5 comments about Film Noir: An Encyclopedic Reference to the American Style, Third Edition.

1. This is where to go for anyone seeking an in-depth appreciation of film noir. There are lots of good books on the subject, but start here, if for no other reason than the exhaustive list of films from the classic cycle.
   
   And to the guy below who gave this book a one star rating, Sweet Smell of Success IS included in the alphabetical list of films. The Third Man is not, for one simple reason: it's a British-produced film. A strong argument could also be made for the inclusion of French films like Rififi and Diabolique, but the authors clearly made a conscious choice to only include films produced by American studios.



2. I have been exchanging noir themed dvds with a Canadian friend for the past two and a half years or so. Unfortunately, none of the production details for the intriguing films that I received recently are provided in this book.
   
   That underscores the difficulty with books of this type. Completists are going to be displeased to find their latest discoveries and long time favorites are omitted. The approach to the material by the contributors and editors is pedantic to the point of being boring. Many of the summaries contain mistakes and occasional plot spoilers. As a reference resource, the book is somewhat worthwhile, but do not fool yourself into thinking that you are going to read it from cover to cover or that it is going to be a page turner. It is more of a thick catalogue or a ponderous textbook. I would not recommend this book as a gift to a casual film noir enthusiast.
   
   The book has been revised and updated, but the newest entries do not always contain full descriptions. Some of the films are simply listed with cast and crew credits. One would have wished that the revision process would have included editorial corrections of prior mistakes, but the changes seem to consist wholly of new appendices of film titles that were omitted in earlier editions of the book. The latest version also contains listings of neo-noir films to. My personal preferences run to obscure titles and "B" films, so the book is something of a disappointment as Silver and Ward seem to have a bias in favor of big budget productions. Very few of my favorites from Poverty Row made the grade by being included here.
   
   On the positive side, the essentials are included in the book and it contains sufficient information to direct you to other more specific resources or to find films that are new to you. One such book is "The Noir Style" by the same author (with James Ursini). I found that collection of photo essays to be far more entertaining.



3. This book is a reference book and not the type of book you just sit down
   and read for fun. It is a very comprehensive work on the film noir culture. Just about any information that you will want to know about the film noir classics will be found in this work. Fun to flip through and make a mental note of the format and where to look for your future inquiries.



4. If I could give this book ZERO stars, I would. I ordered this book, looked inside for about 2 minutes and promptly returned it. It excluded my 2 favorite film noir movies, The Sweet Smell of Success and ...what I deem, next to the Maltese Falcon and Sunset Blvd., as the absolute epitome of film noir....The Third Man. Not even a mention, even though it is #2 on the all time favorite film noir movie list at the IMDB website.
   
   I thumbed through the book for a sec or two and noticed MANY full technicolor movies, some of which, because of the content of the movie, I thought had absolutely no place in a film noir book, technicolor or not. The genre is not as wide open as this author believes it is. C'mon....Dirty Harry? Sorry, but that is NOT a film noir. I did not read the book, but whatever definition of film noir he is using, it CERTAINLY comes nowhere near MY definition of film noir. And according to Wikepedia.org, my definition is correct...color films have no place whatsoever according to the "purist" view. But I'm openminded, you know, it can be in color and it can be made after 1970....I don't have a huge list of criteria. I only asked that it include a few of my favorites, but when it didn't even meet my needs with the very first glance at the index, I pretty much discounted it as hogwash. Yeah, it has loads of obscure gumshoe B movies and if that's what you're interested it, go for it. But if you think all film noir movies should be in black & white and contain the Third Man, et al, pass it by.



