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Both brawls and elaborate martial arts have kept movie audiences on the edges of their seats since cinema began. But the filming of fight scenes has changed significantly through the years--mainly for the safety of the combatants--from improvised scuffles in the Silent Era to exquisitely choreographed and edited sequences involving actors, stuntmen and technical experts. Camera angles prevented many a broken nose. Examining more than 300 films--from The Spoilers (1914) to Road House (1989)--the author provides behind-the-scenes details on memorable melees starring such iconic tough-guys as John Wayne, Randolph Scott, Robert Mitchum, Lee Marvin, Charles Bronson, Clint Eastwood, Bruce Lee, Chuck Norris and Jackie Chan.
Whether a side-street skirmish or an all-out war, fight scenes bring action to the pages of every kind of fiction. But a poorly done or unbelievable fight scene can ruin a great book in an instant. In Fight Write you'll learn practical tips, terminology, and the science behind crafting realistic fight scenes for your fiction. Broken up into "Rounds," trained fighter and writer Carla Hoch guides you through the many factors you'll need to consider when developing battles and brawls. • In Round 1, you will consider how the Who, When, Where, and Why questions affect what type of fight scene you want to craft. • Round 2 delves into the human factors of biology (think fight or flight and adrenaline) and psychology (aggression and response to injuring or killing another person). • Round 3 explores different fighting styles that are appropriate for different situations: How would a character fight from a prone position versus being attacked in the street? What is the vocabulary used to describe these styles? • Round 4 considers weaponry and will guide you to select the best weapon for your characters, including nontraditional weapons of opportunity, while also thinking about the nitty-gritty details of using them. • In Round 5, you'll learn how to accurately describe realistic injuries sustained from the fights and certain weapons, and what kind of injuries will kill a character or render them unable to fight further. By taking into account where your character is in the world, when in history the fight is happening, what the character's motivation for fighting is, and much more, you'll be able write fight scenes unique to your plot and characters, all while satisfying your reader's discerning eye.
The Elaborate Entrance of Chad Deity follows the life of wrestler Macedonio Guerra. As a lifelong fan, he has followed wrestling only to become a "jobber," one who is paid to lose to bigger-name stars in the ring. Macedonio meets Vigneshwar Paduar, a young Indian man from Brooklyn, who he wants to team up with. The wrestling execs go for it, but pitch them as "terrorists" in the ring. Macedonio and Vigneshwar find a way to push the personas to the limits and say what needs to be said. Unspoken racism, politics, and courage are all woven into this play that leaves it all on the mat.
All of us have seen films in which the story and acting might be great, but the film suffers because the action and fight sequences are not convincing enough, are terribly shot or edited, or do not integrate seamlessly into the story, causing them to be ineffective, gratuitous, or worst of all, unintentionally humorous. However, when done well, fight and action scenes support and heighten the story and expand the characters. Fight Choreography: The Art of Non-Verbal Dialogue helps filmmakers ensure that the fight scenes in their films add to the film's overall quality. Creating a stage fight with a high level of clarity and entertainment value is a very complicated endeavor and requires skills that acting classes and martial arts schools cannot teach. This book helps filmmakers make sense of this art form and how they can use it to create their own styles of fights for a variety of projects, whether they be feature-length films, shorts, or television shows. The book is instructional, informative, and entertaining, and focuses on every important element involved in fight choreography, from basic philosophies, initial concept, and planning, to filming, editing, adding special effects, and sound mixing the final product. The book is not only an indispensable resource for filmmakers, but will also interestfilm buffs who want to learn how great fight sequences are made so they can better appreciate the action.
Harold, a slick mobster, enters the bleak world of two teenaged orphans. The boys are urban scavengers who steal and mug for a living, but when they kidnap Harold, the gangster, he turns the tables to become an unlikely parent who changes their lives forever.
