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"Excellent, finely produced and illustrated with an intelligent and thoughtful text. No budding film-maker could fail to find something valuable here. Concise and accessible." --Hull University, UK.
"Consistently engaging Basics series and very accessible. Subjects are modern and insightful." --Swansea Metropolitan University, UK.
"The book is well written and the layout is clear and relevant to the courses that I teach." --Anglia Ruskin University, UK.
"Consistently engaging Basics series and very accessible. Subjects are modern and insightful." --Swansea Metropolitan University, UK.
"The book is well written and the layout is clear and relevant to the courses that I teach." --Anglia Ruskin University, UK.
Product Description
Basics Film-Making introduces the essential aspects of the directorial process, focusing on the requirements of short films while also drawing on classic examples from the world of feature films. It looks at the tricky balancing act of art and business, offering guidelines and basic principles rather than instructions. Divided into the three key stages of the film-making process; pre-production, production and postproduction, the book provides students with a framework to begin directing their own productions. The chapters are interspersed with case studies investigating the working practices of leading professionals such as Robert Rodriguez, Mike Leigh.
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6 of 6 people found the following review helpful
Format:Paperback
The type of people who would buy a book called `Directing Fiction' are more than likely film/media students, or else people who are interested in filmmaking as a practical pursuit. This being the case the book is written in just the right tone- it manages to be informative without ever seeming daunting or `too much to take in'.
The contents are split into four distinct sections handling the different stages of filmmaking; Preliminaries, Pre-Production, Production and Post-Production. In some ways the first section is the most interesting as it contains information about the fundamental abilities you must have as a director, such as being able to trust your crew with `your baby' (i.e. the film) and the ability to act like a leader, because that's what a director is. The latter three sections deal with the practical aspects of what is normal on a shoot, and clearly outline what your role is as a director at each stage. Basic descriptions of other major members of the crew are outlined as well, which can be pretty handy if you have no idea what a Foley artist is or how much influence a production designer has. None of this is hugely detailed but it doesn't need to be in a book about directing.
Each section provides bullet-pointed references for tasks you really should have completed by that stage. It might sound obvious to say that by the time you start shooting the script should be finished, but believe me I've worked on films where this isn't the case! The book also contains case studies of films and directors to illustrate the various styles of operation available to the would-be filmmaker, as well as interviews with Mark Herman, director Little Voice and The Boy in the Striped Pyjamas about his experiences in film. There are also some very useful bits of info at the back, such as key films to watch in order to expand your filmic knowledge, a bibliography, web resources and a list of film festivals by location (it's nice to see them laid out in front of you, gives you something to aim for).
Overall, this book should not be considered a theoretical one; it's a practical one. Those hoping to find detailed breakdowns of the stylistic aspects of films in an attempt to emulate their favourite director will be disappointed. The author wisely advises against such intentions. On the other hand, it is not a strict how-to either. Throughout the length of the book, the author stresses that nobody can tell you how to direct; it comes down to experience and having the right mental attitude to succeed. Some might ask what the point is of buying a book on the subject if that's the case, but this is certainly a useful resource for the beginner filmmaker, and besides, a book telling you exactly how to direct would be a far worse proposition than one that merely lays out the options, like this one does.
The contents are split into four distinct sections handling the different stages of filmmaking; Preliminaries, Pre-Production, Production and Post-Production. In some ways the first section is the most interesting as it contains information about the fundamental abilities you must have as a director, such as being able to trust your crew with `your baby' (i.e. the film) and the ability to act like a leader, because that's what a director is. The latter three sections deal with the practical aspects of what is normal on a shoot, and clearly outline what your role is as a director at each stage. Basic descriptions of other major members of the crew are outlined as well, which can be pretty handy if you have no idea what a Foley artist is or how much influence a production designer has. None of this is hugely detailed but it doesn't need to be in a book about directing.
Each section provides bullet-pointed references for tasks you really should have completed by that stage. It might sound obvious to say that by the time you start shooting the script should be finished, but believe me I've worked on films where this isn't the case! The book also contains case studies of films and directors to illustrate the various styles of operation available to the would-be filmmaker, as well as interviews with Mark Herman, director Little Voice and The Boy in the Striped Pyjamas about his experiences in film. There are also some very useful bits of info at the back, such as key films to watch in order to expand your filmic knowledge, a bibliography, web resources and a list of film festivals by location (it's nice to see them laid out in front of you, gives you something to aim for).
Overall, this book should not be considered a theoretical one; it's a practical one. Those hoping to find detailed breakdowns of the stylistic aspects of films in an attempt to emulate their favourite director will be disappointed. The author wisely advises against such intentions. On the other hand, it is not a strict how-to either. Throughout the length of the book, the author stresses that nobody can tell you how to direct; it comes down to experience and having the right mental attitude to succeed. Some might ask what the point is of buying a book on the subject if that's the case, but this is certainly a useful resource for the beginner filmmaker, and besides, a book telling you exactly how to direct would be a far worse proposition than one that merely lays out the options, like this one does.
4 of 4 people found the following review helpful
Format:Paperback
With its easy-to-read content and simple-to-follow layout this book is perfect for film/media students looking for a book which covers all bases of non-documentary film-making. The book covers directing from preliminaries, pre-production, production to post-production, considering the directorial practicalities of management and leadership. I really appreciated how the author combined the director's practical duties with the psychological elements of the role. This is something I had never really thought about but it is essential in its use.
It never feels like the author is dictating, which put me at ease while reading the book. The reader feels involved in the thought-process as the book progresses. This is complemented by its vibrant content and colour; this visual engagement drew me in when I first browsed the book in my local bookshop. I read this book alongside Basics Film-Making: Producing and I felt the two complemented one another but also worked as stand-alone texts. Both are unmissable for anyone studying or involved in film-making at entry-level.
It never feels like the author is dictating, which put me at ease while reading the book. The reader feels involved in the thought-process as the book progresses. This is complemented by its vibrant content and colour; this visual engagement drew me in when I first browsed the book in my local bookshop. I read this book alongside Basics Film-Making: Producing and I felt the two complemented one another but also worked as stand-alone texts. Both are unmissable for anyone studying or involved in film-making at entry-level.
4 of 4 people found the following review helpful
Format:Paperback
Directing Fiction by Robert Edgar-Hunt I found to be a very interesting piece that had a easy to follow contents. It covers from pre production (script, storyboard, casting ect) production (working on image, sound, actors ect) post production (editing copyright ect) and gives an in deep look into each step of making a fiction and looks at techniques that are useful for any budding film maker, students or anyone who just wants an interesting read. It's like one of the `For Dummies' books but without the pointless basics that everyone knows and the lack of colour as this is a vibrant piece in both content and colour. On an educational front it gives you case studies to look at and also for both non students and students alike there are exercises after each chapter which again are things to look at which will help you progress as a director and film maker. As a student I feel this book is a guide for me because it also touches on every element of film making fiction and gives good references to films and film makers alike. In short this book gives a educational yet stylish, sexy and slick look at directing fiction.
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