“What are the best books about and for Filmmaking?” We looked at 409 of the top Filmmaking books, aggregating and ranking them so we could answer that very question!
The top 36 titles, all appearing on 3 or more “Best Filmmaking” book lists, are ranked below by how many lists they appear on. The remaining 350 titles, as well as the lists we used are in alphabetical order at the bottom of the page.
Also, make sure to check out our Best Film History Book List as well as our sister website Cinema Dailies for more Film articles.
Happy Scrolling!
No one knows the writer’s Hollywood more intimately than William Goldman. Two-time Academy Award-winning screenwriter and the bestselling author of Marathon Man, Tinsel, Boys and Girls Together, and other novels, Goldman now takes you into Hollywood’s inner sanctums…on and behind the scenes for Butch Cassidy and the Sundance Kid, All the President’s Men, and other films…into the plush offices of Hollywood producers…into the working lives of acting greats such as Redford, Olivier, Newman, and Hoffman…and into his own professional experiences and creative thought processes in the crafting of screenplays. You get a firsthand look at why and how films get made and what elements make a good screenplay. Says columnist Liz Smith, “You’ll be fascinated.
The fifth edition of this all-time standard includes new material on preproduction and High Definition as well as an update of all budgets.
Elia Kazan was the mid-twentieth century’s most celebrated director of both stage and screen, and this book shows us the master at work. Kazan directed virtually back to back the greatest American dramas of the era—by Arthur Miller and Tennessee Williams—and revolutionized theatre and film with dynamic action, poetic staging, and rigorous naturalism. His list of Broadway and Hollywood successes—A Streetcar Named Desire (stage and screen), All My Sons, Death of a Salesman, Cat on a Hot Tin Roof, On the Waterfront, East of Eden, Baby Doll, America America, to name only a few—is a testament to his profound impact on the art of directing. Kazan’s insights into these and other classic stage works shaped their subsequent productions—and continue to do so. There is no directorial achievement in America equal to his. This remarkable book, drawn from his notebooks, letters, interviews, and autobiography, reveals Kazan’s method: how he uncovered for himself the “spine” or core of each script and each character; how he analyzed each piece in terms of his own experience; how he determined the specifics of his production, from casting and costuming to set design and cinematography. And we see how he worked with writers on scripts and with actors on interpretation. The final section, “The Pleasures of Directing”—essays Kazan was writing in his last decade—is informal, provocative, candid, and passionate; a wise old pro sharing the secrets of his craft, advising us how to search for ourselves in each project, how to fight the system, and how to have fun doing it.
Master Shots gives filmmakers the techniques they need to execute complex, original shots on any budget. By using powerful master shots and well-executed moves, directors can develop a strong style and stand out from the crowd. Most low-budget movies look low-budget because the director is forced to compromise at the last minute. Master Shots gives you so many powerful techniques that youll be able to respond, even under pressure, and create knock-out shots. Even when the clock is ticking and the light is fading, the techniques in this book can rescue your film and make every shot look like it cost a fortune. Each technique is illustrated with samples from great feature films and computer-generated diagrams for absolute clarity.
A generation of screenwriters has used Syd Field’s bestselling books to ignite successful careers in film. Now the celebrated producer, lecturer, teacher, and bestselling author has updated his classic guide for a new generation of filmmakers, offering a fresh insider’s perspective on the film industry today. From concept to character, from opening scene to finished script, here are easily understood guidelines to help aspiring screenwriters—from novices to practiced writers—hone their craft. Filled with updated material—including all-new personal anecdotes and insights, guidelines on marketing and collaboration, plus analyses of recent films, from American Beauty to Lord of the Rings—Screenplay presents a step-by-step, comprehensive technique for writing the screenplay that will succeed in Hollywood. Discover: •Why the first ten pages of your script are crucially important •How to visually “grab” the reader from page one, word one •Why structure and character are the essential foundation of your screenplay •How to adapt a novel, a play, or an article into a screenplay •Tips on protecting your work—three legal ways to claim ownership of your screenplay •The essentials of writing great dialogue, creating character, building a story line, overcoming writer’s block, getting an agent, and much more.
