people crowd the screen. This is also applied to the use of animals or rain drops.
The book is short and to the point. Each topic only runs about a page long. There are many, many examples which illustrate each point. Most of what it talks about is filmmaking 101 or a basic level course. This is good for beginners or more advanced filmmaker looking for a review or to use as a reference when thinking of filmmaking ideas.
The book isn’t too advanced. The pages are short, sometimes a little too short. And most of the topics would be covered in an introduction to filmmaking class. The illustrations are adequate, nothing more. This is a bare bones approach to learning some of the basics of filmmaking.
The author has said that this book if for people who can’t afford to go to film school and are looking for a crash course in filmmaking techniques. That is just what this book is; a crash course on how to shoot or edit films. It will appeal to a beginner looking to understand some filmmaking methods or as a reference tool for someone looking for ideas about how to shoot, setup, or edit a film. Recommended to filmmakers new and experienced.
Tuesday, October 22, 2019
Review of The Hollywood Standard by Christopher Riley (2009)
Patrick Charsky
10/23/2019
The Hollywood Standard by Christopher Riley is an essential text about formatting a screenplay. Filled with useful information about a multitude of aspects about screenwriting it fills a void in the literature about screenwriting format and style. Christoper Riley was a proofreader for Warner Bros. script department for fourteen years. He is also a screenwriter. With his years of experience he has written an essential text about screenplay format and style.
The book is rather short. It is divided up into sections about a topic of screenplay format and style. Each chapter is organized around a concept of screenwriting. There is a major chapter about shot headings followed by other chapters concerning dialogue, direction, transitions and a few others. They go into detail about what to do in each particular situation. The book is detailed and addresses any situation a screenwriter might come across while writing a screenplay.
The book is an essential guide for screenwriters and TV writers. Every chapter has useful information about how to write for the TV and Movie industries. I read the book all the way through one time. But, I know that I will return to the book as a reference tool any time I have a question when I write a screenplay or teleplay for TV. The book is like any other reference text about how to use language, editing, and placement of words in a work of literature.
The best chapter is the one about shot headings. The text addresses when to use a shot heading, what to include in the shot heading, and what to avoid. In this chapter relevant examples are used to show the right way and the wrong way to use shot headings. It is the same throughout the book. The rule is explained, then the example of the right way to do it and the wrong way is supplied. The book is excellent in it’s presentation, use, and explanation of how to write screenplays.
The major drawback of the book is that is gets very specialized in its later chapters. The earlier chapters I felt addressed a lot of concerns of immediate concern for screenwriters. Some of the later chapters concern what to do when the screenplay is in production or when there needs to be revisions added to the screenplay or teleplay. This is a stage that writers of spec scripts probably don’t need to concern themselves with. At a later stage or in TV production I’m sure these chapters would be useful.
This book is essential for anyone trying to write a screenplay or teleplay. It is also very useful for editing scripts to make sure they are presentable to readers or other buyers of screenplays. I would recommend it to anyone who is writing a screenplay or who needs to edit a screenplay into polished form for submission to outside readers. An excellent resource for screenwriters or television writers.
10/23/2019
The Hollywood Standard by Christopher Riley is an essential text about formatting a screenplay. Filled with useful information about a multitude of aspects about screenwriting it fills a void in the literature about screenwriting format and style. Christoper Riley was a proofreader for Warner Bros. script department for fourteen years. He is also a screenwriter. With his years of experience he has written an essential text about screenplay format and style.
The book is rather short. It is divided up into sections about a topic of screenplay format and style. Each chapter is organized around a concept of screenwriting. There is a major chapter about shot headings followed by other chapters concerning dialogue, direction, transitions and a few others. They go into detail about what to do in each particular situation. The book is detailed and addresses any situation a screenwriter might come across while writing a screenplay.
The book is an essential guide for screenwriters and TV writers. Every chapter has useful information about how to write for the TV and Movie industries. I read the book all the way through one time. But, I know that I will return to the book as a reference tool any time I have a question when I write a screenplay or teleplay for TV. The book is like any other reference text about how to use language, editing, and placement of words in a work of literature.
The best chapter is the one about shot headings. The text addresses when to use a shot heading, what to include in the shot heading, and what to avoid. In this chapter relevant examples are used to show the right way and the wrong way to use shot headings. It is the same throughout the book. The rule is explained, then the example of the right way to do it and the wrong way is supplied. The book is excellent in it’s presentation, use, and explanation of how to write screenplays.
The major drawback of the book is that is gets very specialized in its later chapters. The earlier chapters I felt addressed a lot of concerns of immediate concern for screenwriters. Some of the later chapters concern what to do when the screenplay is in production or when there needs to be revisions added to the screenplay or teleplay. This is a stage that writers of spec scripts probably don’t need to concern themselves with. At a later stage or in TV production I’m sure these chapters would be useful.
This book is essential for anyone trying to write a screenplay or teleplay. It is also very useful for editing scripts to make sure they are presentable to readers or other buyers of screenplays. I would recommend it to anyone who is writing a screenplay or who needs to edit a screenplay into polished form for submission to outside readers. An excellent resource for screenwriters or television writers.
