The Art Of Filmmaking

Since cinema's earliest days, literary adaptation has provided the movies with stories; and so we use literary terms like metaphor, metonymy and synecdoche to describe visual things. But there is another way of looking at film, and that is through its relationship with the visual arts – mainly painting, the oldest of the art forms. Art History for Filmmakers is an inspiring guide to how images from art can be used by filmmakers to establish period detail, and to teach composition, color theory and lighting. The book looks at the key moments in the development of the Western painting, and how these became part of the Western visual culture from which cinema emerges, before exploring how paintings can be representative of different genres, such as horror, sex, violence, realism and fantasy, and how the images in these paintings connect with cinema. Insightful case studies explore the links between art and cinema through the work of seven high-profile filmmakers, including Peter Greenaway, Peter Webber, Jack Cardiff, Martin Scorsese, Guillermo del Toro, Quentin Tarantino and Stan Douglas. A range of practical exercises are included in the text, which can be carried out singly or in small teams. Featuring stunning full-color images, Art History for Filmmakers provides budding filmmakers with a practical guide to how images from art can help to develop their understanding of the visual language of film.

This book will teach you how to make a movie that won't break your bank account. Not only will it teach you how to make a movie for little or no money, but will teach you to potentially make a "box office hit" that won't require your first born, and two kidneys to do so. This book will take you through the whole process of filmmaking from Pre-Production, Production, and Post-Production. You'll learn all the key elements in which are forgotten that always cost more money in the long run then originally planned. If you are a first time filmmaker, seasoned professional, or just someone with a dream to make a movie one day, then this book will change your life.

A structured perspective on the crucial interface of director and screenplay, this book encompasses twenty-two seminal aspects of the approach to story and script that a director needs to understand before embarking on all other facets of the director’s craft. Drawing on seventeen years of teaching filmmaking at a graduate level and on his prior career as a director and in production at the BBC, Markham shows how the filmmaker can apply rigorous analysis of the elements of dramatic narrative in a screenplay to their creative vision, whether of a short or feature, TV episode or season. Combining examination of such fundamental topics as story, premise, theme, genre, world and setting, tone, structure, and key images with the introduction of less familiar concepts such as cultural, social, and moral canvas, narrative point of view, and the journey of the audience, What’s The Story? The Director Meets Their Screenplay applies the insights of each chapter to a case study—the screenplay of the short film Contrapelo, nominated for the Jury Award at Tribeca in 2014. This book is an essential resource for any aspiring director who wants to understand exactly how to approach a screenplay in order to get the very best from it, and an invaluable resource for any filmmaker who wants to understand the important creative interplay between the director and screenplay in bringing a story to life.

What goes into the making of Hollywood's greatest motion pictures? Join the authors as they examine recent screenplays on their perilous journey from script to screen.

The Collaborative Art of Filmmaking: From Script to Screen explores what goes into the making of Hollywood’s greatest motion pictures. Join veteran script consultant Linda Seger as she examines contemporary and classic screenplays on their perilous journey from script to screen. This fully revised and updated edition includes interviews with over 80 well-known artists in their fields including writers, producers, directors, actors, editors, composers, and production designers. Their discussions about the art and craft of filmmaking – including how and why they make their decisions – provides filmmaking and screenwriting students and professionals with the ultimate guide to creating the best possible "blueprint" for a film and to also fully understand the artistic and technical decisions being made by all those involved in the process.

Lean Filmmaking is an explosion of creativity, turning conventional wisdom upside down to vigorously shake out obsolete ideas revered by the traditional film industry. Writing a script. Pitching to investors. Surviving development hell. Before even picking up a camera. All while juggling a family, a social life and a day job. No wonder making an independent feature film feels out of reach. Lean Filmmaking is different. It celebrates experimentation and inventiveness, while forging a sustainable artistic practice. It saves time, energy and money (but it's not just for low-budget or cheap ideas). It takes advantage of surprising - often counterintuitive - strategies to dramatically improve the filmmaking process, including:- Collaborating in non-hierarchical, cross-functional squads- Working in ongoing iterative Make-Show-Adjust Cycles- Validating assumptions with early fan feedbackIf you're ready to transition from shorts, series or online videos to creating independent feature films, go from idea to launch with the five-step Lean Filmmaking method.Get started immediately with tested techniques that will empower you to take action, bust through stumbling blocks and ignite your creativity. "Lean Filmmaking kickstarts an entire generation of new filmmaking voices, arming them with the tools and self-reliance to create original, important stories, then connecting them with the audience who especially craves them." -Perri Cummings and Paul Anthony Nelson, producers Trench"Lean Filmmaking revolutionizes how filmmakers work." -Melanie Rowland, producer Time ApartCheeky provocateurs and creative agitators, siblings Kylie Eddy and David Eddy have combined their filmmaking experience and agile coaching expertise to re-imagine the development, production and distribution of independent films in an uncertain world.leanfilmmaking.com