5. This book is the bible of film noir, and the 1992 revisions of the 3rd edition make it even more useful than before. Want to know who plays every bit part in one of your favorite films noirs? The info is here. Want to know when shooting started? When it was released into theaters? Ditto. Want a chronological list of the great noirs? Or more "inside" film lists, organized by directors, stars, even cinematographers? They're here. One of the old criticisms of the previous editions of the book is that its plot summaries were sometimes incorrect in the details. The authors cleaned up some of those problems in this edition, although they decided not to add or change text that would disrupt the original page layout. This means that the new language is a compromise for space, and it doesn't quite live up to the original. And some developments of the past decade, like the discovery of a print of the silent noir "The Racket," are too recent for corrections - the bible still says, "This film is lost today." This not-so-new edition includes a great essay on neo-noir and a fine list of neo-noir films (although I miss the obsessive detail of the original listings). Also, it's paperbound instead of hardbound. But it's still a superb reference work for the film noir fanatic - so treat it well until Silver and Ward get a 4th edition on the stands.

5 comments about The Ultimate Audition Book: 222 Monologues 2 Minutes and Under (Monologue Audition Series).

1. I purchased this book after purchasing Vol. 4 (222 Comedy Monologues 2 Minutes & Under). It's alright, if you're not looking for any comedy. The closest it comes to is "Serio-Comic", and even those are only slightly amusing. Although it covers a great range of time periods and ages, I still get more use out of the comedic collection found in Vol. 4



2. This book was a real disappointment. I am not sure if the editor was lazy or used whatever source material was the cheapest or what. Out of 100+ selection for men, maybe 3 or 4 were at all useful. There are much, MUCH better monologue anthologies out there - pass on this one and keep looking!



3. i would think this book would be for 25+or so actors...i looked through all the monologues and as a teenager, i didn't find a lot of them very interesting or appealing. this book is definetely not a book for beginners because a lot of the monologues are to long for a beginner.....



4. This book has a good range of monolugues. But if your looking to really looking to learn how to audition, set yourself apart and create your own projects, read Twelve Step Plan To Becoming An Actor In LA it's a new book and it is the most helpful book i have found in the last coujple of years.

   Tom Saryory

   NYC




5. Wow this book is great. I know that all the monologues in this book are at least 2 minutes and there is a great range of dramatic to comidic. All the monologues have dates by them so you know if they are classic or modern. Buy this book!

5 comments about Basic Ballet: The Steps Defined (Penguin Handbooks).

1. Great little reference book for ballet. Shows "step-by-step" pictures of each position and/or movement. Tells you what the body position should be when executing each movement.



2. I had this book when I was a kid and I loved it. I had it when I moved and then one day is was just gone. So I got it again. I love the pictures and it is a great supplement to a class.



3. I have many technique books that are on the market,and this book tops them all! Most ballet teaching books relate to little kids only, well, this book grows with the student. What I mean is its not sugar coated with pictures of little kids dressed in pink tutus. It shows a real ballerina deminstraiting technique.
   I like this book,and recomend it to you as well as my students.
   Kim's school of dance.



4. This very complete volume is a lovely gift book as well as a useful reference book. The only weakness is the lack of emphasis on arm positions when doing the steps although they are illustrated in the photographs. I believe dancers who have experienced the following will find it useful too: When I was a student of ballet, I was frustrated by the subtle differences in the standards of different teachers. Sometimes I wondered, "So how EXACTLY am I supposed to do this?" I did not enjoy being corrected for what a prior instructor had taught me and pronounced well-executed. This book would have clarified things for me at the time. Now that I practice alone, I find this book invaluable. Also, I support Christine's review dated May 4, 2001.



5. "Basic Ballet" by Joyce MaaKie is a great (no-nonsense) reference book for the ballet enthusiast, regardless of age. It explains the positions throughly and with lots of photos. The only thing that would make it better would be to increase the size of the pictures and make it a wire-bound book so it stays open when performing the techniques.

5 comments about The Andy Griffith Show Book 40th Anniversary Edition.