Wednesday, October 16, 2019
Review of An Anatomy of Drama by Martin Esslin (1977)
Patrick Charsky
10/16/2019
An Anatomy of Drama by Martin Esslin is an excellent book about theories of Drama. The book is about one hundred eighteen pages long and is divided into eleven chapters. The chapters are rather short and are replete with examples from important plays of the Classical and Modern eras. Esslin is a writer and critic who has worked in radio, theater and has written books about Bertoldt Brecht, the theater of the absurd, as well as other topics.
The book delves into numerous topics ranging from definitions of theater to the effect of theater on society. His scope is wide and deep. He talks in theoretical concepts and makes them understandable by illustrating his theories with examples from plays. He also shows an exhaustive knowledge of plays and playwrights. Particularly Brecht, Beckett, Shaw, Ionesscu, and others. The main idea of the book is how Drama in contemporary times is found in so many different forms like radio, TV, Cinema, and theater as well as religious experience and political ritual. Drama has become so important to the way humanity communicates that to understand it is to understand humanity in an important way.
Esslin writes about drama in an understandable way. Many of his ideas show that drama is a mass communication device that has taken the form of advertising and many other forms. He talks about Brecht and his Marxist theories of theater. He also talks about Beckett and how these two dramatists were at odds over how to present theater. Brecht wanted to show humanity as it was. Beckett was an absurdist who wanted to fantasy as well as realism to show his ideas. They were at odds. Esslin illustrates this division well.
In line with doctrinal disputes between playwrights Esslin also talks about the greatest plays that were written in the twentieth century. He analyzes and summarizes great plays like Beckett’s Waiting For Godot. His analysis of this play is on target. Esslin also uses many Shakespeare plays to illustrate his ideas about theater. He states that people have seen Shakespeare plays many times over. Like MacBeth and Hamlet. So when audiences go see a new version they look for a famous actor’s new interpretation of the play rather than to hear the story again. This illustrates the power actors have in drama.
The most poignant part of the book is how Drama can affect society. Esslin makes clear how many plays have incited political movements in various times and geographic regions. He writes how theater was behind the thaws in Poland, Hungary, and Czechoslovakia under the Soviet Union. It was theater that incited protesters to take to the streets and demand more rights in those countries. It was theater that brought about the French Revolution according to Esslin. Without theater society would never be able to air it’s grievances against the state.
In another telling examples Esslin talks about George Bernard Shaw and his effect on Britsh society in the early twentieth century. One of his plays brought about a change in how British society accepted the word “bloody.” Before the word “bloody” was taboo. When it was used on the stage the vulgarity of the word was lost and a collective sigh of relief went up from the crowd.
It is examples like these that make the book hard to put down. When Esslin talks about how Drama can have a positive psychological effect on audiences he makes another great point. The book is replete with great examples and language. Esslin picks out many famous phrases and uses them to illustrate his theories and opinions about drama.
The book has few negatives. If anything the concepts might be too theoretical for the novice reader. It certainly could be used in Introduction to Theater courses for its immense intelligence about the effects of drama on audiences and society. The examples are also for an experienced theater major. They are also a good introduction or review of great plays and playwrights like Shakespeare, Beckett, or Brecht. I was only lost one or two times. The rest of the book made immense and profound sense. I feel compelled to read it again.
This book would be great for a Theater major in college or an aspiring playwright who wants to learn more about dramatic theories and twentieth century theater. It is informative and knowledgeable about what theater can do. The power it has over audiences, the media, and the government. I would highly recommend this book.
10/16/2019
An Anatomy of Drama by Martin Esslin is an excellent book about theories of Drama. The book is about one hundred eighteen pages long and is divided into eleven chapters. The chapters are rather short and are replete with examples from important plays of the Classical and Modern eras. Esslin is a writer and critic who has worked in radio, theater and has written books about Bertoldt Brecht, the theater of the absurd, as well as other topics.
The book delves into numerous topics ranging from definitions of theater to the effect of theater on society. His scope is wide and deep. He talks in theoretical concepts and makes them understandable by illustrating his theories with examples from plays. He also shows an exhaustive knowledge of plays and playwrights. Particularly Brecht, Beckett, Shaw, Ionesscu, and others. The main idea of the book is how Drama in contemporary times is found in so many different forms like radio, TV, Cinema, and theater as well as religious experience and political ritual. Drama has become so important to the way humanity communicates that to understand it is to understand humanity in an important way.
Esslin writes about drama in an understandable way. Many of his ideas show that drama is a mass communication device that has taken the form of advertising and many other forms. He talks about Brecht and his Marxist theories of theater. He also talks about Beckett and how these two dramatists were at odds over how to present theater. Brecht wanted to show humanity as it was. Beckett was an absurdist who wanted to fantasy as well as realism to show his ideas. They were at odds. Esslin illustrates this division well.
