5 comments about Technical Manual and Dictionary of Classical Ballet (Dover Books on Dance).

1. The information is invaluable and an excellent reference at an incredibly low price. But a beginner reading this book would be like reading about myocardial infarctions for someone not knowledgeable in medical terminology (that's a heart attack). It makes sense if you have a grasp on ballet already, but should not be bought as a guide from which to learn ballet. If you are looking for a place to quickly look up a step, and already have a good deal of training, then this is the book for you.



2. I was reaquired to purchase this book many years ago for a college level ballet class I took. I still have my copy. It's an outstanding reference for terminology.



3. I am a dance instructor, and have been using this Ballet Dictionary for over 15 years. It is easy to use and all of the terminology is correct and easy to understand. Steps are described in great detail, and I would recommend this book to dance students of every age and every skill level. For the price, you can't find a better Ballet Dictionary!



4. All dancers should be familiar with classical ballet terminology. This book is great for spelling, pronunciation and defition. It's one of those great books to have in your ballet bag at all times. I wouldn't go anywhere without mine! Highly recommended for all dancers.



5. This a great manual if you want to compare RAD, Vaganova,BBO and Cecchetti methodology.

2 comments about Essentials of Human Communication (6th Edition).

1. I can't believe I was forced to buy this book from my school for an Oral Communications class. The book has almost no bearing on communication in an office or business setting. It's overrun with ethics, empathy, and bull about feedback. Even the glossary dosent give straight deffinitions. Instead of a deffinition it gives examples. I HATED THIS BOOK. I can say without exageration that I will use this book for kindling in my fireplace.



2. An earlier reviewer decries the liberal leanings of this text. A college introductory course introduces options in skills available for human communication. This text provides students exercises that help identify their current communication style, the answers to the questions then invite discovery and awareness. Once the reader is aware, the opportunity to examine the communication framework each individual uses and how new communication skills can be employed can begin. This text provides a wealth of information to the essential process of communication.

5 comments about The Book of Liz.

1. The delivery was quick. This was something my daughter had on her Christmas list. She was very happy I was able to get it and read it the next day. Thank You!



2. How could other people find this reading too short. IT'S A PLAY. What's more, It's Amy AND David Sedaris. In other words, funny funny funny-you can't go wrong with those two.



3. I saw the play in San Francisco a few years ago. It was very funny. The bit about the AA members running the restaurant is very tongue in cheek.



4. Another Sedaris chuckle fest. This short script is a view into his twisted mind.



5. It seems rather odd that several of the below reviewers are not familiar with acting editions of plays---or, for that matter, with stage plays in general. The "Dramatists Play Service" on the front cover certainly tells us that that is what this is! Not a pamphlet! Not a short story! While reading it,you should try to envision it being performed by actors on a stage, live, in front of an audience (if some of you know what that means...) And, as such, it is really quite entertaining. I don't see it as more than that, but, then again, neither was "Strangers with Candy"

5 comments about The Complete Film Production Handbook, Third Edition (Book & CD-ROM).

1. I offered this book to a friend who is into film production. He seemed to be really satisfied with the book content...



2. Eve has done a great job of encapsulating the logistical process of making a film. One could call Eve's book a filmmaking bible. No other book says it better.
   
   Matthew Giovannucci
   Student / Rockport College, Maine



3. Really helpful. If you are making a film, you need this book



4. It is quite a great book! I learned so much, and i learned where to learn more, after reading this book i came up with new doubts, and im solving them now. If you are serious about making a movie, this is a must have, this and other more.



5. Now in an updated and expanded third edition, The Complete Film Production Handbook by film production expert Eve Light Honthaner is a comprehensive, resource packed instructional reference enhanced with essential the "need-to-know" ins and outs of the film business, including checklists, example schedules for pre-production and post-production, guidelines for insurance policies, talent management, immigration details applying to actors and other film industry workers crossing national borders, forms used for the Screen Actor's Guild (among others), basic production forms and deal memos, and a companion CD-ROM containing numerous useful documents in easily printable form. A "must-have" for anyone seriously considering producing a film for the first time, The Complete Film Production Handbook is a practical, accessible, and essential reference for novice filmmakers, and is highly recommended resource for even the more experienced movie producer, whether independent or studio contracted.

5 comments about From Reel to Deal: Everything You Need to Create a Successful Independent Film.

