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Production Design (FilmCraft) (Englisch) Taschenbuch – 15. September 2012

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  • Taschenbuch: 191 Seiten
  • Verlag: Focal Pr (15. September 2012)
  • Sprache: Englisch
  • ISBN-10: 0240823753
  • ISBN-13: 978-0240823751
  • Größe und/oder Gewicht: 1,9 x 23,5 x 25,4 cm
  • Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen  Alle Rezensionen anzeigen (1 Kundenrezension)
  • Amazon Bestseller-Rang: Nr. 38.769 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
  • Komplettes Inhaltsverzeichnis ansehen

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0 von 1 Kunden fanden die folgende Rezension hilfreich Von Joachim Hattenhauer am 21. November 2013
Format: Kindle Edition Verifizierter Kauf
Für jeden ein Muss, der mehr über das Thema Production Design und seine Bedeutung für den Film wissen will.Bla, Bla, Bla,
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The best 8. Dezember 2012
Von Alexis Rockman - Veröffentlicht auf
Format: Taschenbuch Verifizierter Kauf
The best book of its type.If you have one book on production design this should be it.
Combines a overview of film history with contemporary anecdotes by some of the best in the business.
4 von 5 Kunden fanden die folgende Rezension hilfreich
An Inspiring and Beautiful Resource which Reshaped a Project 3. September 2013
Von Brian M. Stoppee - Veröffentlicht auf
Format: Taschenbuch
With a love for our recently reviewed "FilmCraft Cinematography" and a new project to completely redesign the visuals of a non-profit's documentary, carefully studying "FilmCraft Production Design" seemed exactly what we need. The fabulous design principles of the cinematography book in this series, as well as the organizational concepts, followed its way to this volume on production design to the typographical letter. It is so filled with fabulous images of Hollywood's best, it's easy to mistake this as a coffee table book, but it's rich in content. This book's author, Fionnula Halligan, a globe-trotting London-based film critic, has fit a big story about the look of feature films into just under 200 pages, which once started... must be read from cover to cover.

Though our studio has decades of background in film and video, the easily available 1080 HD movie-making capabilities with our dSLR (digital single lenses reflex) cameras has taken our primarily design/photography/illustration based business in new directions. Our minds, eyes, hearts, and souls have followed.

After an excellent introduction of what production design is about, the book starts a series of interviews with KEN ADAMS known for such monumental films as "Dr. Strangelove," "Barry Lyndon," "You Only Live Twice," and "Goldfinger." It's mesmerizing to stare at Ken's production designs juxtaposed over frames from the films. The relationship between the illustrations and movie frames, make statements for themselves about the vision Adams offers to a production and the trust directors place in him. They match.

JIM BISSELL's work on "E.T.: The Extra-Terrestrial," "Good Night, and Good Luck," and most recently, "Mission Impossible-Ghost Protocol" are intimidating credentials. His interview, though, tells the story of a humble team player who approaches his role differently than Adams.

Much like a smooth flowing script, the tone of collaboration heightens with the career of RICK CARTER, who has designed for Spielberg's television series "Amazing Stories," From there he went onto "Back to the Future" (II and III), "Jurassic Park," "Forrest Gump," "The Polar Express," and "Avatar." As stunningly grand as Carter's work may be, he refers to himself simply as a "provider."

We admit to having never heard of WILLIAM CHANG SUK-PING, nor anything he's ever worked on. This put us to the test to see if we're interested in production design or we're just paging through a book with star struck eyes. If anything, we began to see the development of a designer's style and the signatures. William's calling card is color, even when color is distilled down to warm tones and black, we can begin to see his vision.

With three Academy Awards, STUART CRAIG illustrates his concepts with fascinating detail which makes us tingle just to imagine him drawing these things. We understand why directors want Craig when they need to put big budget images on the screen. If "Gandhi" is not fresh in your mind, that might be good. A few images from it assist in helping you comprehend what Stuart brought to the table. But, it's the 4-page spread on his work with "Harry Potter" movies which makes you think, "I get it." It's impressive.