An alternate cover edition can be found here. Andrey Tarkovsky, the genius of modern Russian cinema–hailed by Ingmar Bergman as “the most important director of our time”–died an exile in Paris in December 1986. In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work. Since Ivan’s Childhood won the Golden Lion at the Venice Film Festival in 1962, the visionary quality and totally original and haunting imagery of Tarkovsky’s films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia. Many critics have tried to interpret his intensely personal vision, but he himself always remained inaccessible. In Sculpting in Time, Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films–Ivan’s Childhood, Andrey Rublyov, Solaris, The Mirror, Stalker, Nostalgia, and The Sacrifice. He discusses their history and his methods of work, he explores the many problems of visual creativity, and he sets forth the deeply autobiographical content of part of his oeuvre–most fascinatingly in The Mirror and Nostalgia. The closing chapter on The Sacrifice, dictated in the last weeks of Tarkovsky’s life, makes the book essential reading for those who already know or who are just discovering his magnificent work.
Considered the “bible” on fundraising for independent noncommercial film and video.
“A first rate book and a joy to read…It’s doubtful that a complete understanding of the director’s artistry can be obtained without reading this book…Also indispensable for budding directors are the addenda, in which Kurosawa lays out his beliefs on the primacy of a good script, on scriptwriting as an essential tool for directors, on directing actors, on camera placement, and on the value of steeping oneself in literature, from great novels to detective fiction.”
Not long ago we were spectators, passive consumers of mass media. Now, on YouTube and blogs and Facebook and Twitter, we are media. And while we watch more television than ever before, how we watch it is changing in ways we have barely slowed down to register. No longer content in our traditional role as couch potatoes, we approach television shows, movies, even advertising as invitations to participate—as experiences to immerse ourselves in at will.
A how-to guide for getting professional-quality video from your DSLRShooting HD Video with a video-enabled DSLR has many benefits and some tricky drawbacks that digital filmmakers and videographers can overcome to get professional results. “The DSLR Filmmaker’s Handbook” helps filmmakers harness the HD video capabilities of their DSLRs to create professional-level video. Packed with professionally-tested techniques, this indispensible book serves as a training guide for the complex steps that must be taken before, during, and after filming. Teaches you the key tools and techniques for using your DSLR to shoot high-quality, professional-level videoDistills dense information about filmmaking and filters it down to easily understood granulesShows you what to expect and what to avoid with your DSLR and how to maximize the visual look of your filmShares tools and techniques that have been used in real-world, independent movie-making environments “The DSLR Filmmaker’s Handbook” shows you how to overcome any tricky drawbacks that you may face while shooting HD video with your DSLR.
“When a film is not a document, it is a dream. . . . At the editing table, when I run the strip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood.” Bergman, who has conveyed this heady sense of wonder and vision to moviegoers for decades, traces his lifelong love affair with film in his breathtakingly visual autobiography, The Magic Lantern. More grand mosaic than linear account, Bergman’s vignettes trace his life from a rural Swedish childhood through his work in theater to Hollywood’s golden age, and a tumultuous romantic history that includes five wives and more than a few mistresses. Throughout, Bergman recounts his life in a series of deeply personal flashbacks that document some of the most important moments in twentieth-century filmmaking as well as the private obsessions of the man behind them.
Film and video production is a litigation lighting rod: actors get hurt, copyrights are infringed, and contracts are broken. Big-budget producers have lawyers on retainer, but many independent filmmakers are left legally exposed. Arm yourself with the practical advice in this book. You will not only avoid common pitfalls, but become empowered in your daily work. Too many otherwise competent producers turn over every aspect of the deal negotiations to their lawyers and agents. This book explains the principal deals common to every production, putting producers back in the co-pilot seat with their representatives.
The Reel Truth details the pitfalls, snares, and roadblocks that aspiring filmmakers encounter. Reed Martin interviewed more than one hundred luminaries from the independent film world to discuss the near misses that almost derailed their first and second films and identify the close shaves that could have cut their careers short. Other books may tell you the best way to make your independent film or online short, but no other book describes so candidly how to spot and avoid such issues and obstacles as equipment problems, shooting-day snafus, postproduction myths, theatrical distribution deal breakers, and dozens of other commonly made missteps, including the top fifty mistakes every filmmaker makes.
