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Original Title:	Making Movies
ISBN:	0679756604 (ISBN13: 9780679756606)
Edition Language:	English

Making Movies

Sidney Lumet

Paperback | Pages: 240 pages

Rating: 4.23 | 4978 Users | 324 Reviews

Present Containing Books Making Movies

Title	:	Making Movies
Author	:	Sidney Lumet
Book Format	:	Paperback
Book Edition	:	Deluxe Edition
Pages	:	Pages: 240 pages
Published	:	March 19th 1996 by Vintage (first published March 14th 1995)
Categories	:	Culture. Film. Nonfiction. Media Tie In

Commentary In Favor Of Books Making Movies

lumet's an interesting guy to think about if one decides to make a film -- the guy's made some of the best films of our time. but for me, lumet provides a cautionary tale of what not to become.

12 Angry Men
Dog Day Afternoon
Network
The Verdict
Serpico
Before the Devil Knows You're Dead

all good. and Network is great.

and he's made about fifty bad movies including A Stranger Among Us, Guilty as Sin, the remake of Gloria, etc...

lumet's obviously an intelligent guy with good taste (cites Carl Dreyer as his favorite director - nice) -- and he's an auteur: a thematic quality runs through his best work and he clearly chooses his material by a certain standard. but lumet is at the mercy of two things: (1) the time in which he lives and (2) his cinematographer. (it's also worth noting that he comes from television which is about as visually distinctive as high school yearbook photography) check it out:

(1) why are his 70s movies better? why do his 90s movies suck?

well, he was a younger man in the 70s than in the 90s and had more fire in his belly. of course. but he was also making films in american cinema's 2nd golden age - the spirit of the time dominated his films: gritty, tough films both thematically and visually; intense character studies about flawed people; obsessive and paranoid films as a response to nixon/watergate/vietnam.


(2) lumet's great w/actors. for sure. his pacing is great, he knows how to construct a scene... but visually, is there a 'lumet style'? well - in making movies he states, for example, that the color blue never once appears in The Verdict (paul newman's eyes!) as he wanted the film to have an autumnal feel. ok. that's kinda cool. but, ultimately, is there anything visual to distinguish a sidney lumet film? naw, not really. and this is ok. same for howard hawks - for hawks it's all a 'code of masculinity' and saucy dames. he left the visuals to the camera guy.


fuck that. i don't wanna be at the mercy of my cinematographer. greg toland (cinematographer of Citizen Kane) famously explained that orson welles was able to reinvent cinema with his first feature in that he didn't know the 'rules', he didn't understand the limitations -- he demanded shots from toland that hadn't been done before and refused to hear that they couldn't be done. but there's only one orson welles. the rest of us will believe our DP when s/he tells us that a shot cannot be done. the rest of us will allow our DP to construct a shot. fuck that.


filmmakers rule #1 -- on set, know how to do everybody's job better than them.


spielberg has kaminski, a visual fucking god, but every spielberg film looks like a spielberg film.

in the early 90s francis ford coppola said that new technology would democratize cinema. a few years back james gray said that new technology hasn't done much in the way of the democratization of cienema in that 99.9% of 'homemade' movies suck. gray's right.

you gotta know the technical stuff.

lumet is a very good filmmaker. (and i thank him kindly for Before the Devil Knows You're Dead -- the naked marisa tomei scenes have provided invaluable masturbatory assistance). and making movies is a great read. but, for me, it's a cautionary tale. i might never make a film as good as network. shit, i hope i make one half as good. but fuck if i let my cinematographer or the time in which i live be the deciding factor of what my film looks like! be like a writer banging out the beats of his novel only to have someone else handle the prose!

* this is in no way meant to disparage cinematographers. the great ones are every bit the genius as the great directors. and a great cinematographer matched with a great director (bergman/nykvist godard/coutard, coppola/willis) can create something transcendent. but i ain't a cinematographer. and in terms of my shit, i'm an insufferable egomaniac. and hopefully the tension b/t a tough-minded director and tough-minded cinematographer will make 'em both better than they could've been on their own.

Rating Containing Books Making Movies

Ratings: 4.23 From 4978 Users | 324 Reviews

Judge Containing Books Making Movies

The perfect instruction book, either for fans or the career-minded. Imagine having a long conversation with a legendary director, where you get to ask him all the things you want to know: what's the shooting process like, how do you rehearse actors, what's the relationship between you and cinematographer, or you and the editor, how do you deal with unions, and while you're at it, what in the world is color timing? This book is all that, told in the plainest, most direct, most cut-the-crap manner

Sidney Lumet directed a lot of movies. He has 73 credits on IMDB. That's a tremendous body of work, and he has some beautiful insights in this book. My favorite chapter was The Camera. He really gets into the weeds about how to use the camera to tell your story. He treats the camera like another character in the film and how he used the camera to create a story arc for the film and for the other actors. Pretty neat. It's slightly dated because this book was written in the 90's when everyone was

My favorite movie, Network, was directed by the author of this book. Naturally, I had to pick up a copy.Let it be said that reading this affirmed my previous belief that one has to be insane to want to be a filmmaker. The number of moving parts on a movie set exceeds that of any particle accelerator, and its all chaos. Not only is there no way to predict how actors will behave or what kind of mechanical failures will arise in any of the thousand departments, theres no way to predict how the

Sidney Lumet has more than 50 films to his credit. But I had seen only two of his films: Dog day afternoon and Serpico prior to chancing upon this title on Amazon. And I came to know that he had an honorary Oscar too for lifetime achievement in Cinema. So bought this book based on reviews that it touches upon all aspects of Cinema. And sure it does.This book came out in 1995, so certain aspects like cinematography belong to the period prior to that i.e. before they started making digitally. But

I love movies. I want to make a movie.Perhaps, reading this book will be the closest I'll come to making a movie.It reads so gracefully. I felt I was in the shoes of Sidney Lumet, one of America's preeminent filmmakers., as he made his decisions on all aspects of putting a film from script to screen.What can I say? If you like movies and ever dreamed of making a movie, read this book.

An interesting read for those who want to learn more about how movies are made. Sidney Lumet is one of the most prolific film maker of our time and in this book he takes us through a tour of what its like to make a movie. I found some good tips (mostly based on common sense) although the book is a little dated. These days everything is digital and Lumet made his last movie in 2007. But his views on cinema and style are as relevant today as they were back in the day. Style is something which

This is a great look into professional filmmaking by one of the hard working masters in the field.His work span over several decades and includes some of the real classics in cinema.He gives us an intersting glimpse into the hard work of making movies but also why it is worth it in the end. We get just enough insight into all the aspects involved without delving into too much detail. This book came late in his life and career and we are treated to a lifetime of toughts and wisdom on movie making