具体描述
Escape From Film School tells the sprightly tale of a young man who makes it in Hollywood without ever leaving film school.
When Stuart arrives in California in the Sixties, he is fleeing the draft and he quite literally stumbles into USC's film school. Within a few weeks he is living out of his car and making student films with stolen equipment. Within a few years he is rubbing elbows with a young Mike Ovitz and other characters pulled straight from the pages of Variety.
Blessed with a biting wit and a jaundiced eye, Stuart is a keen observer of the machinations, power plays, and absurdities of the movie biz. His account of his own circuitous progress -- and that of his beautiful and ambitious wife, Veronica; his beautiful and ambitious girlfriend, Ginger; and his loyal daughter, Rainbeaux -- also offers an incisive and satirical look at this bizarre, yet fascinating world. Like The Player, it is a dead-on, often hilarious and occasionally poignant tale about survival and redemption in Hollywood.
作者简介
Richard Walter is a celebrated storytelling guru, movie industry expert, and longtime chairman of UCLA’s legendary graduate program in screenwriting. A screenwriter and published novelist, his latest book, Essentials of Screenwriting, is available in stores now. His previous published works include the novels Escape from Film School and Barry and the Persuasions and screenwriting books The Whole Picture: Strategies for Screenwriting Success in the New Hollywood and Screenwriting: The Art, Craft and Business of Film and Television Writing.
He has written numerous feature assignments for the major studios and has sold material to all three networks. He has also written many informational, educational and corporate films. Richard lectures on screenwriting and storytelling throughout North America and the world. He has conducted master classes in London, Paris, Jerusalem, Madrid, Rio de Janeiro, Mexico City, Beijing and Hong Kong.
Students from Richard’s screenwriting program at UCLA have written more than ten projects for Steven Spielberg alone, plus dozens of other Hollywood blockbusters and prestigious indie productions, including two recent Oscar winners for best screenplay: Milk and Sideways.
Richard is a widely viewed pop culture critic and media pundit who has appeared multiple times on The Today Show, The O’Reilly Factor, Hardball, ABC Primetime, Scarborough Country, CBS News Nightwatch, NPR, KABC-Talk Radio and numerous independent television and radio stations. More than a hundred newspaper and magazine articles have described his work and the program he directs at UCLA.
In addition to his stature in the media and academic world as a writer of substantial professional experience, Richard is also a leading expert witness in intellectual property litigation.
For more information and to order the new Essentials of Screenwriting, visit www.richardwalter.com
目录信息
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用户评价
这本新出的电影制作入门指南，简直是为我这种从零开始摸索的业余爱好者量身定制的！我以前对电影的理解仅限于坐在影院里看热闹，但这本书一上手就用一种非常接地气的方式，把那些听起来高深莫测的术语，比如景别、运镜、场面调度，掰开了揉碎了讲明白。它不是那种干巴巴的教科书，作者的叙事风格里充满了对电影艺术那种近乎偏执的热爱，读起来一点都不觉得累。尤其是关于前期准备的部分，它强调了“想法的价值远大于昂贵的设备”，这对于预算有限的初学者来说简直是福音。书中详细描述了如何用最少的资源，搭建起一个有效的剧本大纲，以及如何进行高效的“可视化”排练，而不是一味追求好莱坞式的炫技。我特别欣赏它在讲述灯光和声音时，并没有陷入复杂的物理学公式，而是聚焦于如何利用它们来烘托情绪和推动叙事。读完第一部分，我感觉自己不再是那个对镜头语言一头雾水的外行人，而是一个手里握着了一套基础工具箱的学徒，跃跃欲试想去实践一番。它确实让我对“如何讲好一个故事”这件事有了更立体、更实操层面的认识。
评分我一直觉得，很多电影书籍都遗漏了一个至关重要的环节——“发行与生存”。这本书难能可贵地将这一现实问题纳入了讨论范畴，并且处理得相当成熟老练。它没有用空泛的励志口号来搪塞，而是用大量的真实案例，分析了独立电影如何在预算极其有限的情况下，通过恰当的电影节策略、精准的社媒营销，最终找到目标观众。书中对于短片如何“投石问路”，以及如何构建一个清晰的个人作品集（Portfolio）的建议，是其他任何我读过的书里都没有如此细致和实用的。作者似乎在说：拍完片子只是万里长征的第一步，如何让你的作品不被淹没在信息的洪流中，才是真正的挑战。这种“从创意到商业变现”的完整闭环讲解，使得这本书的实用性大大提升，它不只是教会你如何做电影，更是在告诉你如何在这个行业里“活下来”并持续创作下去。
评分说实话，我本来对任何关于“学校教育”或“正规训练”的题材都有点免疫，总觉得里面充斥着教条和不切实际的完美主义。但这本书的叙事节奏非常像一部精彩的纪录片，充满了意想不到的转折和真实的挣扎感。它没有试图去美化电影制作的过程，反而毫不避讳地揭示了片场混乱、演员沟通障碍、以及后期剪辑室里那种近乎绝望的修改循环。这种坦诚让阅读体验非常放松，因为它让你知道，即便是那些看似光鲜的导演，也曾经历过无数次的失败和自我怀疑。我尤其喜欢其中关于“如何与非专业演员合作”的一章，里面提供了一些非常实用的心理学技巧，教你如何在不扼杀演员自发性的前提下，引导他们达到你想要的状态。这本书的语言风格是那种夹杂着黑色幽默和一丝丝疲惫的、属于真正创作者的口吻，它不是在教你成为一个完美的工匠，而是在帮你锻造一个能在混乱中保持清醒的“问题解决者”。
评分这本书的视角非常独特，它似乎是将焦点从“最终银幕上的产品”转移到了“制作过程中的哲学思辨”。我读到关于剪辑理论的部分时，差点停下来思考了好几个小时。作者深入探讨了蒙太奇的各种流派，但重点不在于让读者去模仿爱森斯坦或戈达尔，而是引导读者去思考：时间在电影里到底意味着什么？它是被压缩的、拉伸的，还是被完全重构的？这种对基础概念的深层挖掘，让原本枯燥的后期制作流程变得富有诗意。它就像一本高级的思维训练手册，强迫你去质疑那些你习以为常的电影惯例。对我来说，这本书的价值在于它提供了一个批判性的框架，让我在观看任何电影时，都能下意识地去分析其背后的技术选择和叙事动机。它不仅仅是一本制作指南，更是一本提升电影鉴赏深度的阅读材料，让你的“电影之眼”变得更加敏锐和挑剔。
评分我一直在寻找一本能真正跨越理论和实践鸿沟的书籍，很多市面上的“秘籍”要么过于侧重学院派的陈词滥调，要么干脆就是一本堆砌了各种昂贵设备的购物清单。然而，这本作品的独到之处在于它对“资源限制”的坦然接受，并且将这种限制升华为一种创作动力。它没有鼓吹只有用最顶级的阿莱或红头才能拍出好片子，反而花了大篇幅来探讨如何利用自然光、如何巧妙运用环境音效来弥补设备上的不足。书中举的案例都非常精妙，很多都是用手机或小型单反完成的短片分析，这极大地增强了我的信心。更让我印象深刻的是它对“导演意图”的强调，作者反复提醒读者，每一次技术选择——无论是慢动作还是快速剪辑——都必须服务于核心的情感表达。这种对“为什么”的追问，远远比“怎么做”的步骤讲解更有价值。它像一位经验丰富的老前辈，在你准备大干一场时，拍了拍你的肩膀，告诉你别忘了你最初想说的那个故事是什么。
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