This book provides a concise presentation of screenwriting basics. The author shows the correct formats for both screenplays and teleplays, and takes the writer through the writing and marketing process.
So you want to make a documentary, but think you don’t have a lot of time, money, or experience? It’s time to get down and dirty! Down and dirty is a filmmaking mindset. It’s the mentality that forces you to be creative with your resources. It’s about doing more with less. Get started NOW with this book and DVD set, a one-stop shop written by a guerrilla filmmaker, for guerrilla filmmakers. You will learn how to make your project better, faster, and cheaper. The pages are crammed with 500 full-color pictures, tips from the pros, resources, checklists and charts, making it easy to find what you need fast.
Lists It Appears On:
The Technique of Film and Video Editing provides a detailed, precise look at the artistic and aesthetic principles and practices of editing for both picture and sound. Because editing is about more than learning a specific software program, this book focuses on the fundamentals of editing as art. Analysis of photographs from dozens of classic and contemporary films and videos provide a sound basis for the professional filmmaker and student editor. This book puts into context the storytelling choices an editor will have to make against a background of theory, history, and practice. This edition includes brand new chapters covering the goals of editing, including editing for narrative clarity, subtext, aesthetics, and dramatic emphasis, all showing how to evoke specific audience responses.
Provides new insights and observations from Vogler’s pioneering work in mythic structure for writers.
The philosophy and unique insights of the late French film critic are revealed in these essays.
Peter Bogdanovich, director, screenwriter, actor and critic, interviews sixteen legendary directors of the first hundred years of film – from Allan Dwan and Raoul Walsh to Leo McCarey, Alfred Hitchcock and Sidney Lumet. The conversations brought together in this book give us a history of the movies. They are the stories of pioneers who came to the picture business from many worlds. Some were adventurers (running away to sea; joining Pancho Villa) before finding their place in the movies. Some were football stars, some electrical engineers, lawyers, auto mechanics, airplane designers. Some were trained in silent movies (Dwan, Walsh, Lang, von Sternberg, Hitchcock). Many of them were men who lived to the hilt and brought to their work the residue of their earlier experiences.
An invaluable analysis of the director’s art and craft, from one of the most revered of all film school directors. Alexander ‘Sandy’ Mackendrick directed classic Ealing comedies plus a Hollywood masterpiece, Sweet Smell of Success. But after retiring from film-making in 1969, he then spent nearly 25 years teaching his craft at the California Institute of the Arts in Los Angeles. Mackendrick produced hundreds of pages of masterly handouts and sketches, designed to guide his students to a finer understanding of how to write a story, and then use those devices peculiar to cinema in order to tell that story as effectively as possible. Gathered and edited in this collection, Mackendrick’s teachings reveal that he had the talent not only to make great films, but also to articulate the process with a clarity and insight that will still inspire any aspirant film-maker.
With the aid of photographs and diagrams, this text concisely presents concepts and techniques of motion picture camerawork and the allied areas of film-making with which they interact with and impact. Included are discussions on: cinematic time and space; compositional rules; and types of editing.
Finally a script format guide that is accurate, complete, authoritative and easy to use, written by Hollywood’s foremost authority on industry standard script formats.
Internationally-renowned directing coach Weston demonstrates what constitutes a good performance, what actors want from a director, what directors do wrong, script analysis and preparation, how actors work, and shares insights into the director/actor relationship.
Directing: Film Techniques and Aesthetics is a comprehensive manual that teaches the essentials of filmmaking from the perspective of the director. Ideal for film production and directing classes, as well as for aspiring and current directors, Directing covers all phases of preproduction and production, from idea development to final cut. Thoroughly covering the basics, Directing guides the reader to professional standards of expression and control, and goes to the heart of what makes a director. The book outlines a great deal of practical work to meet this goal, with projects, exercises.The third edition emphasizes the connection between knowing and doing, with every principle realizable through projects and exercises. Much has been enhanced and expanded, notably: aspects of dramaturgy; beats and dramatic units; pitching stories and selling one’s work; the role of the entrepreneurial producer; and the dangers of embedded moral values. Checklists are loaded with practical recommendations for action, and outcomes assessment tables help the reader honestly gauge his or her progress. Entirely new chapters present: preproduction procedures; production design; script breakdown; procedures and etiquette on the set; shooting location sound; continuity; and working with a composer.
