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Film is a visual medium, the work of Eric Rohmer and Kevin Smith notwithstanding. It is important for a director and cinemtographer to use their VISUAL EYES in order to VISUALIZE how to make their movie most effective. Also, there is the messy business of actors. Generally, movies have them, and directors have to deal with them. This guide will illuminate these two main jobs of the director: directing the camera and directing the actor, while showing how these two jobs manifest themselves during practical filmmaking -- whether it be, 'Which shots can I lose and still tell my story since we're…mehr
Film is a visual medium, the work of Eric Rohmer and Kevin Smith notwithstanding. It is important for a director and cinemtographer to use their VISUAL EYES in order to VISUALIZE how to make their movie most effective. Also, there is the messy business of actors. Generally, movies have them, and directors have to deal with them. This guide will illuminate these two main jobs of the director: directing the camera and directing the actor, while showing how these two jobs manifest themselves during practical filmmaking -- whether it be, 'Which shots can I lose and still tell my story since we're running out of time', or 'How do I get two actors who hate each other to perform a passionate sex scene',' all will be revealed.
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Autorenporträt
Lloyd Kaufman is one of the very few genuine auteur filmmakers. He has written, produced, and/or directed more than 25 films, including "The Toxic Avenger", "Terror Firmer", "Tromeo and Juliet", and "Poultrygeist: Night of the Chicken Dead". Kaufman is president of the world-famous Troma Entertainment, the oldest and, arguably, the longest-running truly independent film studio in history. He is also the president of the IFTA (Independent Film & Television Alliance), whose members produce more than 400 independent films and countless hours of television programming each year and generate more than $4 billion in distribution revenues annually.
Inhaltsangabe
PREFACE- DIRECTILE DISFUNCTION FOREWORD (maybe BACKWARD) by Mark Neveldine and Brian Taylor ("Crank") CHAPTER 1 - JOINING THE ARMY OF ONE CHAPTER 2 - IT'S THE SHIT! ... ER, SCRIPT! CHAPTER 3 - SHOW, DON'T TELL, AND OTHER THINGS MY UNCLE LANCE WHISPERED TO ME IN THE BASEMENT CHAPTER 4- PREPRODUCTION: MY OWN PRIVATE IDAHO (AND BY IDAHO, I, OF COURSE, MEAN HELL) CHAPTER 5-CASTING: STICK TO FISH, AVOID THE TOILET SEATS CHAPTER 6-PREPARATION AND SCHEDULING: WHO KNEW THERE WAS SO MUCH PAPER INVOLVED IN THE ART OF DIRECTING? CHAPTER 7 - MANAGING THE SET, OR MASTERING THE AGE-OLD ART OF BABYSITTING. CHAPTER 8 - PUTTING THE "SPECIAL" IN SPECIAL EFFECTS, OR WHY WE SPEND 80% OF OUR BUDGET ON BROMO-SELTZER CHAPTER 9 - POST PRODUCTION, OR TAKING A CUE FROM DEDICATED HOOKERS AND FINISHING YOUR MOVIE OFF RIGHT CHAPTER 10 - IF YOU WANT IT DONE RIGHT, YOU'VE GOT TO DO IT YOURSELF, OR PAY SOMEONE A LOT OF MONEY CHAPTER 11 - A CHAPTER JUST ABOUT DIRECTING AFTERWORD - MY HAPPY ENDING
PREFACE- DIRECTILE DISFUNCTION
FOREWORD (maybe BACKWARD) by Mark Neveldine and Brian Taylor ("Crank")
CHAPTER 1 - JOINING THE ARMY OF ONE
CHAPTER 2 - IT'S THE SHIT! ... ER, SCRIPT!
CHAPTER 3 - SHOW, DON'T TELL, AND OTHER THINGS MY UNCLE LANCE WHISPERED TO ME IN THE BASEMENT
CHAPTER 4- PREPRODUCTION: MY OWN PRIVATE IDAHO (AND BY IDAHO, I, OF COURSE, MEAN HELL)
CHAPTER 5-CASTING: STICK TO FISH, AVOID THE TOILET SEATS
CHAPTER 6-PREPARATION AND SCHEDULING: WHO KNEW THERE WAS SO MUCH PAPER INVOLVED IN THE ART OF DIRECTING?