1. Thank you MR. Simens... I have read many a film production book. None of them compare to this one. This book is clear and the most organized piece of work I have yet to come across. He speaks in terms that is easy to follow and understand, with a large dose of reality. Reality that can get your movie made. He wants you to do it. He has made your production list for you. No need for other books (money saved). Please, if you have read thus far and have not purchased this book, do so now. You will not be dissapointed... And for the expert(s) (with the three stars or less) Get real. Swallow your pride. This book is perfect. Mr. Simens knows what he is talking/writing about. EVERYTHING you need to succeed is right here. Get your first movie off of the ground, then go from there. Again, Thank you Mr. Simens.



2. I reference this book all the time. From Reel to Deal cuts to the chase and offers no bull. It is an easy read and loaded full of practical and useful information. I have produced eight short films in four years and currently preparing for my first feature-film. Dov's book it geared for those making a feature-film but useful for shorts as well. I always recommend From Reel to Deal to any filmmaker who has not read it already. Do yourself a favor and buy or borrow this book. It is a must-read for filmmakers, or as Dov's says PRODUCERS.



3. I've wanted to take one of Dov's workshops but they're never close to where I live so I bought this book which I like. However, with a copyright of 2005 I would have thought it would have more web information (urls, etc) in it. I suspect most of the information was compiled before the web got popular which has been a while. Oh well. I emailed Dov last year too and nobody bothered to reply. Still, for the price, very good info.



4. One of the best books I've read on the motion picture industry.
   You could not learn more spending 4 years at UCLA Film School.
   Now I watch movies with a different perspective.



5. I've read every book on Independent Filmmaking that I can get my hands on and this one book has more useful information than all of the others combined. I'm now shooting my forth feature length film and if I'd had this book before shooting the first three I'd be a lot better off today!
   
   Mr. Nerd is apparently illiterate; though Simens does use a million dollar budget as an example of how to allocate your funds as he goes through all of the steps, this book absolutely does address budgets of every size from ten million dollars right down to your five thousand dollar digital feature for the Direct To Video market. I really don't see how anybody who had actually read the book could possibly miss this as the various budget constraints are addressed in almost every chapter as he takes you through the steps. In fact, he even outlines a method for shooting a feature length, 35 millimeter film on a five thousand dollar budget.
   
   The two chapters on screenplay writing have more useful information than any book that I've read on screenplay writing and applying these techniques to my latest screenplay has resulted in the best work that I've ever done! That's one of the beautiful things about this book; Simens is not an egocentric, long winded babbler. He gives you just what you need to know and how to go about it.
   
   This is the first book I've read that actually has useful information on things like fund raising and distribution options and how you might avoid getting ripped off... something that happens to so many of us aspiring filmmakers all the time.
   
   I could probably write twenty pages about why this is the best filmmaking book ever written, but I will just say that every single page is packed with valuable, useful, practical information that actually makes sense.
   
   Anyone who is seriously considering producing or directing a feature film, or even a short for that matter, needs to read this book three times, then use it as a reference when you start filming.

5 comments about 101 Drama Games for Children: Fun and Learning with Acting and Make-Believe (SmartFun Activity Books).

1. I have been an acting teacher for nine years and an co-author of my own acting book "Finally..Monologues That Work" and the one thing children love the most in class is the games! Games and more games. They can't get enough. 101 Drama Games For Children gives us variety. It is a great source for teachers who teach acting or in the classroom. It keeps the children interested, helps them learn and they have so much fun. Who could ask for more.



2. This book focuses a lot on the younger crowd, but can be enjoyed by students of any age! I'm an elementary drama teacher. Great buy!



3. I teach a summer drama class for grades 1-6, and it has a lot of really great games for all of the age groups, I do however wish there were a few more for the younger groups, but many can be adapted.



4. While not directly about "Drama", this book offers great games to get children thinking fast and exercising their creative muscles. I am having a lot of fun using it in an introductory drama class for 1st to 3rd grade chilren. I would recommend this book for anyone looking for ideas to use creative play groups more than for teaching specific dramatic techniques. It's about the fun of imagination!



5. You will use this book over and over. I teach gifted upper elementary and middle school drama students. This book is one of my favorites - it is likely to be one of yours too.

5 comments about NYC Ballet Workout: Fifty Stretches And Exercises Anyone Can Do For A Strong, Graceful, And Sculpted Body.