Few cinematographers have had as decisive an impact on the cinematic medium as John Alton. Best known for his highly stylized film noir classics T-Men, He Walked by Night, and The Big Combo, Alton earned a reputation during the 1940s and 1950s as one of Hollywood’s consummate craftsmen through his visual signature of crisp shadows and sculpted beams of light. No less renowned for his virtuoso color cinematography and deft appropriation of widescreen and Technicolor, he earned an Academy Award in 1951 for his work on the musical An American in Paris. First published in 1949, and long out of print since then, Painting With Light remains one of the few truly canonical statements on the art of motion picture photography, an unrivalled historical document on the workings of the postwar, American cinema. In simple, non-technical language, Alton explains the job of the cinematographer and explores how lighting, camera techniques, and choice of locations determine the visual mood of film.
Robert McKee’s screenwriting workshops have earned him an international reputation for inspiring novices, refining works in progress and putting major screenwriting careers back on track. Quincy Jones, Diane Keaton, Gloria Steinem, Julia Roberts, John Cleese and David Bowie are just a few of his celebrity alumni. Writers, producers, development executives and agents all flock to his lecture series, praising it as a mesmerizing and intense learning experience. In Story, McKee expands on the concepts he teaches in his $450 seminars (considered a must by industry insiders), providing readers with the most comprehensive, integrated explanation of the craft of writing for the screen.
Lavishly produced and illustrated, Cinematography covers the entire range of the profession. The book is not just a comprehensive guide to current professional practice; it goes beyond to explain the theory behind the practice, so you understand how the rules came about and when it’s appropriate to break them. In addition, directors will benefit from the book’s focus on the body of knowledge they should share with their Director of Photography. Cinematography presents the basics and beyond, employing clear explanations of standard practice together with substantial illustrations and diagrams to reveal the real world of film production. Recognizing that professionals know when to break the rules and when to abide by them, this book discusses many examples of fresh ideas and experiments in cinematography. Covering the most up-to-date information on the film/digital interface, new formats, the latest cranes and camera support and other equipment, it also illustrates the older tried and true methods.
This down-and-dirty romp through Hollywood in the 1970s introduces the young filmmakers–Coppola, Scorsese, Lucas, Spielberg, Altman, and Beatty–and recreates an era that transformed American culture forever.
Any book-length interview with Alfred Hitchcock is valuable, but considering that this volume’s interlocutor is François Truffaut, the conversation is remarkable indeed. Here is a rare opportunity to eavesdrop on two cinematic masters from very different backgrounds as they cover each of Hitch’s films in succession. Though this book was initially published in 1967 when Hitchcock was still active, Truffaut later prepared a revised edition that covered the final stages of his career. It’s difficult to think of a more informative or entertaining introduction to Hitchcock’s art, interests, and peculiar sense of humor.
This ultimate insider’s guide reveals the secrets that none dare admit, told by a show biz veteran who’s proven that you can sell your script if you can save the cat!
Complete with behind-the-scenes diary entries from the set of Vachon’s best-known fillms, Shooting to Kill offers all the satisfaction of an intimate memoir from the frontlines of independent filmmakins, from one of its most successful agent provocateurs — and survivors. Hailed by the New York Times as the “godmother to the politically committed film” and by Interview as a true “auteur producer,” Christine Vachon has made her name with such bold, controversial, and commercially successful films as “Poison,” “Swoon,” Kids,” “Safe,” “I Shot Andy Warhol,” and “Velvet Goldmine.”Over the last decade, she has become a driving force behind the most daring and strikingly original independent filmmakers-from Todd Haynes to Tom Kalin and Mary Harron-and helped put them on the map.
From one of America’s most acclaimed directors comes a book that is both a professional memoir and a definitive guide to the art, craft, and business of the motion picture. Drawing on 40 years of experience on movies ranging from Long Day’s Journey Into Night to The Verdict, Lumet explains the painstaking labor that results in two hours of screen magic.
