000			04694cam a22004454a 4500
001			15499558
003			BJBSDDR
005			20260428164316.0
007			ta
008			081027s2009 nyu b 001 0deng
010			_a 2008044615
020			_a9780312380380 (alk. paper)
020			_a0312380380 (alk. paper)
035			_a15499558
040			_aDLC _cDLC _dDLC _beng
041			_aeng
043			_an-us---
050	1	4	_aPN 1995.9 _bR362b 2009
082	0	0	_a791.4302/32
100	1		_aReilly, Tom _q(Tom A.) _947954
245	1	4	_aThe big picture : _bfilmmaking lessons from a life on the set / _cTom Reilly.
250			_a1st ed.
260			_aNew York : _bThomas Dunne Books/St. Martin's Press, _c2009.
300			_axi, 239 pages ; _c22 cm.
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
504			_aIncludes bibliographical references and index.
505	0		_aLearn the vocabulary of film Learn the language of the set Pick your ten best shots What is a shot, anyway? If it's not in the shot, it doesn't matter Stories don't have to be linear : consider creative ways to warp time Don't leave money on the editing room floor : size matters Don't underestimate the power of a single line Move the walls, not the trucks : building a set gives you total control Know your way around the marketplace as well as the palace Great cinematographers are worth their weight in gold Seal the deal with a great operator Shoot on a low floor Shoot in flat light Unless the sun plays a role in the film The color palette is critical Move into your car The strip board is the Rosetta Stone of filmmaking What should be in your back pocket when you show up on set Face the realities of the budget : even fifty million won't seem like enough Fifty-three shooting days now what? : how to schedule a movie Shoot a short day Blocking is overlooked and undervalued The background action : how to keep it real and why to get it right Matching for continuity : why it's critical Working between the sheets : the only thing "hot" is the lights The wisdom of the unrehearsed scene The actors don't always have to be in frame Consider stealing some shots A film is a work in progress Expensive toys aren't always worth the money Don't use a flamethrower when a match will do Forget about the monitor Move the camera : they invented the dolly for a reason Then let it stand still : virtues of the static camera The absolute brilliance of the single master shot Assume nothing Night work : know when the suffering is worth it Earth, wind, and rain : you can't ignore the fundamental elements Fire and brimstone : full-body burns and the impossible shot The set has a chemistry : big egos, big money, big art Magic hour, magic moments But it's not all autographs and sunglasses "Poor man's process" : consider ways to go "cheap" Sweat the small stuff routinely Filmmaking is always about both the art and the money Or is it? : The auteur filmmaker versus the gun for hire If you're not in a union, you probably won't get to work on a feature film Hire the best crew : the teamsters matter Always have a nice lunch
520			_aFilm production veteran Tom Reilly has worked on motion picture sets for more than three decades. Here, he explores the art and the craft of filmmaking from the vantage point of someone actually running the movie set. Using examples unlike those in other books on film, Reilly exposes not only the power and the personalities, but the secrets of the pros. He shares the insights he gleaned while working with more than sixty Oscar-winning professionals--from Woody Allen, Al Pacino, Robert De Niro, and Vanessa Redgrave to Sydney Pollack, Sven Nykvist, and Barbra Streisand. In these fifty entertaining, illuminating short essays, Reilly answers such questions as: What is it like to shoot a love scene? How do you do a full body burn? What is it like to film in the Everglades or in a morgue? How do you decide when to build a set? And many more.--From publisher description
650		0	_aMotion pictures _xProduction and direction.
650		4	_aCine _xProducción y dirección _999
650		4	_aProducción y dirección cinematográfica _947337
650		0	_aCinematography.
650		4	_aCinematografía _9173
906			_a7 _bcbc _corignew _d1 _eecip _f20 _gy-gencatlg
942			_2lcc _cBK
999			_c126822 _d126822