by Syd Field ‧ RELEASE DATE: Oct. 9, 2001
No one sees films quite the way Field does. An engineer’s report on film construction and the view of an original thinker...
The master teacher of screenplay writing charts his Alger-like rise in the film world and reveals himself to be a true Hollywood character.
The story begins at Field’s mother’s deathbed, where Field is beseeched to become a “professional person.” He tries dental school but ends up reading for a play directed by Jean Renoir, who sends him to the film program at UCLA. There, surrounded by students like Coppola, he watches Citizen Kane and begins developing his structural film analysis. Later, at Wolper Productions and Cinemobile Systems, he researches movie history and reads thousands of scripts in an attempt to determine how movies work. Eventually, while soaking in a hot tub, pondering Three Days of the Condor, he defines a screenplay’s dramatic structure: “a linear arrangement of related incidents, episodes or events leading to dramatic resolution.” To help a foundering screenwriting class, Field watches Chinatown and Manhattan and devises the idea of a “middle point” in Act II that turns a screenplay into two manageable 60-page units of dramatic action. More lessons follow—on bookends, flashbacks, and the whammo, which Field intuits while trying to explain the script of Alice Doesn’t Live Here Anymore. In addition, there are descriptions of the business—pitches, briefs, producers who don’t read—and always enlightening friendships, like “hanging out with [Sam] Peckinpah while he was writing The Wild Bunch.” Field never takes himself or his writing too seriously. He reveals his early failings at teaching, and although he quotes Fitzgerald, he allows his writing to remain resolutely informal: “Discipline had always been a biggie for me.” He is serious about movies, however—moved whenever he sees a good film “to take it apart and see how and why it works.”
No one sees films quite the way Field does. An engineer’s report on film construction and the view of an original thinker worth appreciating.Pub Date: Oct. 9, 2001
ISBN: 0-440-50849-5
Page Count: 384
Publisher: Dell
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 2001
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by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
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by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955
An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.
Pub Date: Feb. 23, 1955
ISBN: 0670717797
Page Count: -
Publisher: Viking
Review Posted Online: Oct. 25, 2011
Kirkus Reviews Issue: Feb. 1, 1955
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