For first time since its publication in 1984, “The Filmmaker’s Handbook” — the classic volume highlighting the techniques and technologies needed for the creation and production of movies — has been completely revised and updated. Written by filmmakers for filmmakers, this essential text now includes the latest information on digital age filmmaking, where the shifting boundaries between film, video, and computer systems have introduced a wide range of methods and equipment every filmmaker must master to be competitive.This comprehensive reference guide addresses the techniques necessary to make feature, documentary, industrial, and experimental films while detailing the possibilities and limitations of various formats. New chapters spotlight video camera and video editing, essential information for modern film students and makers who focus on video production exclusively.
According to David Mamet, a film director must, above all things, think visually. Most of this instructive and funny book is written in dialogue form and based on film classes Mamet taught at Columbia University. He encourages his students to tell their stories not with words, but through the juxtaposition of uninflected images. The best films, Mamet argues, are composed of simple shots. The great filmmaker understands that the burden of cinematic storytelling lies less in the individual shot than in the collective meaning that shots convey when they are edited together. Mamet borrows many of his ideas about directing, writing, and acting from Russian masters such as Konstantin Stanislavsky, Sergei M. Eisenstein, and Vsevelod Pudovkin, but he presents his material in so delightful and lively a fashion that he revitalizes it for the contemporary reader.
In the Blink of an Eye is celebrated film editor Walter Murch’s vivid, multifaceted, thought-provoking essay on film editing. Starting with what might be the most basic editing question – Why do cuts work? – Murch treats the reader to a wonderful ride through the aesthetics and practical concerns of cutting film. Along the way, he offers his unique insights on such subjects as continuity and discontinuity in editing, dreaming, and reality; criteria for a good cut; the blink of the eye as an emotional cue; digital editing; and much more. In this second edition, Murch reconsiders and completely revises his popular first edition’s lengthy meditation on digital editing (which accounts for a third of the book’s pages) in light of the technological changes that have taken place in the six years since its publication.
In Rebel Without a Crew, famed independent screenwriter and director Robert Rodriguez (Sin City, Sin City 2, Once Upon a Time in Mexico, Spy Kids) discloses all the unique strategies and original techniques he used to make his remarkable debut film, El Mariachi, on a shoestring budget. This is both one man’s remarkable story and an essential guide for anyone who has a celluloid story to tell and the dreams and determination to see it through. Part production diary, part how-to manual, Rodriguez unveils how he was able to make his influential first film on only a $7,000 budget.
# | Book | Author | Lists |
(Titles Appear On 2 List Each) | |||
37 | Cinematic Storytelling | Jennifer Van Sijll | DSLR Video Shooter |
Goodreads | |||
38 | Corporate Video Production: Beyond the Board Room (And OUT of the Bored Room) | Stuart Sweetow | Film Lifestyle |
EP Films | |||
39 | Documentary Storytelling: Creative Nonfiction on Screen | Sheila Curran Bernard | Film Tool Kit |
Documentary Cameras | |||
40 | Fans, Friends and Followers: Building an Audience and a Creative Career in the Digital Age | Scott Kirsner | Film Lifestyle |
Premium Beat | |||