Nominated for 2 Oscars and 2 BAFTAs, NATHAN CROWLEY is another production designer who has directors knocking on his door for such fantasy romps as "Bram Stoker's Dracula," "The Batman Begins," "The Dark Night," and most recently, "The Dark Knight Rises." Crowley refers to his work as an "adventure." We confess to having no interest in the film genre of comic book stuff, nevertheless, the book helps us to separate the plot lines from the design concepts.

DANTE FERRETTI earned the cover shot from "Hugo," which is an extremely compelling image that makes it clear how no production team contacts Ferretti for anything simple, even a clock. The ten pages allocated to Dante makes you wish there were 12 or 14 or more. Focal Press gave into interests like ours and squeezed all the images of Ferretti's onto these spreads, so though many of the photos are not large, memories of "The Adventures of Baron Munchausen," "Gangs of New York," and "The Aviator" provide insight into his creative brilliance.

A good way to read the section on JACK FRISK is to page through the images and then go back to read the interview. Once we looked at the images we realize how much Frisk is entrusted in developing the visual sense of what the story is all about and then read what a humble designer Jack is when he claims, "I'm just starting to figure out what production design is all about." You have to think, "This is the guy who designed, `Badlands,' `Days of Heaven' and `There Will Be Blood'?" Just the same, it's makes the read all the more enjoyable.

Another production designer we knew nothing about is ANTXON GOMEZ, or had heard of any project he worked on. At this point in the book, Gomez assists in our gaining an even clearer comprehension of what those who practice his artistry offer movie. It also provided the author with an opportunity to paint a more in depth exploration of the production process.

It's refreshing to shift gears and view the role SARAH GREENWOOD's work brings to films like "Sherlock Holmes," "Atonement," and "Anna Karenina." It made us think, for a second, "This looks like she could be mistaken as a cinematographer." Sarah designs as if she's looking through a camera. Sarah's obviously an integral player in a production team.

If, at this point, you're so excited about production design that you might quit your day job, reading GRANT MAJOR's comments, "I'm not a rich man, but I've managed to be able to raise kids..." adds reality to a career which includes, "King Kong," and "The Lord of the Rings" trilogy and more recently the huge "Green Lantern" project. Though directors trust Major with the look of their films and producers place nearly obscene millions of dollars in him, even Oscars do not guarantee a lifestyle of wealth.

ALEX MCDOWELL's interview takes you deeper into the role of the production designer where model making is involved. McDowell offers a very hopeful view of visual and script development happening in parallel. He should know. His resume is quite broad, including "Fight Club," "Bee Movie," "Minority Report," and released just this summer, "Man of Steel."

When JOHN MYHRE says, "'s really stressful, but you just have to be so grateful." He speaks for most creative professionals. With a couple guys named Oscar hanging out with him, Myhre's worked on "Chicago," "X-Men," "Memoirs of a Geisha," "Nine," "Dreamgirls," and "Pirates of the Caribbean: On Stranger Tides." As grand as some of those productions have been, John discusses how location scouting plays a role in what he does. This assisted us in the project we have at hand.

EVE STEWART takes an ultra-wide view of her work as a designer, feeling her talents should extend beyond film to include "anything." Eve's level of confidence inspires production teams that she could tackle "Nicholas Nickleby," "The King's Speech," and "Les Miserable." Her drawings are such a joy to examine that one even has "Fun!"written on it. Yet she feels that the quality of her illustrations have to persuade people that her creative ideas are good.

This summer's release of "Man of Tai Chi," the directorial debut of Keanu Reeves, was designed by YOHEI TANEDA, as he has designed "Kill Bill" and "The Flowers of War." Taneda's wide views paint those cover shots which sometimes make situations seem too large to be within the control of humans. Yohei literally sets the stage for the script.

