- Taschenbuch: 336 Seiten
- Verlag: Delta; Auflage: Reissue (9. Oktober 2001)
- Sprache: Englisch
- ISBN-10: 0440508495
- ISBN-13: 978-0440508496
- Größe und/oder Gewicht: 13,2 x 1,8 x 20,9 cm
- Amazon Bestseller-Rang: Nr. 414.785 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Going to the Movies
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From Booklist
Field began teaching the art of screen writing in the early '70s at the tiny Sherman Oaks Experimental College and went on to lecture and conduct workshops around the world. He believes all great screenplays assume a rough three-act form, with plot changes and major climaxes at pretty much the same points; the same basic structure undergirds films as different as Chinatown, An Unmarried Woman, and Annie Hall. Field has written other books detailing that structure, and he elaborates his theories again here. But what really makes this book is how well he conducts us on his journey from confused college student, majoring in literature before finding his true love for the movies, to Hollywood professional and friend to such luminaries as directors Jean Renoir and Sam Peckinpah. En route, he lets us glimpse the less glamorous, 9-to-5 side of Hollywood: in his days as a script reader, he estimates that he slogged through thousands of scripts, most hopelessly flawed, to find the 50 or so he eventually passed on to his bosses. Jack Helbig
Copyright © American Library Association. All rights reserved
Copyright © American Library Association. All rights reserved
From Library Journal
"What makes a great movie experience?" asks Field (Screenplay: The Foundations of Screenwriting) in this account, which traces his own lifelong involvement with the film industry as a documentary filmmaker, film critic, studio executive, screenwriter, and lecturer on screenwriting. Field attempts to isolate the underlying elements common to all "great" films by reflecting on some of his favorites which include La Grande Illusion, The Wild Bunch, and Chinatown and influential works like Pulp Fiction. His recollections and insights are worthwhile and occasionally moving as when he recounts his meetings with Michelangelo Antonioni. Field's passion for cinema shines throughout, and it helps to propel readers through encounters with a variety of types of film. The end result will likely please movie buffs and belongs in public libraries with film collections. Neal Baker, Earlham Coll., Richmond, IN
Copyright 2001 Reed Business Information, Inc.
Copyright 2001 Reed Business Information, Inc.
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He should stick to analysis . . .
25. April 2002
Format:Taschenbuch
Field is probably the country's current best analyst of screenplays and teacher of the theory and mechanics of screenplay-writing, and I own all his previous books. This one was a bit of a disappointment, though, being heavy on self-conscious, egocentric autobiography and light on analysis of the films he discusses as being "turning points" in his development. (And he uses that phrase way too often.) Though he purports not to believe in luck or coincidence, he does seem to have been in the right place at the right time far more than most of us -- a crawl-on role in _Gone With the Wind_ as an infant, nephew of one of the great cinematographers, student at Berkeley when Jean Renoir was Writer in Residence, buddies at the UCLA film school with the niece of Sam Peckinpah, first job at David Wolper Productions when it was just beginning, and so on. Oddly, in between the fits of ego and overwriting ("this is how I invented/discovered . . ."), there's also a lot of "aw shucks, little ol' me"-ness. For this kind of thing, I think William Goldman's two (so far) volumes of Hollywood autobiography are much better.
Living history
15. Mai 2007
Format:Taschenbuch
Going to the Movies is a wonderful journey with Syd Field trough decades of living history of movies. Syd Field writes in such a way that you almost hear him talking to you. His precense is wonderful.
A Life in Film and A Screen Writers Guide
8. März 2005
Format:Taschenbuch
This is a pretty good book. While Field has been touched by beneficial timing, and influential relationships, he has developed through diligence a perspective and vision for film, screenplays in particular.
While the book begins as an autobiography: school, wanderings, discovering film, school, early work, etc., it developes into a book of analysis and technique. In that way it went from good to okay. His working at Wolper Productions, his relationship with Jean Renoir and Sam Peckinpah all are interesting views of film making and film makers. I wish there was more of that. In fact, after a half chapter plus on Citizen Kane, in a following chapter Field talks about working at Wolper on a series hosted by Joseph Cotton. But there is no regarding of Cotton's involvement in the most influential of films.
Through script reviewing at Wolper Productions he developes a style and level of efficiency which begins to translate itself into a writing career. He survives off of optioned scripts for several years before he begins teaching. From this point on he becomes more of an advisor, and leads up to his place today as a formidable screenplay expert.
Within this arc, from autobiography to technical manual there is interesting and insightful writing on film, it's brilliance, influence, form and power. A decision on whether or not to make this a technical book about writing a screenplay or a memoir about a life in the film business would have improved this book.
While the book begins as an autobiography: school, wanderings, discovering film, school, early work, etc., it developes into a book of analysis and technique. In that way it went from good to okay. His working at Wolper Productions, his relationship with Jean Renoir and Sam Peckinpah all are interesting views of film making and film makers. I wish there was more of that. In fact, after a half chapter plus on Citizen Kane, in a following chapter Field talks about working at Wolper on a series hosted by Joseph Cotton. But there is no regarding of Cotton's involvement in the most influential of films.
Through script reviewing at Wolper Productions he developes a style and level of efficiency which begins to translate itself into a writing career. He survives off of optioned scripts for several years before he begins teaching. From this point on he becomes more of an advisor, and leads up to his place today as a formidable screenplay expert.
Within this arc, from autobiography to technical manual there is interesting and insightful writing on film, it's brilliance, influence, form and power. A decision on whether or not to make this a technical book about writing a screenplay or a memoir about a life in the film business would have improved this book.
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