41 | Film Art: An Introduction | David Bordwell and Kristin Thompson | Elfs Japan |
Goodreads | |||
42 | Film Craft: Editing | Justin Chang | Amy Clarke Films |
Jonny Elwyn | |||
43 | Film Directing Shot by Shot: Visualizing from Concept to Screen | Steven D. Katz | Goodreads |
How To Film School | |||
44 | From Reel to Deal: Everything You Need to Create a Successful Independent Film | Dov S-S Simens | Film Lifestyle |
Indie Film Hustle | |||
45 | How to Shoot a Feature Film for Under $10,000 | Bret Stern | NYFA |
Film Lifestyle | |||
46 | How to Shoot Video That Doesn’t Suck: Advice to Make Any Amateur Look Like a Pro | Steve Stockman | Film Tool Kit |
EP Films | |||
47 | I Lost It At the Movies | BFI | |
The Guardian | |||
48 | If It’s Purple, Someone’s Gonna Die: The Power of Color in Visual Storytelling | Patti Bellantoni | Amy Clarke Films |
Goodreads | |||
49 | Moviemakers’ Master Class: Private Lessons from the World’s Foremost Directors | Laurent Tirard | Goodreads |
Film Lifestyle | |||
50 | Notes on the Cinematographer | Robert Bresson | Goodreads |
BFI | |||
51 | Poetics | Aristotle | Lights Film School |
No Film School | |||
52 | Prater Violet | BFI | |
The Guardian | |||
53 | Produce Your Own Damn Movie | Lloyd Kaufman | Indie Film Hustle |
Film Lifestyle | |||
54 | The Complete Film Production Handbook | Eve Light Honthaner | Film Lifestyle |
EP Films | |||
55 | The Declaration of Independent Filmmaking: An Insider’s Guide to Making Movies Outside of Hollywood | Michael Polish | Indie Film Hustle |
How To Film School | |||
56 | The Hero With a Thousand Faces | Joseph Campbell | Lights Film School |
Goodreads | |||
57 | The Independent Film Producer’s Survival Guide: A Business and Legal Sourcebook | Gunnar Erickson, Mark Halloran and Harris Tulchin | Indie Film Hustle |
Film Lifestyle | |||
58 | The World Viewed | BFI | |
The Guardian | |||
59 | This Is Orson Welles | Orson Welles, Peter Bogdanovich, Jonathan Rosenbaum | Wolf Crow |
BFI | |||
60 | What They Don’t Teach You at Film School: 161 Strategies For Making Your Own Movies No Matter What | Camille Landau and Tiare White | Goodreads |
Film Lifestyle | |||
(Titles Appear On 2 List Each) | |||
61 | $30 Film School: How to Write, Direct, Produce, Shoot, Edit, Distribute, Tour With, and Sell Your Own No-Budget Digital Movie | Michael W. Dean | Film Lifestyle |
62 | 100 Ideas that Changed Film | DSLR Video Shooter | |
63 | 100 Modern Soundtracks | BFI | |
64 | 101 Things I Learned in Film School | Neil Landau | Goodreads |
65 | A Biographical Dictionary of Film | BFI | |
66 | A Discovery of Cinema | BFI | |
67 | A Life | BFI | |
68 | A Life in Movies | BFI | |
69 | A million miles in a thousand years | donald miller | Uphill Cinema |
70 | A Mirror for England: British Movies from Austerity to Affluence | BFI | |
71 | A New History of Documentary Film | Betsy A. McLane | Film Tool Kit |
72 | A Personal Journey with Martin Scorsese Through American Movies | BFI | |
73 | A Pictorial History of Horror Movies | BFI | |
74 | A Third Face: My Tale of Writing, Fighting and Filmmaking | BFI | |
75 | A World Viewed: Reflections on the Ontology of Film | BFI | |
76 | Abel Ferrara | BFI | |
77 | Acting Face to Face: The Actor’s Guide to Understanding How Your Face Communicates Emotion for TV and Film | Back Stage | |
78 | Acting for Film | Back Stage | |
79 | Acting for the Camera | Back Stage | |
80 | Acting in Film: An Actor’s Take on Movie Making | Michael Caine | Goodreads |
81 | Action! Professional Acting for Film and Television | Back Stage | |
82 | Adventures in the Lives of Others: Ethical Dilemmas in Factual Filmmaking | Documentary Cameras | |
83 | Adventures of a Suburban Boy | BFI | |
84 | Agee on Film: Reviews and Comments | BFI | |