1. i said The Same is becaser you are if you azre young thasn OK Great, But for older OLDER in ballet you need propanocil and the BEST WORKOUT which i is I What I Do NOW



2. Need a great workout that you can do at home without the need for a DVD?? This is it. If you follow it and push yourself then you will benefit from this amazing book. It is not about jumping around, it is about stretching and using your body for stability and resistance. I am a dancer and found this book wonderful, I made my husband try it and he was a little confused with the terminology and that he has never put his body in some of the exercise poses before!!



3. To everyone I wish could be more explicit but english is not my primary language. This book is Excellent.



4. This video is very pretty to watch.... once.
   
   But the exercises are extremely slow, with very long transitions between the different sections.
   
   You need to take more than an hour for a mediocre workout.
   
   I did not feel like I was making any effort and certainly not getting a hard workout.
   
   The bonus clips are nice though, if you want to get a glimpse into the life of NYC ballet dancers.



5. This book is wonderfully published -- it features glossy pages, beautiful, high resolution photos, and artfully placed typography.
   
   That said, this is not any kind of book for someone looking for a real workout. If you're genuinely interested in ballet, and beautifully sculpted bodies, this book is for you. If you're looking for some new ideas to switch up your workout routine, you may want to pass.

No comments about Rent: The Complete Book and Lyrics of the Broadway Musical.

5 comments about The Merchant of Venice (Folger Shakespeare Library).

1. _Merchant_ is a hard play to swallow -- brilliantly written and scathing in content. One worries about the futures of all the characters, most of whom are so flawed as to inspire only pity for their respective beloveds. The deus ex machina ending, in which Portia conjures happiness all around out of thin air -- except, of course, for Shylock, is merely bewildering.
   
   Yet _Merchant_ should not be forgotten. One gets the impression that Shakespeare *wanted* his audience to be uncomfortable with some of the horrible prejudices depicted, and one definitely feels challenged. In addition, the extent to which we have moved on from the anti-Semitism so apparently cavalierly brandished in this 'comedy' leaves us with the responsibility to remember and be aware of prejudices that could be recalled to life, given the wrong stimuli.
   
   I bought my Kindle edition for a "Shakespeare Sundae" dessert + reading, and was very pleased with its formatting and readability. The price is right, too.



2. One cannot read Shakespeare's The Merchant of Venice without realizing the significance that religion takes in the play, specifically the portrayal of the Jewish and Christian characters. When we first encounter the play's principal Jew, Shylock, we can only feel resentment towards him for the way he carries himself and conducts his business. Then, when first exposed to the play's principal Christian characters--Antonio, Bassanio, and Portia--the audience likely feels sympathetic towards them because of their unfortunate run-ins with the villainous Shylock. But I wonder if this is a truly accurate reading of the play. It appears that critics are divided on whether Shakespeare was further advancing anti-Semitism existent at the time by depicting Shylock in denigrating stereotypes throughout the play or whether he was actually condemning anti-Semitic behavior by turning Shylock into a sympathetic figure by the play's end. It is my contention that Shakespeare is merely reflecting societal norms at the time as he indicts religion altogether.
   
   Though we cannot forget Shylock's appeal to humanity in his "Hath not a Jew eyes" speech, nor Portia's appeal for mercy at the court trial, there is far too much evidence of misdeeds and hypocrisy by all of these characters to think Shakespeare is "picking sides" in this battle of religions. Shylock's greed and need for revenge are certainly damning portrayals of his faith given how religious he claims to be. But given the "holier-than-thou" attitude's of Venice's Christians and their hypocritical actions to the contrary of their religion, it is clear to me Shakespeare has a major problem with Christians who "talk the talk" but do not "walk the walk." I will discuss the villainous representation of Shylock, then analyze the hypocrisy of the play's primary Christian characters and will question if these Christians embody the righteous example of which they speak.
   
