Editing is what makes a movie a movie. Consulting with master film editors including Walter Murch, Juliette Welfling, Eddie Hamilton, and Anne V. Coates (whose insights and wisdom anchor the book), author Greg Loftin engagingly, smartly details the storytelling nuances and tricks screenwriters can learn from their film-editor peers.Cutting-room veterans have long maintained that visual juxtaposition fuels film storytelling. Over-lapped images spark fresh ideas in the minds of viewers, encouraging them to become active partners in your storytelling and discover your story for themselves.In later chapters, Writing for the Cut shows how we can bring our stories closer to the screen by writing not only with text, but with images and sounds. The screenwriter is taken deep into the edit suite to learn the secrets of the sizzle reel.
Die Inhaltsangabe kann sich auf eine andere Ausgabe dieses Titels beziehen.
Greg Loftin is a screenwriter. He wrote and directed his first feature film in 2007, the award-winning urban western Saxon. He is also course leader of the very first undergraduate program in film editing and postproduction in the UK. His world-class program of master classes has attracted visiting mas-ter editors such as Walter Murch (Apocalypse Now, The Godfather), Paul Machliss (Scott Pilgrim vs. the World, Baby Driver), Tom Rolf (Taxi Driver, Heat), Mick Audsley (Harry Potter and the Goblet of Fire, Murder on the Orient Express), and Lisa Gunning (Nowhere Boy, Seven Psychopaths). Writing for the Cut is the result of a practice-based PhD that the University of Exeter awarded Loftin in 2016.
„Über diesen Titel“ kann sich auf eine andere Ausgabe dieses Titels beziehen.
Anbieter: ThriftBooks-Atlanta, AUSTELL, GA, USA
Paperback. Zustand: As New. No Jacket. Pages are clean and are not marred by notes or folds of any kind. ~ ThriftBooks: Read More, Spend Less. Bestandsnummer des Verkäufers G161593300XI2N00
Anzahl: 1 verfügbar
Anbieter: Marlton Books, Bridgeton, NJ, USA
Zustand: Good. Has some wear and creases. Has a remainder mark. paperback Used - Good 2019. Bestandsnummer des Verkäufers M-20004171
Anzahl: 12 verfügbar
Anbieter: Goodwill Southern California, Los Angeles, CA, USA
Zustand: good. Bestandsnummer des Verkäufers 4CJS37002QZ6
Anzahl: 1 verfügbar
Anbieter: GreatBookPrices, Columbia, MD, USA
Zustand: New. Bestandsnummer des Verkäufers 34780145-n
Anzahl: Mehr als 20 verfügbar
Anbieter: Lakeside Books, Benton Harbor, MI, USA
Zustand: New. Brand New! Not Overstocks or Low Quality Book Club Editions! Direct From the Publisher! We're not a giant, faceless warehouse organization! We're a small town bookstore that loves books and loves it's customers! Buy from Lakeside Books! Bestandsnummer des Verkäufers OTF-S-9781615933006
Anzahl: Mehr als 20 verfügbar
Anbieter: GreatBookPrices, Columbia, MD, USA
Zustand: As New. Unread book in perfect condition. Bestandsnummer des Verkäufers 34780145
Anzahl: Mehr als 20 verfügbar
Anbieter: California Books, Miami, FL, USA
Zustand: New. Bestandsnummer des Verkäufers I-9781615933006
Anzahl: Mehr als 20 verfügbar
Anbieter: Lucky's Textbooks, Dallas, TX, USA
Zustand: New. Bestandsnummer des Verkäufers ABLIING23Mar2811580143568
Anzahl: Mehr als 20 verfügbar
Anbieter: Grand Eagle Retail, Bensenville, IL, USA
Paperback. Zustand: new. Paperback. 'The first draft of the script is the first cut of the movie, and the final cut of the movie is the last draft of the script' - Quentin TarantinoEditing is what makes a movie a movie. Consulting with master film editors including Walter Murch, Juliette Welfling, Eddie Hamilton, and Anne V. Coates (whose insights and wisdom anchor the book), author Greg Loftin engagingly, smartly details the storytelling nuances and tricks screenwriters can learn from their film-editor peers. Cutting-room veterans have long maintained that visual juxtaposition fuels film storytelling. Over-lapped images spark fresh ideas in the minds of viewers, encouraging them to become active partners in your storytelling and discover your story for themselves. In later chapters, Writing for the Cut shows how we can bring our stories closer to the screen by writing not only with text, but with images and sounds. The screenwriter is taken deep into the edit suite to learn the secrets of the sizzle reel. 'The first draft of the script is the first cut of the movie, and the final cut of the movie is the last draft of the script' - Quentin Tarantino Shipping may be from multiple locations in the US or from the UK, depending on stock availability. Bestandsnummer des Verkäufers 9781615933006
Anbieter: Rarewaves.com USA, London, LONDO, Vereinigtes Königreich
Paperback. Zustand: New. Bestandsnummer des Verkäufers LU-9781615933006
Anzahl: 5 verfügbar