"A Story Is a Promise offers a new model for understanding one of the most difficult of all arts: writing dramatic, engaging stories." "Written in a style reminiscent of a workshop, A Story Is a Promise guides the writer toward a keen understanding of the principle underlying all well-told stories, that a story is both a promise made and a promise kept. Step by step, this book teaches writers how to set out a story's promise in an active voice, which is the voice of the true storyteller."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Robert Mitchum was--and still is--one of Hollywood's defining stars of Western film. For more than 30 years, the actor played the weary and cynical cowboy, and his rough-and-tough presence on-screen was no different than his one off-screen. With a personality fit for western-noir, Robert Mitchum dominated the genre during the mid-20th century, and returned as the anti-hero again during the 1990s before his death. This book lays down the life of Mitchum and the films that established him as one of Hollywood's strongest and smartest horsemen. Going through early classics like Pursued (1947) and Blood on the Moon (1948) to more recent cult favorites like Tombstone (1993) and Dead Man (1995), Freese shows how Mitchum's nuanced portrayals of the iconic anti-hero of the West earned him his spot in the Cowboy Hall of Fame.
Some are born to power. Some seize it. And some have the wisdom never to wield it. The Red Knight has stood against soldiers, armies and the might of an empire without flinching. He's fought on real and magical battlefields alike, and now he's facing one of the greatest challenges yet. A tournament. A joyous spring event, the flower of the nobility will ride against each other for royal favor and acclaim. It's a political contest -- one which the Red Knight has the skill to win. But the stakes may be higher than he thinks. The court of Alba has been infiltrated by a dangerous faction of warlike knights, led by the greatest knight in the world: Jean de Vrailly -- and the prize he's fighting for isn't royal favor, but the throne of Alba itself... This is the third book in the Traitor Son Cycle, following on The Red Knight and The Fell Sword.
Thundering across the screen, Judah Ben-Hur’s iconic chariot race against his former friend turned bitter foe remains an indelible part of cinematic history and established Charlton Heston as an international superstar. In many ways the race was a metaphor for the actor’s dynamic life, symbolizing his struggle to establish himself in his profession. Brian Steel Wills’ captures for the first time a comprehensive view of the actor’s climb to fame, his search for the perfect performance, and the meaningful roles he played in support of the causes he embraced in Running the Race: The “Public Face” of Charlton Heston. The actor was born and raised in the Michigan woodlands and suburbs of Chicago, where he found his love of acting in the books he read and the movies he saw. “Chuck” Heston’s introduction to the craft that would become his life’s work began at New Trier High School and spilled over into Northwestern University. The Second World War interrupted his journey when he served his country, after which he and his wife Lydia headed to Asheville, North Carolina, where they both acted and directed in theater. The lights of New York City and Broadway beckoned, and live television offered an important platform, but Hollywood and feature films were his destiny. His roles were as varied as they were powerful, and included stints as Moses, Ben-Hur, El Cid, Michelangelo, Mike Vargas, and Charles “Chinese” Gordon under legendary directors like Cecil B. DeMille, William Wyler, Franklin Schaffner, and Orson Welles. He shifted to science fiction in Planet of the Apes and Soylent Green, a wide range of action and disaster films, and more nuanced roles such as Will Penny. Over his decades of performance Heston defined and redefined his “public face” in a constant quest for an audience for his work. He undertook wide-ranging public service roles for the government, the arts, and other causes. His leadership in the Screen Actors Guild and American Film Institute carried him from Hollywood to the halls of Congress. He became an outspoken advocate of the arts and other public and charitable causes, marched with Dr. Martin Luther King, Jr. in Washington, and supported Second Amendment rights with the National Rifle Association. He did so even when his positions often clashed with other actors on issues ranging from nuclear arms, national security, and gun rights. The proud independent shifted decidedly to the Republican Party and appeared at political rallies and conventions, but rebuffed calls to run for office in favor of assuming similar roles on the big screen. Award-winning historian Brian Steel Wills dug deep to paint a rich portrait of Heston’s extraordinary life—a mix of complications and complexities that touched film, television, theater, politics, and society. His carefully crafted “public face” was impactful in more ways than the ordinarily shy and private family man could have ever imagined.
The definitive guide to classic films from one of America's most trusted film critics Thanks to Netflix and cable television, classic films are more accessible than ever. Now co-branded with Turner Classic Movies, Leonard Maltin’s Classic Movie Guide covers films from Hollywood and around the world, from the silent era through 1965, and from The Maltese Falcon to Singin’ in the Rain and Godzilla, King of the Monsters! Thoroughly revised and updated, and featuring expanded indexes, a list of Maltin’s personal recommendations, and three hundred new entries—including many offbeat and obscure films—this new edition is a must-have companion for every movie lover.