   The portrayal of Shylock is paramount throughout the play, mainly because we are torn between disliking him for his cruelty on one hand and empathizing with him because of the abuse he suffers on the other. When Shylock enters the play in the Act 1, Bassanio is trying to get a loan from him using Antonio's credit because he needs a large sum of money so he can appropriately woo Portia. There is certainly no denying Shylock's passion for accumulating wealth. The other characters frequently comment on Shylock's greed throughout the play, and he even tells his daughter that he dreams about moneybags. Shylock suffers ridicule from the Christian community because he charges high interest rates on loans, but also because he is a Jew, comparable to a dog or the devil in their eyes. As Shylock considers the loan, he seems more interested in having Antonio bound to him than with the loan itself, and we soon learn of Antonio and Shylock's mutual resentment. Shylock is hesitant to help Antonio out because Antonio has hurt his own business dealings in the past by lending money at no charge, but also because he is a Christian. The evidence of Shylock's greed continues to mount. In Act 2, Solanio describes "the dog Jew" running through the streets of Venice and crying more earnestly for his lost ducats than for his lost daughter (who has ended their relationship, married a Christian and converted to Christianity, further enraging her estranged father).
   
   Beginning in Act 3 and continuing into the first parts of Act 4, Shylock repeats statements like "I will have my bond"--the dubious "pound of flesh" from Antonio's body. Shylock's repetitions of his claim turn into a death chant of sorts for Antonio since he is now unable repay the loan. When asked what he plans to do with Antonio's piece of flesh since it's obviously worthless to him Shylock replies, "To bait fish withal...if it will feed nothing else it will feed my revenge" (Act 3, Scene 1, lines 45-46). We can now see Shylock eagerly awaiting his chance to kill Antonio and get his symbolic revenge on all the town's Christians, whom he despises.
   
   Despite Portia's famed speech at the dramatic trial in Act 4, in which she lectures about Christian goodness and "the quality of mercy," Shylock refuses to show Antonio mercy. He claims he "craves the law" (Scene 1, line 203) and will not be merciful and forgiving to Antonio, and no one can change his mind. All of these incidents are constant reinforcements of Shylock's bitterness and cold-heartedness, which has been shown throughout the play, and which are clearly not in line with the virtuous nature of Judaism.
   
   Of course we know that there is an unexpected change of events about to happen to Shylock. Instead of having his bond, we find that Shylock's bond with Antonio is impossible to recover since he may not shed a drop of Antonio's Christian blood in the process. Portia then orders Shylock's property seized and "mercifully" allows him to convert to Christianity rather being executed for attempting to take the life of a fellow Venetian, seemingly "delivering" him from his Jewishness. But up until Shylock's sentencing, we might be somewhat content with the depictions of the evil Jew and the righteous Christians. But as we examine Act 4 (and the entire play) more closely, we are forced to recognize that perhaps Shylock is actually a victim of the hypocritical Christian society in which he lives. Being able to read this play in a post-Holocaust and post-Civil Rights Movement world, we cannot help but have some empathy towards Shylock for the way he is treated, though clearly he is not a very virtuous man in his own right.
   
   To analyze Christian hypocrisy in this play, it is necessary to go back to Portia's dramatic speech given at the trial, discussed previously. Portia preaches about the blessings of showing mercy, almost playing the role of a preacher. But if we retrace her steps back to Act 1, we hear Portia confessing to Christian hypocrisy. "Portia alludes to the familiar commonplace of the breach between Christian precept and practice" (Hassel, 117). This assertion comes from the following passage spoken by Portia:
   
   "If to do were as easy as to know what were good to do, chapels had been churches, and poor men's cottages princes' palaces. It is a good divine that follows his own instructions. I can easier teach twenty that were good to be done than to be one of the twenty to follow mine own teaching" (Act 1, Scene 2, lines 11-15).
   
   The primary Christian characters of this play are representative of the people living at the time. Antonio, the merchant of Venice himself, has a great reputation among his fellow Christians who see him as a righteous and self-sacrificing citizen and friend. His bigotry towards Jews is not frowned upon because all of the others share his belief. Behind Shylock's back, Antonio ridicules him as a moneylender, but then enters into a loan agreement with him anyway. Antonio shows no mercy to Shylock when Portia pronounces his sentence. If Antonio were a genuine Christian, would he not have humbly accepted his acquittal then tried to reconcile his differences with Shylock? Instead, Antonio agrees to take half of Shylock's possessions without objection, thus eliminating his main business rival. These actions (along with Antonio's berating of Shylock) are not of Christian compassion and mercy but of selfishness and religious hypocrisy.
   
   Now I briefly turn to Bassanio. Bassanio is portrayed as a bit of a playboy--squandering all he has, refusing to work and willing to beg for financial assistance. He is more than willing to marry Portia for financial gain. He certainly has a tendency toward materialism and consumption, which are not Christian values. Although Bassanio does not really victimize Shylock in the same way the others do, his lifestyle does tarnish the religious credibility of the Christian community.
   