1. When I opened the Andy Griffith Show Book 40th Anniversary Edition, I saw that it contains everything about TAGS that I had been looking for, plus more! It is such a great find, that I wrapped it up and sent it to my sister for her birthday (65 years old)! Now I plan to order another copy
   --not to give away, but to add to my collection. I recommend this book to anyone who is seeking the ideal hometown (Mayberry) and who longs for neighbors like the Taylors.



2. Ken Beck and Jim Clark no doubt eat, drink, and breath the Andy Griffith Show as they must have watched every episode several times with pen and paper in hand to create this book filled with almost every bit of trivia you'd want to know about the show, not to mention their many other books on TAGS. This book is not about the actors, writers, behind-the-scenes activities, or the philosophy of the show, it is a book on the characters, places, and happenings in Mayberry. The episodes of the television show is the only source for this book.
   
   Some reviewers do not think a book recapping the events of the television show is valuable, but it is for trivia buffs and for fan fiction writers. Fans who like to write Mayberry-related stories can find all sorts of helpful tidbits in this book. There is even an episode guide in the back with brief synopses. It is very useful for those who have not seen all the episodes or cannot remember certain details about the characters, places, etc. I have referred to this book several times in writing just one fan fiction story. It is very well-organized and usually offers that little detail I'm looking for. I was very surprised how much information is offered in this book.
   
   Every character is profiled (almost all with photos) from the main ones to those who were only on a short time or intermittently like Ellie Walker, the Darlings, Clara Edwards Johnson, Emmett Clark, Sam Jones, and that adorable Warren Ferguson (with a nice photo I have not seen before). For trivia buffs, there are chapters on "Cops and Robbers," "Codes and Cases," "Mayberry Media" (local newspapers, radio stations, tv stations, tv programs enjoyed by Mayberry residents), "Music of Mayberry," "Contradictions," and more. There is also a helpful map of Mayberry with all the important spots like Myer's Lake, the Duck Pond, the Darling's cabin, and Ernest T. Bass' cave, a town directory and yellow pages for both Mayberry and Mt. Pilot. It also has a quiz. There are scores of b&w photos throughout the book. My only complaint is that the episode guide is not divided up into seasons. Recommended for anyone interested in the characters of TAGS.



3. this is book is wonderful! it is by far the best andy griffith book that is out there.



4. Wonderful, just what I anticipated. Thank you for distributing this excellent review of the show, and list of all episodes.



5. This is the second book I have read about The Andy Griffith Show. (The first one was Barney Fife and Other Characters I Have Known, written by Don Knotts with Robert Metz)
   This book has very descriptive information about all the favorite characters from the show, based on what is known about them from the episodes of the show. There is NO information about the actors that played these roles, JUST the characters. These facts are put together in an easy-to-read style that will make for pleasant browsing or looking up trivia facts. There are also many nice photos in the book, some in color (fortieth anniversary edition) and there are quizzes, lists, and an episode guide with very brief summaries of the shows.
   It is a really nice book and can be enjoyed by fans of the show in any age group, from youth to grownup.
   And even though there is no actual show production stories or actor interviews in this book, it does do a good job of profiling the characters and showing their individual personalities in the context of the world they exist in, that of their beloved Mayberry.

1 comments about Dance anatomy and kinesiology.

1. For my kinesiology class this book was availabale in the library for student use. After using it the first time and seeing all that was included within the text, I had to have it. The pictures throughout this book are very helpful to dancers who are learning about anatomy. I know this book will be my guide as I further my dance career. It is amazing, every dancer should own it to understand how their body works properly!

2 comments about Film Noir (Inside Film).