CHAPTER 7 - MANAGING THE SET, OR MASTERING THE AGE-OLD ART OF BABYSITTING.
CHAPTER 8 - PUTTING THE "SPECIAL" IN SPECIAL EFFECTS, OR WHY WE SPEND 80% OF OUR BUDGET ON BROMO-SELTZER
CHAPTER 9 - POST PRODUCTION, OR TAKING A CUE FROM DEDICATED HOOKERS AND FINISHING YOUR MOVIE OFF RIGHT
CHAPTER 10 - IF YOU WANT IT DONE RIGHT, YOU'VE GOT TO DO IT YOURSELF, OR PAY SOMEONE A LOT OF MONEY
PREFACE- DIRECTILE DISFUNCTION FOREWORD (maybe BACKWARD) by Mark Neveldine and Brian Taylor ("Crank") CHAPTER 1 - JOINING THE ARMY OF ONE CHAPTER 2 - IT'S THE SHIT! ... ER, SCRIPT! CHAPTER 3 - SHOW, DON'T TELL, AND OTHER THINGS MY UNCLE LANCE WHISPERED TO ME IN THE BASEMENT CHAPTER 4- PREPRODUCTION: MY OWN PRIVATE IDAHO (AND BY IDAHO, I, OF COURSE, MEAN HELL) CHAPTER 5-CASTING: STICK TO FISH, AVOID THE TOILET SEATS CHAPTER 6-PREPARATION AND SCHEDULING: WHO KNEW THERE WAS SO MUCH PAPER INVOLVED IN THE ART OF DIRECTING? CHAPTER 7 - MANAGING THE SET, OR MASTERING THE AGE-OLD ART OF BABYSITTING. CHAPTER 8 - PUTTING THE "SPECIAL" IN SPECIAL EFFECTS, OR WHY WE SPEND 80% OF OUR BUDGET ON BROMO-SELTZER CHAPTER 9 - POST PRODUCTION, OR TAKING A CUE FROM DEDICATED HOOKERS AND FINISHING YOUR MOVIE OFF RIGHT CHAPTER 10 - IF YOU WANT IT DONE RIGHT, YOU'VE GOT TO DO IT YOURSELF, OR PAY SOMEONE A LOT OF MONEY CHAPTER 11 - A CHAPTER JUST ABOUT DIRECTING AFTERWORD - MY HAPPY ENDING
PREFACE- DIRECTILE DISFUNCTION
FOREWORD (maybe BACKWARD) by Mark Neveldine and Brian Taylor ("Crank")
CHAPTER 1 - JOINING THE ARMY OF ONE
CHAPTER 2 - IT'S THE SHIT! ... ER, SCRIPT!
CHAPTER 3 - SHOW, DON'T TELL, AND OTHER THINGS MY UNCLE LANCE WHISPERED TO ME IN THE BASEMENT
CHAPTER 4- PREPRODUCTION: MY OWN PRIVATE IDAHO (AND BY IDAHO, I, OF COURSE, MEAN HELL)
CHAPTER 5-CASTING: STICK TO FISH, AVOID THE TOILET SEATS
CHAPTER 6-PREPARATION AND SCHEDULING: WHO KNEW THERE WAS SO MUCH PAPER INVOLVED IN THE ART OF DIRECTING?
CHAPTER 7 - MANAGING THE SET, OR MASTERING THE AGE-OLD ART OF BABYSITTING.
CHAPTER 8 - PUTTING THE "SPECIAL" IN SPECIAL EFFECTS, OR WHY WE SPEND 80% OF OUR BUDGET ON BROMO-SELTZER
CHAPTER 9 - POST PRODUCTION, OR TAKING A CUE FROM DEDICATED HOOKERS AND FINISHING YOUR MOVIE OFF RIGHT
CHAPTER 10 - IF YOU WANT IT DONE RIGHT, YOU'VE GOT TO DO IT YOURSELF, OR PAY SOMEONE A LOT OF MONEY
CHAPTER 11 - A CHAPTER JUST ABOUT DIRECTING
AFTERWORD - MY HAPPY ENDING
Rezensionen
"It's funny, it's profane, and you may learn a thing or two." - Internet Video Magazine
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