85 | Alfred Hitchcock: A Life in Darkness and Light | Patrick Mcgilligan | Film Tool Kit |
86 | American Cinematographer Manual 10TH Edition | How To Film School | |
87 | An Amorous History of the Silver Screen: Shanghai Cinema, 1896-1937 | BFI | |
88 | An Autobiography of British Cinema | BFI | |
89 | An Illustrated History of the Horror Film | BFI | |
90 | Anne Bancroft: A Life | Huffington Post | |
91 | Anschluß an Morgen and Das tägliche Brennen | BFI | |
92 | Archival Storytelling: A Filmmaker’s Guide to Finding, Using, and Licensing Third-Party Visuals and Music | Documentary Cameras | |
93 | Asheville Movies Volume 1: The Silent Era | Huffington Post | |
94 | Atlas of Emotion: Journeys in Art, Architecture and Film | BFI | |
95 | Auditioning and Acting for the Camera | Back Stage | |
96 | Ava Gardner: A Life in Movies | Huffington Post | |
97 | Avid Uncut: Workflows, Tips and Techniques from Hollywood Pros | Steve Hullfish | Jonny Elwyn |
98 | Awake in the Dark | Roger Ebert | Cheat Sheet |
99 | Back to the Future: The Ultimate Visual History | Concept Art Empire | |
100 | Barbara La Marr: The Girl Who Was Too Beautiful for Hollywood | Huffington Post | |
101 | Beauty and the Beast: Diary of a Film | BFI | |
102 | Behind The Seen: How Walter Murch Edited Cold Mountain Using Apple Final Cut Pro and What This Means for Cinema | Charles Koppelman | Film Lifestyle |
103 | Bergman | BFI | |
104 | Brecht in Practice: Theatre | David Barnett | Elfs Japan |
105 | Cahiers du cinéma: The 1950s | BFI | |
106 | Channel 4 Guide to François Truffaut | BFI | |
107 | Cinema: A Critical Dictionary | BFI | |
108 | Circles of Confusion | BFI | |
109 | City of Nets | BFI | |
110 | Concrete Wedding Cake | John Heath | Jonny Elwyn |
111 | Confessions of a Cultist | BFI | |
112 | Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration | Ed Catmull and Amy Wallace | Film Tool Kit |
113 | Currents in Japanese Cinema | BFI | |
114 | Dark City: The Lost World of Film Noir | Eddie Muller | Cheat Sheet |
115 | David Lean: A Biography | BFI | |
116 | David Mamet On Directing Film | How To Film School | |
117 | David O. Selznick’s Hollywood | BFI | |
118 | De la figure en général et du corps en particulier: L’invention figurative au cinéma | BFI | |
119 | Deadline at Dawn | BFI | |
120 | Deadline at Dawn: Film Criticism | BFI | |
121 | Dealmaking in the Film & Television Industry: From Negotiations to Final Contracts | Mark Litwak | Film Lifestyle |
122 | Death 24x a Second | The Guardian | |
123 | Decreation | BFI | |
124 | Der lachende Mann: Bekenntnisse eines Mörders | BFI | |
125 | Devant la recrudescence des vols de sac à main, cinéma, télévision, information | BFI | |
126 | Dictionary of Films | BFI | |
127 | Dictionnaire du cinéma | BFI | |
128 | Directing the Documentary | Documentary Cameras | |
129 | Dirk Bogarde: The Authorised Biography | BFI | |
130 | Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Film | Peter Biskind | No Film School |
131 | Dream Repairman | Jim Clark | Jonny Elwyn |
132 | Durgnat on Film | BFI | |
133 | Each Man in His Time: The Life Story of a Director | BFI | |
134 | Ealing Studios | BFI | |
135 | Either You’re in or You’re in the Way: Two Brothers, Twelve Months, and One Filmmaking Hell-Ride to Keep a Promise to Their Father | Logan and Noah Miller | Film Lifestyle |
136 | Enciclopédia do Cinema Brasileiro | BFI | |
137 | Entirely Up to You, Darling | Richard Attenborough | Wolf Crow |
138 | Eric Rohmer | BFI | |
139 | Essais sur la signification au cinéma | BFI | |
140 | Essential Deren: Collected Writings on Film | BFI | |
141 | Farber on Film: The Complete Film Writings of Manny Farber | BFI | |
142 | Fassbinder’s Germany | BFI | |
143 | Film | BFI | |