1. "Film Noir" is an excellent introduction to film noir theory. Author Andrew Spicer, a professor of film studies, has packed all of the key definitions, elements, and influences on film noir into just over 200 very readable pages. "Film Noir" is well organized, in the style of a text book. Pictures are few, as are detailed descriptions of plots. The book covers both classic and neo-noir,1940-2000, with about half of the book dedicated to each. The discussion of classic noir includes the definitions and evolution of the style, the conditions of production, themes, narrative strategies, gender roles, and three noir auteurs (Anthony Mann, Robert Siodmark, Fritz Lang). Spicer divides neo-noir into two periods: modernist and post-modern. Modernist refers to the 1967-1976 period when films were characterized by the near-complete collapse of the Hollywood studio system, unprecedented directorial power, and a conspicuous absence of femmes fatales. The post-modern era began in 1981, with studios jumping back into the noir picture and dedicating big budgets and big stars to noirs, betting on commercial success. Most of the films discussed in "Film Noir" are American, but the book's last chapter is dedicated to British film noir. Appendices (although they are not labeled as such) include excellent lists of American and British film noirs, organized chronologically and grouped by era. There is an index of names and an index of films. "Film Noir" is academic, but it's a good, concise analysis for anyone who wants analysis but isn't up to heavy-duty film theory that is so often tedious. It's a very readable, useful intro to film noir theory, covering 60 years of American and British noir, with the occasional reference to German and French films as well.



2. This is a textbook designed to introduce film noir to college students. However, it could be read with profit by anyone with an interest in the film noir phenomenon.

   Spicer packs an incredible amount of information in the small space he has. He refers to the latest books and is incredibly thorough. He does a fine job on the origins of film noir, covering not only "tough guy" authors and German expressionism, but also Weimar "street films," French poetic realism and expressionism in American film before noir.

   What I found especially interesting was the way Spicer continually breaks down noir and neo-noir into different eras. He sees a difference between noir of the Forties and Fifies, and he distinguishes between early neo-noir and late neo-noir, with Body Heat being the breaking point. I found that very useful, since the neo-noir era has lasted so long by now. It is hard to think of The Long Goodbye and Reservoir Dogs as fitting in the same era, so it is good to have a distinguishing framework.

   Spicer also covers British film noir, and he breaks that down into different eras as well. To someone very familiar with the American noir cannon, this is like discovering a new continent of films.

   So I would strongly urge any film noir enthusiast to get Spicer's book. You will learn something you didn't know before, or find out about films you will want to see.

   So this is a book that

5 comments about Groucho And Me.

1. I thought Groucho did a good job of telling about growing up and there are some great stories about knocking around on the vaudville circuit. It was a quick and easy read, but most enjoyable. Harpo Speaks by Harpo Marx goes more into depth and also some of the same stories are told from a slightly different perspective; it was another fun book to read.



2. Excellent book, well written with Groucho's unique wit and sarcasm



3. I Liked the book and was fascinated by it. It met most of my expectations. MP



4. A very easy read. A nice blend of information and funny Groucho stories. If you are a fan of their movies, then you should enjoy Groucho's accounts.



5. This biography of Groucho is as touching as is through. The reader is wisked away into the comic world of one of America's greatest performers. The book is filled with humorous stories from Groucho's life. The author has woven in some of Groucho's most personal views and we hear his outspoken and sometimes controversial views on a wide array of subjects. Groucho was truly the first "Sssssshock jock!" The book ends on a decidedly melancholy note when in the twilight of his years Groucho meets a young man by the name of Anthony. The two share a touching moment in which the reader watches as the torch is passed from one generation of comics to another. (Anthony later goes on to become a renowed professor and comedic talk show host.) A great read and an exciting page turner for the serious reader...NOT YOU!

5 comments about An Enemy of the People (Dover Thrift Editions).

1. Ibsen is often revered as the father of modern drama, and his influence has been compared to that of Shakespeare's influence in 16th century England. This particular play is a treatise on Ibsen's ideology. In it Ibsen is putting forth his very liberal ideas and he does not spare anyone. Both liberals and conservatives are blasted in this play that points out clearly that any individual does not stand a chance if he tries to go public with his ideas, especially if those ideas go against the majority opinion. Yes, it is a militant play, but it is also a comedy that shows real pathos and warm humour.