Digital Filmmaking has been called the bible for professional filmmakers in the digital age. It details all of the procedural, creative, and technical aspects of pre-production, production, and post-production within a digital filmmaking environment. It examines the new digital methods and techniques that are redefining the filmmaking process, and how the evolution into digital filmmaking can be used to achieve greater creative flexibility as well as cost and time savings. The second edition includes updates and new information, including four new chapters that examine key topics like digital television and high definition television,making films using digital video, 24 P and universal mastering, and digital film projection. Digital Filmmaking provides a clear overview of the traditional filmmaking process, then goes on to illuminate the ways in which new methods can accomplish old tasks. It explains vital concepts, including digitization, compression, digital compositing, nonlinear editing, and on-set digital production and relates traditional film production and editing processes to those of digital techniques. Various filmmakers discuss their use of digital techniques to enhance the creative process in the "Industry Viewpoints" sections in each chapter .

The visual image is the common denominator of cinema and painting, and indeed many filmmakers have used the imagery of paintings to shape or enrich the meaning of their films. In this discerning new approach to cinema studies, Angela Dalle Vacche discusses how the use of pictorial sources in film enables eight filmmakers to comment on the interplay between the arts, on the dialectic of word and image, on the relationship between artistic creativity and sexual difference, and on the tension between tradition and modernity. Specifically, Dalle Vacche explores Jean-Luc Godard's iconophobia (Pierrot Le Fou) and Andrei Tarkovsky's iconophilia (Andrei Rubleov), Kenji Mizoguchi's split allegiances between East and West (Five Women around Utamaro), Michelangelo Antonioni's melodramatic sensibility (Red Desert), Eric Rohmer's project to convey interiority through images (The Marquise of O), F. W. Murnau's debt to Romantic landscape painting (Nosferatu), Vincente Minnelli's affinities with American Abstract Expressionism (An American in Paris), and Alain Cavalier's use of still life and the close-up to explore the realms of mysticism and femininity (Thérèse). While addressing issues of influence and intentionality, Dalle Vacche concludes that intertextuality is central to an appreciation of the dialogical nature of the filmic medium, which, in appropriating or rejecting art history, defines itself in relation to national traditions and broadly shared visual cultures.

The Machinima approach to creating movies promises to revolutionize the computer animation industry and this book will serve as the industry bible for emerging filmmakers. It expertly covers the very latest technology in filmmaking, from the history of Machinima, who the major players are, and where the Machinima movement is going. Conventional filmmakers are quickly adopting this medium as a much easier and economical way to produce animation films. This book contains a wealth of tips, tricks, and solid techniques to creating your own Machinima films from some of the best creative minds in the industry. Numerous hands-on projects are provided to show readers how to expertly create, edit, and view their own films. Some of the hot topics covered include developing actors, preparing sets, incorporating audio, adding special audio and visual effects, using the best post production techniques, using the best game engines, and much more.

In his preface the author states: "The cinema is now one of the main objects on which efforts should be concentrated in order to conduct the revolution in art and literature. The cinema occupies an important place in the overall development of art and literature. As such it is a powerful ideological weapon for the revolution and construction. Therefore, concentrating efforts on the cinema, making breakthroughs and following up success in all areas of art and literature is the basic principle that we must adhere to in revolutionizing art and literature."Kim Jong Il (1942- ) is leader of North Korea (1994- ). Kim Jong Il succeeded his father, Kim Il Sung, who had ruled North Korea since 1948.