   Now I turn to Portia, who embodies this hypocritical Christian nature and does not practice what she preaches. We are clued in to her racism as she complains about one of her suitors for marriage, the dark-skinned Prince from Morocco. Portia makes the comment "If he have the condition of a saint and the complexion of a devil, I had rather he should shrive me than wive me" (Act 1, Scene 2, line 33). "Portia knows it is a sin to be a mocker, but she mocks her suitors anyway" (Hassel, 114). Portia instead settles for the gold-digging Bassanio.
   
   Although Portia's "quality of mercy" speech sounds like a wonderful description of Christian values, it is really an ironic display of Christian talking points versus actual practice. As I mentioned earlier, Portia's words do not correlate with her deeds. She tricks Shylock in this scene, first by disguising her character, then by turning the perceived law against him, leaving him a shell of his former self while enriching her friends. Shylock's life is completely ruined and she makes an even bigger mockery of his religion. Portia appears spiteful, not compassionate, and certainly does not come off as a merciful Christian.
   
   Though Shakespeare is a tough read for me, I think I finally came to an understanding about what this play was really trying to convey. At first glance, you find yourself hating Shylock and admiring Antonio, Bassanio, and Portia. Later, you find yourself empathizing with Shylock because of the hypocrisy of the Christian characters. While the critics have argued it both ways, I truly feel that Shakespeare is merely commenting on society as he then saw it, which turns out to be a strong indictment of both religions--or at least how their virtues are carried out by their followers.



3. 
   It's one of Shakespeare's best. I thought the Folger Folio people were a little full of themselves. I mean 3 different reviews of their projects (which are formidable) is a little excessive.



4. What exactly was Shakespeare attempting with The Merchant of Venice? Was Shakespeare anti-Semitic? Does the play promote anti-Semitism? What was Shakespeare's purpose in writing such a work?
   
   As the play opens, the eponymous Antonio's dearest friend Bassanio laments his need of cash in order to seek the hand of Portia, the heiress of a noble Venetian family. Antonio is depressed, but it is only as the play progresses that we come to guess the reason for his depression: the marriage of this dear friend will, as such events always do, change the nature of their friendship and make it less intimate. As Antonio shows no other romantic interest in the play, and is alone and lonely, this depression possibly suggests that Antonio is homosexual.
   
   But how would the cash enable Bassanio to engage in this pursuit? In fact we never learn precisely why the money is needed. There seems to be some kind of wealth or social class requirement for playing the game whose prize is Portia's hand and Bassanio needs to purchase the trappings that would, meretriciously, enable him to appear a member of the aristocracy.
   
   As a successful merchant, Antonio is in a position to provide his friend with the desired funds. He doesn't have the cash on hand, however, as his wealth is tied up in his trading fleet at sea. But this fleet provides collateral, and the Jewish moneylender Shylock has access to the ready cash from his own store and from that of his friend and fellow Jew and moneylender, Tubal. But why should Shylock entertain a request from Antonio, a Christian who has reviled him and spat on him in the most public space in Venice for being a Jew, a public humiliation of the most egregious sort, as well as sadistically maligned him in a number of other ways, and now touts his moral superiority by noting that he lends to his own friends without interest. Responding to Antonio's sneering arrogance, Shylock offers to lend the money at no interest -- but demands an awful penalty should the borrower default -- the famous pound of flesh. And why should he not, in the unlikely event of Antonio's default, revenge himself?
   
   Meanwhile, Antonio's and Bassanio's friends help their friend Lorenzo assist his lover Jessica, Shylock's daughter, in running away from her father's home, which she does, stealing a substantial sum in jewelry, including Shylock's most treasured possession, his late wife's gift to him.
   
   Bassanio passes the test of the three boxes and wins the beautiful Portia's hand.
   
   Antonio's ships are reported lost at sea and, defaulting, he is subject to the exulting Shylock's revenge. Shylock proceeds to have the default ajudicated, but the judge fails to appear. Portia arrives, dressed as the out-of-town judge whose fairness and erudition are well-known, and proceeds to play the unsuspecting Shylock with all of Antonio's contempt, to the delight of the vindictive Jew-hater Gratiano, depriving Shylock of his revenge. The "court" relieves Shylock of half his wealth and requires him to convert to Christianity. Antonio, who defaults, pays no penalty, and in the end his ships all complete their voyages to his substantial gain.
   