2. Dr. Stockman is portrayed as the protagonist who champions himself as the herioc individual who makes a bleak discovery about the community. He thunders to announce the new discovery against the wishes of his opposition Mayor Peter Stockman. Dr. Stockman is characterized as the man of nobility at the beginning of the play and as the plot begins to unfold the townspeople denounce him as an enemy of the people. Mrs. Stockman's character is portrayed as submissive. Will she patiently await the distruction of her entire family? Will Dr. Stockman sacrifice his personal beliefs for the welfare of his family?



3. Henrik Ibsen is the father of modern drama and his 1882 drama "An Enemy of the People" ("En folkefiende") was one of his more controversial works. In the play Dr. Stockmann discovers that the new baths built in his town are infected with a deadly disease that requires they should be closed until they can be repaired. However, the mayor of the town (the Burgomaster), who is Stockmann's brother Peter, rejects the report and refuses to close the baths because it will bring about the financial ruin of the town. When Dr. Stockmann tries to make his case to the people of the town, the mayor counters by pointing out how expensive it would be to repair the baths and dismisses the doctor for having wild, fanciful ideas. At the public meeting Dr. Stockmann is declared "an enemy of the people" by the Burgomaster.
   
   To really appreciate this particular Ibsen play you have to look at it in the context of his previous dramas, because they all represent a conflict between the playwright and his critics. In 1879 Ibsen's play "A Doll's House" ("Et dukkehjem") was produced, wherein the character of Nora pretends to be a silly little wife in order to flatter her husband, who is revealed to be a hypocritical fraud. The idea that a woman would leave her husband and children was seen as being outrageous and basically obscene. Ibsen upset his audience and critics even more in his next play, "Ghosts" ("Gengangere"), an 1881 drama that again attacks conventional morality and hypocrisy. The topic is of congenital venereal disease but the true subject is moral contamination. Mrs. Alving has buried her husband, a degenerate who has left behind a son dying from syphilis and an illegitimate daughter who is probably going to end up being a prostitute. The play ends with Mrs. Alving having to decide if she should poison her son to put him out of his misery or let his agonies persist.
   
   Again, Ibsen was attacked for outraging conventional morality. The following year after "Ghosts" the playwright responded with "An Enemy of the People" and the character that is most identified with representing Ibsen on stage in Dr. Stockmann. The allegory is quite plain when the play is considered within the context of Ibsen's work during this period, although while Stockmann is portrayed as a victim there is a sense of destructiveness to his behavior. At the end of the play Stockman has decided to leave the town, but then changes his mind to stay and fight for those things he believes are right.
   
   As is the case with most of Ibsen's classic works, "An Enemy of the People" speaks to larger issues than those in conflict in the play. The debate is over the bad water pipes at the new baths, but the true conflict is over the clash of private and public morality. Dr. Stockmann is by far the most idealistic of Ibsen's characters, and that fact that he is opposed by his own brother, the Burgomaster, harkens back to Genesis and the fight between Cain and Able. As was the case with "Ghosts," there is an ambiguous ending where what happens next can be seen as going either way given your own inclinations as a member of the audience.
   
   Both of the Stockman brothers are flawed. Dr. Stockman's idealism is at odds with the practical realities of the world in which he lives while the Burgomaster ignores ethical concerns. Ultimately, Ibsen is not forcing us to choose between the two but rather to reject both in terms of some middle ground. The Burgomaster is certainly old school, believing those in authority get to make all the decisions and that the people must subordinate themselves to the society. But he was the one who made the mistake of putting the new water pipes in the wrong place, so even his claims that he is looking out for the welfare of the community are dishonest. Dr. Stockman argues for individual freedom and the right of free expression, but his attempt to fix the problem ignores any effort at persuasion or building public support. He also seems to take pleasure in be able to show that his brother made a mistake. Still, in the end we have to favor the doctor over the mayor because his integrity is clearly stronger, while still recognizing that his idealism is tragically flawed.



