Featuring hundreds of carefully hand-crafted illustrations as well as significant tuition on how to best compose and use images to create the most powerful frames, this book is potentially Hans P. Bacher's life's work encapsulated in one volume. Here, the internationally renowned production designer shares his expertise in an easy-to-follow and imaginative way – giving tips, exercises, and a depth of knowledge garnered from a lifetime in the industry. Bacher's production designs have established the look of many seminal animated films such as The Lion King, Balto, Mulan and Beauty and the Beast, so fans of his work will be delighted. While keeping the focus on storytelling, Bacher instructs readers in the art of animated cinematography with the ever-present aim of soliciting an emotional response from the audience. Vision: Color and Composition for Film represents an amazing depth of experience — and is visually arresting to boot.

NEW YORK TIMES BESTSELLER • Stand-up comedian and Hollywood box-office hit Kevin Hart keeps the laughs coming in an illustrated middle-grade novel about a boy who has big dreams of making a blockbuster superhero film. Perfect for readers of James Patterson's Middle School series and Lincoln Peirce's Big Nate series. "Keep[s] kid readers on the edge of their seat." –Parents Magazine Marcus is NOT happy to be stuck in after-school film class . . . until he realizes he can turn the story of the cartoon superhero he’s been drawing for years into an actual MOVIE! There’s just one problem: he has no idea what he’s doing. So he’ll need help, from his friends, his teachers, Sierra, the strong-willed classmate with creative dreams of her own, even Tyrell, the local bully who’d be a perfect movie villain if he weren’t too terrifying to talk to. Making this movie won’t be easy. But as Marcus discovers, nothing great ever is—and if you want your dream to come true, you’ve got to put in the hustle to make it happen. Comedy superstar Kevin Hart teams up with award-winning author Geoff Rodkey and lauded illustrator David Cooper for a hilarious, illustrated, and inspiring story about bringing your creative goals to life and never giving up, even when nothing’s going your way.

In TASCHEN's first volume of one of the most expansive illustrated publications on Disney animation, 1,500 images take us to the beating heart of the studio's "Golden Age of Animation." Derived from the XXL book, this new edition again includes behind-the-scenes photos, story sketches, and cel setups of famous film scenes. It spans each of the...

The wildly inventive debut collection of stories by the Oscar-nominated star of The Social Network. “Hilarious . . . It’s a hoot” (People, The Best New Books). Jesse Eisenberg, known for his iconic film roles, his regular pieces in the New Yorker and two critically acclaimed plays, proves himself “a deeply original comic voice” in these 28 stories” about the funniness, sadness, and strangeness of everyday life and they really made me laugh” (Roz Chast). Moving from contemporary LA to the dorm rooms of an American college to ancient Pompeii, Eisenberg throws the reader into a universe of social misfits, reimagined scenes from history, and ridiculous overreactions; a college freshman forced to live with a roommate is stunned when one of her ramen packets goes missing (“She didn’t have ‘one’ of my ramens. She had a chicken ramen.”); Alexander Graham Bell has teething problems with his invention (“I’ve been calling Mabel all day, she doesn’t pick up! Yes, of course I dialed the right number—2!”); and in the title story, a precocious and privileged nine-year-old boy finds himself in the uncomfortable position as an amateur restaurant critic. Featuring illustrations by award-winning cartoonist Jean Jillian, this “alphabet soup of sketches, riffs, and innovations” (Seattle Times) explores the various insanities of the modern world, “playfully bringing both familiar and wholly original scenarios to life” (Marie Claire). A Fall Books Preview Selection by Audible One of the Wall Street Journal’s 15 Books to Read This Fall One of USA Today’s Weekend Picks for Book Lovers One of People Magazine’s Best New Books

The New York Times film critic shows why we need criticism now more than ever Few could explain, let alone seek out, a career in criticism. Yet what A.O. Scott shows in Better Living Through Criticism is that we are, in fact, all critics: because critical thinking informs almost every aspect of artistic creation, of civil action, of interpersonal life. With penetrating insight and warm humor, Scott shows that while individual critics--himself included--can make mistakes and find flaws where they shouldn't, criticism as a discipline is one of the noblest, most creative, and urgent activities of modern existence. Using his own film criticism as a starting point--everything from his infamous dismissal of the international blockbuster The Avengers to his intense affection for Pixar's animated Ratatouille--Scott expands outward, easily guiding readers through the complexities of Rilke and Shelley, the origins of Chuck Berry and the Rolling Stones, the power of Marina Abramovich and 'Ode on a Grecian Urn.' Drawing on the long tradition of criticism from Aristotle to Susan Sontag, Scott shows that real criticism was and always will be the breath of fresh air that allows true creativity to thrive. "The time for criticism is always now," Scott explains, "because the imperative to think clearly, to insist on the necessary balance of reason and passion, never goes away."

Gordy LaSure's passionate about film. He eats film, he drinks film, and sometimes he'll even watch a film. But most of all he loves talking to people about film: whether a comely student with low confidence and a father complex, a Studio 'development' exec who doesn't trust his own judgement, or the countless people Gordy LaSure's encountered in his capacity as the web moderator on an Excessive Sweating Discussion Forum. Gordy LaSure's alwaystalking about films and how they'd be a shit ton better if only people would pull their asses out of their ears and listen to Gordy LaSure.The voyage of this book can be categorised as an attempt to understand How In Hell Film Works. Why are some films bad, and some films terrible?How come just a handful of films (Titanic, Porky's, Dirty Harry) areany good at all? Gordy'll tell you How and Why, and he'll give you a slug of Wherefore on the side. And he doesn't shoot from the hip; he shoots from the gut.

Entertainment Weekly's controversial critic of more than two decades looks back at a life told through the films he loved and loathed. Owen Gleiberman has spent his life watching movies-first at the drive-in, where his parents took him to see wildly inappropriate adult fare like Rosemary's Baby when he was a wide-eyed 9 year old, then as a possessed cinemaniac who became a film critic right out of college. In Movie Freak, his enthrallingly candid, funny, and eye-opening memoir, Gleiberman captures what it's like to live life through the movies, existing in thrall to a virtual reality that becomes, over time, more real than reality itself. Gleiberman paints a bittersweet portrait of his complicated and ultimately doomed friendship with Pauline Kael, the legendary New Yorker film critic who was his mentor and muse. He also offers an unprecedented inside look at what the experience of being a critic is really all about, detailing his stint at The Boston Phoenix and then, starting in 1990, at EW, where he becomes a voice of obsession battling-to a fault-to cling to his independence. Gleiberman explores the movies that shaped him, from the films that first made him want to be a critic (Nashville and Carrie), to what he hails as the sublime dark trilogy of the 1980s (Blue Velvet, Sid and Nancy, and Manhunter), to the scruffy humanity of Dazed and Confused, to the brilliant madness of Natural Born Killers, to the transcendence of Breaking the Waves, to the pop rapture of Moulin Rouge! He explores his partnership with Lisa Schwarzbaum and his friendships and encounters with such figures as Oliver Stone, Russell Crowe, Richard Linklater, and Ben Affleck. He also writes with confessional intimacy about his romantic relationships and how they echoed the behavior of his bullying, philandering father. And he talks about what film criticism is becoming in the digital age: a cacophony of voices threatened by an insidious new kind of groupthink. Ultimately, Movie Freak is about the primal pleasure of film and the enigmatic dynamic between critic and screen. For Gleiberman, the moving image has a talismanic power, but it also represents a kind of sweet sickness, a magnificent obsession that both consumes and propels him.