   In this play, Shakespeare both mirrors the Jew-hatred of his contemporary society and, interestingly, portrays the implicitly parallel society of Venice and its Christian characters with an undeniable condemnation hidden beneath a scrim of identification: the sneering supercilious Antonio who claims the mantle of the generous Christian; the deceiver Bassanio, who borrows a lot of money with which to appear wealthy in order to deceive his future wife; the gratuitously vicious racist, Gratiano; Shylock's daughter and future Christian Jessica, who steals from her father his most intimate keepsake; the angelic aristocrat Portia who mendaciously assumes the identity of a trusted judge and turns the law on its head for the benefit of her husband's best friend and engages in some sadistic Jew-savaging herself to the delight of all the non-Jews present (and apparently Shakespeare imagined that the audience would enjoy it as well).
   
   Shakespeare appears to be playing both sides of the coin here, both playing to popular Jew-hating, and creating a plot which not only exposes the amorality of the Christians but also depicts Shylock as a sometimes truly sympathetic character.
   
   The play's structure is very familiar and guaranteed to please. Evil character plots to destroy innocent protagonist, but with the help of friends the evil character is outsmarted or outmaneuvered and gets his comeuppance, while the good people live happily ever after. Shakespeare though has created a curious drama indeed. The good folks are really quite distasteful characters, though Shakespeare puts beautiful words in their mouths. And the "villain" is in fact much more than an evil stereotype. Shylock is no paragon of decency, but he is the most fully realized human being in the play and commands the careful reader's or auditor's sympathy.
   
   Shakespeare portrayed the Christian Venetians as corrupt characters while on the surface presenting them as the sympathetic actors in a more or less conventional drama of good Christians and bad Jews. A recent book bringing together current research on the life of Shakespeare notes that the most likely identity of the "Dark Lady" to whom Shakespeare wrote a number of passionate sonnets was a Jewish woman. This book (Shakespeare, by Michael Wood) notes that Shakespeare worked in a part of London in which he must have seen Jews frequently. Wood also notes that this play was written quickly at the time of Shakespeare's liaison with the Dark Lady. Interestingly, while Shakespeare was certainly aware that he was portraying the Christian characters as corrupt, he was also treating them, as the "good guys". He was playing a very strange game, both sympathizing with the Jew Shylock, contemning, in a less than explicit manner, the Christian characters, and at the same time portraying Shylock as the evil Jew and the Christians as the beneficent characters he expected his audience to identify with.
   
   The case can be made that, far from producing an anti-Semitic play, Shakespeare wrote a play that, while pandering to the anti-Semitic prejudices of his audience, condemns the hypocritical ethically-compromised Jew-haters of Venice, and, by extension, London.



5. Yes, this is a romantic comedy, and yes, it is Shakespeare, so that in itself makes it a wonderful play. But this one stands out for me because of the characters. I love Shylock the most. It's a very moving play, that embraces a large number of different dramatic styles. And who can resist Portia? Who doesn't hate Shylock. It has an interesting and fast-moving plot that captivates audiences.

5 comments about The Backstage Handbook: An Illustrated Almanac of Technical Information.

1. The Backstage Handbook is the most comprehensive guide to technical theatre...and could serve as a reference beyond the stage. I was absolutely amazed at the sheer volume of information the author could fit in such a small book. It really has everything imaginable. It covers tools and machines as well as common production techniques. In addition, the Backstage Handbook covers the math and science needed behind the scenes. Need to know how to make a dodecahedron? This book will tell you how to scribe one inside a circle. The handbook also covers architectural details that are common for most American & European styles. I just received the handbook and my students and I have dubbed it the "bible" because of it's binding, but most definitely the content! This is a must-have for anybody who has a need for knowledge of practical math and science applications.



2. This book is an excellent resource for anyone working behind the scenes as a stage hand or anyone in show business.



3. This is an unusual book and I haven't seen another like it. I bought a couple of copies for co-workers in the TV studio I manage. Good reference.



4. This is one of the best handbooks for anyone. It is great for the new guy as well as the seasoned vet. I found after years when I find myself scratching my head that I can make it work through the info in this book.



5. We purchased this book as a gift for our daughter who has just graduated from film school. She was quite excited about the book and said it is a "must have" for any one involved in film or theater production and set design.