4. Have you ever watched a movie or play, and at the end of it you say, "I don't get it"? ---> But everyone around you says it was the greatest thing they have ever seen... well, I will not pretend to be a pseudo-intellectual. Ibsen was way over my head with this book.

   Superficially the book was extremely interesting from the standpoint of: will one man be willing to stand up to a city when he knows what is right? In our story, the protagonist has discovered that the Norwegian baths are filled with a poisonous organism. However, when he voices this, the entire town goes against him because it will cost them economically, and they put the pressure on him to refute that which he knows is correct. From that standpoint - the book is excellent... and we are held to find the outcome.

   Where it lost me personally was when Ibsen went on his political diatribe. He further alienated me via his pages of discussion on liberalism in a manner that seemed conservative to me. Nevertheless, I enjoyed these speeches as well, and they admittedly felt more contemporary Republican than Liberal Democrat.

   In the end, I would have to recommend this book, but say "Feel free to not understand." It is okay to embrace that not everything is clear, and at times his points are lost on minds as dull as mine. Embrace your ignorance, and enjoy it for what it is




5. "An Enemy of the People," by Norwegian playwright Henrik Ibsen, has been published as part of the Dover Thrift Edition series (that's the version I read for purposes of this review). The Dover edition is a republication of an anonymous translation. The back cover data notes that the play was first staged in 1883.

   "Enemy" tells the story of Dr. Thomas Stockmann, a medical officer for his town's public baths. When he discovers that the baths are contaminated and pose a health hazard, he is led into conflict with his brother Peter, who is the town's mayor. The tension increases as the drama moves towards its conclusion.

   "Enemy" is an intriguing piece of literature. While reading it I was struck by how similar the story is to that of the classic film "Jaws": in both stories, a political leader is at odds with an idealistic public servant who is concerned about a danger involving public waters!

   The play contains much thought-provoking dialogue. Ibsen looks at the interrelationships among politicians, the press, science, and the general public. His characters question issues of truth, authority, and majority rule. Dr. Stockmann begins as a noble character, but I thought he becomes too over-the-top and in some scenes is reduced to a shrill, dogmatic cartoon (especially when he delivers a bizarre rant about poodles and hens). I honestly wasn't sure what Ibsen was trying to accomplish in some of the doctor's more outrageous dialogue.

   Still, "Enemy" remains a compelling piece of art. For an intriguing companion text, try "Inherit the Wind," by Jerome Lawrence and Robert E. Lee, which has some similar themes and motifs.

5 comments about Shaking The Money Tree, 2nd Edition: How to Get Grants and Donations for Film and Video.

1. I would highly recommend this book, and I would also highly recommend the Government Funding and You book and video series. Click the link below for more information.
   
   Government Funding and You: Registering For Grants On-line 2007 book and video series.



2. this book really sets you up with the information you need to know about funding. it's nice that there is an example of a grant in the book to help you understand exactly what you need.



3. If I ever meet Morrie Warshawski, I will probably embarrass us both by giving him a huge hug. In 97 easy-to-read pages (plus another 60+ helpful pages with sample grant proposals, budget forms and a bibliography), he succinctly lays out a viable process for successfully seeking grants for film and television projects.
   
   What struck me about "Shaking the Money Tree" was how it is actually a basic primer for all fundraising projects, not just film. Warshawski starts with the basics: developing mission and vision statements (Chapter 1 - "Laying the Foundation: Your Career"). While these steps should be obvious to any nonprofit organization, this is new territory for many independent filmmakers. Warshawski asserts "funding problems are almost always routed in a basic set of unresolved career issues." Not only does he contend that mission and vision statements are necessary, but that filmmakers must identify a set of values by which they choose projects and people with which to work. All of this, claims Warshawski, adds focus to filmmakers' efforts, and keeps them from wasting time on projects for which they have no vision or passion. Valuable lessons for any nonprofit organization.
   