DEAN TAVOULARIS got on board with Francis Ford Coppola for "The Godfather" films and is a creative partner in Coppola's production company. Dean goes back to doing the tween frames for "20,000 Leagues Under the Sea" in 1954 and played a big role in the struggles to capture "Apocalypse Now." The career of Tavoularis proves the importance of the production designer to a film and points the way for the potential, for where a designer's influence could become much larger, in the years ahead.

LEGACY - But what about the past? Five spreads are dedicated to the work of John Box, Cedric Gibbons, William Cameron, Ferdinando Scarfiotti, and Richard Sylbert. Together, they have credits which include, "Doctor Zhivago," Lawrence of Arabia," "The Wizard of Oz," "Gone with the Wind," "The Last Emperor," and "Dick Tracey."

CONCLUSION - This book added a fresh light to the projects in front of us. Yes, we already knew all about production design. We had seen the majority of the film frames in the book, many times before. However, without this volume, we would not have gained the fresh vision we were looking for. It provided all we came looking for and exceeded expectations.
3 von 3 Kunden fanden die folgende Rezension hilfreich
Great book for anyone interested in film design 27. Januar 2013
Von Brendan O'Connor - Veröffentlicht auf
Format: Taschenbuch Verifizierter Kauf
Great book for anyone interested in film design and learning about what a production designer does. Some of the greats are interviewed and their work and stories are inspiring.
1 von 1 Kunden fanden die folgende Rezension hilfreich
An excellent resource for both aspiring production designers or anyone with a love for film. 11. August 2013
Von blauereiter - Veröffentlicht auf
Format: Taschenbuch
To see more pictures from the book, please visit my blog via my Amazon profile link.

Yet another from Focal Press's excellent series of books on film Art, Production Design - Film Craft interviews some of the best production designers working in the film industry today.

Listed below are the 16 production designers interviewed and their list of films featured in the book :

- Ken Adam (Madness of King George, Dr Strangelove, Dr No, Goldfinger, You Only Live Twice)

- Jim Bissell (300, ET, Good Night and Good Luck, Jumanji)

- Rick Carter (Avatar, Back to the Future II, The Goonies, Jurassic Park (1-3), War Horse)

- William Chang (2046, Chungking Express, Happy Together, My Blueberry Nights)

- Stuart Craig (The Mission, The Elephant Man, The English Patient, Gandhi, Harry Potter)

- Nathan Crowley (Lake House, Public Enemies, Dark Knight Trilogy, The Prestige, John Carter)

- Dante Ferretti (HUGO, The Adventures of Baron Munchausen, Gangs of New York, The Aviator)

- Jack Fisk (Days of Heaven, Badlands, The New World, There Will be Blood, The Tree of Life)

- Antxon Gomez (The Skin I Live In, Bad Education, Che, Talk to Her, All About My Mother, Live Flesh)

- Sarah Greenwood (Hanna, Atonement, Sherlock Holmes (x2), Anna Karenina)

- Alex McDowell (Charlie and the Chocolate Factory, The Terminal, Minority Report, Fight Club)

- John Myhre (Chicago, Elizabeth, Memoirs of a Geisha)

- Eve Stewart (The Damned United, The King's Speech, Naked, Topsy Turvy)

- Yohei Taneda (Kill Bill (1 & 2), The Flowers of War, The Magic Hour)

- Dean Tavoularis (Apocalypse Now, Bonnie and Clyde, Carnage, The Godfather (I and II)

Legacy - (William Cameron Menzies, Richard Sylbert, John Box, Fernando Scarfiotti, Cedric Gibbons)

The interviews are detailed and in-depth, with plenty of case studies and the many production stills and photographs prevent the read from getting dry, and also allow easy identification of films should you want to check them out.

This book is an excellent resource for both aspiring production designers or anyone with a love for Film. Highly recommended.
Important book 19. Juni 2014
Von Katriina Pajunen - Veröffentlicht auf
Format: Kindle Edition Verifizierter Kauf
It is always nice to read the ideas of the production designers... inspiring this sense. More books like this, please!
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