In line with doctrinal disputes between playwrights Esslin also talks about the greatest plays that were written in the twentieth century. He analyzes and summarizes great plays like Beckett’s Waiting For Godot. His analysis of this play is on target. Esslin also uses many Shakespeare plays to illustrate his ideas about theater. He states that people have seen Shakespeare plays many times over. Like MacBeth and Hamlet. So when audiences go see a new version they look for a famous actor’s new interpretation of the play rather than to hear the story again. This illustrates the power actors have in drama.
The most poignant part of the book is how Drama can affect society. Esslin makes clear how many plays have incited political movements in various times and geographic regions. He writes how theater was behind the thaws in Poland, Hungary, and Czechoslovakia under the Soviet Union. It was theater that incited protesters to take to the streets and demand more rights in those countries. It was theater that brought about the French Revolution according to Esslin. Without theater society would never be able to air it’s grievances against the state.
In another telling examples Esslin talks about George Bernard Shaw and his effect on Britsh society in the early twentieth century. One of his plays brought about a change in how British society accepted the word “bloody.” Before the word “bloody” was taboo. When it was used on the stage the vulgarity of the word was lost and a collective sigh of relief went up from the crowd.
It is examples like these that make the book hard to put down. When Esslin talks about how Drama can have a positive psychological effect on audiences he makes another great point. The book is replete with great examples and language. Esslin picks out many famous phrases and uses them to illustrate his theories and opinions about drama.
The book has few negatives. If anything the concepts might be too theoretical for the novice reader. It certainly could be used in Introduction to Theater courses for its immense intelligence about the effects of drama on audiences and society. The examples are also for an experienced theater major. They are also a good introduction or review of great plays and playwrights like Shakespeare, Beckett, or Brecht. I was only lost one or two times. The rest of the book made immense and profound sense. I feel compelled to read it again.
This book would be great for a Theater major in college or an aspiring playwright who wants to learn more about dramatic theories and twentieth century theater. It is informative and knowledgeable about what theater can do. The power it has over audiences, the media, and the government. I would highly recommend this book.
Monday, October 14, 2019
Review of The Elements of Screenwriting by Irwin R. Blacker (1986)
10/14/2019
Patrick Charsky
The Elements of Screenwriting by Irwin R. Blacker is an introductory text about the many aspects of Screenwriting. In a concise form the author details important subjects about screenwriting. The book is divided into two parts. The first part concerns the composition of scripts. The second part concerns more of the business parts of the screenplay and film industry.
The book was originally published in 1986 and is just over 100 pages in length.
The first part of the book talks about character, dialogue, conflict, exposition, structure, the nuts and bolts of what should be included in a successful screenplay. The book provides definitions of each term and illustrates each definition with examples from classic films and plays. The second part talks about the business parts of the screenwriting industry. Blacker writes that screenwriters are part of a team that makes films. He talks about the look of a film. He says that screenwriters should have agents to negotiate contracts.
The positive aspects of the book are many pieces of advice told in a short and concise manner. The book is dated is some respects, but much of it’s advice still holds true even after several decades since publication. For a novice or even a working professional The Elements of screenwriting is a good place to start or review all there is to know about screenwriting. It could be used as a reference tool as well.
The book is a bit dated. Some of its film references are becoming more obscure as the years pass. Some of his advice has also become dated. His talks about formatting are from the days when screenwriting software wasn't around to do it automatically. The brevity of the book is a negative too. If you want a more in depth study, something with more substance, then a longer book would probably be better.
Still the book does hit home with many of its explanations of character, exposition, conflict, and the business of screenwriting. I would recommend it to a beginner without reservation. And it would be useful to a veteran screenwriter who from time to time needs a refresher or a quick reference guide.
Patrick Charsky
The Elements of Screenwriting by Irwin R. Blacker is an introductory text about the many aspects of Screenwriting. In a concise form the author details important subjects about screenwriting. The book is divided into two parts. The first part concerns the composition of scripts. The second part concerns more of the business parts of the screenplay and film industry.
The book was originally published in 1986 and is just over 100 pages in length.
The first part of the book talks about character, dialogue, conflict, exposition, structure, the nuts and bolts of what should be included in a successful screenplay. The book provides definitions of each term and illustrates each definition with examples from classic films and plays. The second part talks about the business parts of the screenwriting industry. Blacker writes that screenwriters are part of a team that makes films. He talks about the look of a film. He says that screenwriters should have agents to negotiate contracts.
The positive aspects of the book are many pieces of advice told in a short and concise manner. The book is dated is some respects, but much of it’s advice still holds true even after several decades since publication. For a novice or even a working professional The Elements of screenwriting is a good place to start or review all there is to know about screenwriting. It could be used as a reference tool as well.
The book is a bit dated. Some of its film references are becoming more obscure as the years pass. Some of his advice has also become dated. His talks about formatting are from the days when screenwriting software wasn't around to do it automatically. The brevity of the book is a negative too. If you want a more in depth study, something with more substance, then a longer book would probably be better.
Still the book does hit home with many of its explanations of character, exposition, conflict, and the business of screenwriting. I would recommend it to a beginner without reservation. And it would be useful to a veteran screenwriter who from time to time needs a refresher or a quick reference guide.
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