   For the rest of Chapter 1, Warshawski takes the reader through a series of career development steps: articulating major short and long-term goals; identifying people and organizations with which to interact in order to succeed; evaluating progress against the career goals; acquiring promotional tools to spotlight the filmmaker and his/her projects; and networking to avoid isolation.
   
   In Chapter 2 ("Where's the Money?"), Warshawski provides an overview of the various categories of funding potentially available to a filmmaker (individuals, foundations, corporations, government agencies, other nonprofits). He correctly points out that there is an abundance of funding sources (not to be confused with an abundance of funds), but the challenge is determining which sources are appropriate for the particular project. He recommends creating a fundraising plan, identifying the most suitable prospects and determining the most effective way to formulate and make the request. (Again, a sound methodology for any nonprofit.) Warshawski identifies the upside and downside to each category, reviews how to find them and, generally, how to approach them (more information on research and proposals is provided in subsequent chapters).
   
   Chapter 3 ("Patchwork Quilt - Putting Your Project Together") was one of my favorites. Warshawski points out that a major impediment to successfully finding funds is beginning fundraising before the project is fully developed and thus not being able to completely answer all of a potential funder's questions. He highlights the difference between "this is a story that must be told" and "this is a story that must be heard." As is the case with all fundraising, one must start with the need. Warshawski runs through the elements of a solid plan, and explains the questions that must be answered. He also points out that fundraising will take longer than a filmmaker might expect: one to two years to complete the funding is not unusual.
   
   The remaining chapters - 4 ("Getting Personal - Individual Donors"), 5 ("The Paper Trail - Foundations and Government Agencies") and 6 ("All the Rest") explain the types of funders, their motivations and how to research them. He offers some excellent tips that the novice fundraiser/filmmaker might miss, such as Chapter 5's recommendation that, when researching foundations, don't just research "film/video/media/TV," but look for funders of the issue area(s) that the film is tackling. Most foundations are not really funding the film, but are funding the visibility to the subject matter that the film is providing. The last two pages of Chapter 6 provide "Morrie's Maxims" - sound advice for fundraising for any type of project.
   
   I did have some quibbles with the book. The Public Broadcasting Service (PBS) is not a government agency. The address for the Foundation Center in Washington is out of date (the book was published in 2003, and the Center moved to 1627 K Street, NW in 2001). Foundation giving levels are directly affected by economic trends: foundation endowments slump when the stock market declines and the effect is often felt for several years after the stock market starts to recover (Warshawski makes it sound as though foundations are relatively immune to economic shifts, other than facing increased requests for support). And finally, it would have been helpful to mention that the National Endowment for the Humanities and National Endowment for the Arts will provide, upon request, samples of successfully funded film proposals under the Freedom of Information Act. But these are minor blips in an otherwise superb book.
   
   There are two positive outcomes for a filmmaker who reads Warshawski's book and puts his words into practice: a funded project, and a successful second career as a fundraiser. "Shaking the Money Tree" should be required reading at all film schools. But even beyond that, it offers extremely helpful information for anyone who needs to raise money for a project.



4. Now in an expanded and updated second edition, Shaking The Money Tree: How To Get Grants And Donations For Film And Television by Morrie Warshawski is a ground breaking instructional manual in the art of fundraising for the financing of noncommercial film and video projects. Presenting the basics of how to apply for and earn grants and/or donations from individuals, foundations, government agencies, corporations, and more, Shaking The Money Tree combines direct decorum with an invaluable insight for how the financial side of the film business really works, as well as being peppered with useful grant forms and superb grant writing examples. If you have a film or television project that you need to finance -- begin with a close and careful reading of Morrie Warshawski's Shaking The Money Tree!



5. This is a great book...after searching high and low and all over the internet, I found a concise, informative and helpful resource to walk me through the complex world of fundraising for media. I'm applying Morrie's suggestions to my movie's business plan. Everyone interested in film/video should read this book.

5 comments about Caligula and Three Other Plays.

1. Albert Camus is as good at writing plays as he is at everything else he does. Whether you are new to Camus or not, you will definately enjoy this.



2. Camus does an excellent job of contrasting individual insanity and collective insanity in his play Caligula. Basically, Caligula is insane. He is a despot who holds the lives of his subjects in his hands. At times, for very arbitrary reasons, he kills or executes someone from his court. This seems arbitrary and frightenging. Yet, Caligula is contrasted against sane military officers who engage in terrible acts of war where thousands upon thousands of civilians and soldiers are killed. So who is insane? Is it the dictator who might execute someone in his court for very trivial reasons or is it the rational military general who kills thousands and thousands of persons in rational and supposedly justified warfare? Camus reveals to the careful reader that societal evil is far more dangerous than individual evil. This is a wonderful thoughtful classic play that demonstrates Camus' ability to bring complex concepts to dramatic life.
   
   The Misunderstanding, another play in this volume, is another complex drama. An innkeeper and her old maid daughter kills guests of the inn when they are able to discern that the guest's death can not be tracked. They rob the guests which supplements their income. They long for the return of the beloved son of the innkeeper who has been gone for years and years without contact. As you might expect, the son returns to the inn and is murdered by his mother and sister. The deed is revealed when his wife arrives and finds him missing. Camus here deals with the concept of objectification of others so that violence may be done to them without remorse. When the innkeeper and her daughter find they have murdered the long lost son, they are beside themselves with grief. But yet they have murdered many innocent travelers without remorse because they have been able to divorce themselves from any thoughts that these travelers were fellow humans. A simple play with a simple point, yet it points to a terrible feature of human existence, that we can commit unspeakable horror on others once we have convinced ourselves that they are no longer human beings. Camus recognized that prejudice kills, it is not beneign.
   
   I appreciate Camus' ability to make a point without preaching or overstating. I strongly suggest this book of 4 short plays.



3. The cover of Caligula shows an abstract horse bucking, and that is just what Caligula does to us. It knocks us off our high-horse by bringing us face-to-face with death. Only (and I do not choose that word lightly) a true understanding of death can put lives in perspective. Sure Caligula is a despot who could have the life of any of his subjects, but the fact-of-the-matter is that our lives can end at any second. Caligula teaches us not to take life for granted, which is something that is all to easily done in this era. This theme also exists in State of Seige. The other two plays, The Misunderstanding, and The Just Assasins are more subtle, but they also deal with idea that we take petty concerns and ideas too seriously, and fail to look and the big picture. I should also add that the language and passion of the plays are exceptional.



4. Encompassing the doctorine of the Ubermensch cast alongside the dictatorship of Hitler, Camus creates an absurd, absolute ruler whom the people are at his beck and call. Every whim, be it for food or a specific person's death for the merge specticle of it, are just some of the scenes depicted in this play. It forces the question of whether one would rather possess a ruler who is consistant in all actions, thought, etc. or one who is willing to contradict him or herself for the good of the people. This is a complex work whose depths it seems may never be compeletly explored. Often overlooked due to the potency of his prose, Camus has produced yet another masterwork.



5. Camus' raw talent. There isn't anything negative to say about Camus, other than he died too young. If he'd lived through the 60's, he'd at the most give Sartre a good run for his money.

   I love Camus simply because he's the only writer/philosopher who 'beats you up' with the truth, and comforts you with the notion, that he too has done this to himself. He doesn't try to replace your religion or your belief, or even question your place in the world. And he certainly didn't trade in one 'ism' for another like his Toad-faced contemporary!

   Read this! It's wonderful. Camus sums up life's absurdities simplier than Kierkergaard and a tad bit kinder--maybe even sublte--than Nietzsche (who in my estimation is the one and only TRUE existential----maybe Che Guevara is a close second)