144 | Film as a Subversive Art | BFI | |
145 | Film at Wit’s End: Essays on American Independent Film-makers | BFI | |
146 | Film Directing: Cinematic Motion | Steven D. Katz | Goodreads |
147 | Film Form | BFI | |
148 | Film History: An Introduction | Pond 5 | |
149 | Film Journal | BFI | |
150 | Film Lighting: Talks With Hollywood’s Cinematographers and Gaffers | How To Film School | |
151 | Film Production Management 101-2nd edition: Management & Coordination in a Digital Age | How To Film School | |
152 | Film Production Techniques | Premium Beat | |
153 | Film Style and Technology: History and Analysis | BFI | |
154 | Film Theory and Criticism: Introductory Readings | Leo Braudy and Marshall Cohen | Elfs Japan |
155 | Film World: The Director’s Interviews | Michel Ciment | Elfs Japan |
156 | Film: A Montage of Theories Edited | BFI | |
157 | Film: A Sound Art | BFI | |
158 | FilmCraft: Directing | How To Film School | |
159 | Filmmaking for Change: Make Films That Transform the World | Documentary Cameras | |
160 | Filmmaking For Dummies | Film Shortage | |
161 | Films and Feelings | BFI | |
162 | Final Cut | BFI | |
163 | Final Cut Pro X: Pro Workflow | Mike Matzdorff | Jonny Elwyn |
164 | Flicker | BFI | |
165 | For Keeps | Pauline Kael | Cheat Sheet |
166 | From Caligari to Hitler: A Psychological History of the German Film | BFI | |
167 | Fun in a Chinese Laundry | BFI | |
168 | Getting it Done: The Ultimate Production Assistant Guide | How To Film School | |
169 | Ghostbusters: The Ultimate Visual History | Concept Art Empire | |
170 | Godard au travail: Les années 60 | BFI | |
171 | Godard on Godard | BFI | |
172 | Godzilla – The Art of Destruction | Concept Art Empire | |
173 | Guardians of the Galaxy Vol. 2 | Concept Art Empire | |
174 | Guillermo del Toro Cabinet of Curiosities: My Notebooks, Collections, and Other Obsessions | Guillermo del Toro | Film Lifestyle |
175 | He’s Got Rhythm: The Life and Career of Gene Kelly | Huffington Post | |
176 | Heavenly Bodies: Film Stars and Society | BFI | |
177 | Heavenly Bodies: Stars and Society | BFI | |
178 | Hello, He Lied | Lynda Obst | Bustle |
179 | Herzog on Herzog | Paul Cronin | Goodreads |
180 | Histoire du cinéma Naz | BFI | |
181 | Histoire économique du cinéma | BFI | |
182 | Hitchcock’s Films | BFI | |
183 | Hollywood Babylon | BFI | |
184 | Hollywood’s Pre-Code Horrors 1931-1934 | Huffington Post | |
185 | Horizons West: Studies in Authorship in the Western | BFI | |
186 | How Not to Make a Short Film: Secrets from a Sundance Programmer | Film Shortage | |
187 | How to Book Acting Jobs in TV and Film: The Truth About the Acting Industry- Conversations With a Veteran Hollywood Casting Director | Back Stage | |
188 | How to Make a Movie in 10 Easy Lessons: Learn how to write, direct, and edit your own film without a Hollywood budget (Super Skills) | Film Shortage | |
189 | Howard Hawks: The Grey Fox of Hollywood | BFI | |
190 | Illuminations | BFI | |
191 | Im/Off: Filmartikel | BFI | |
192 | Indecent Exposure | BFI | |
193 | Independent Feature Film Production: A Complete Guide from Concept Through Distribution | Gregory Goodell | Film Lifestyle |
194 | Independent Film Producing: How to Produce a Low-Budget Feature Film on Amazon | How To Film School | |
195 | Indie Film Producing: The Craft of Low Budget Filmmaking | Indie Film Hustle | |
196 | Ingmar Bergman | BFI | |
197 | John Ford hors-série | BFI | |
198 | John Ford: The Man and His Films | BFI | |
199 | Joseph Losey: A Revenge on Life | BFI | |
200 | Kantuko Ozu Yasujiro | BFI | |
201 | Katharine Hepburn: Star as Feminist | BFI | |
202 | King Cohn: The Life and Times of Harry Cohn | BFI | |
203 | King Vidor, American | BFI | |
204 | Kings of the Bs: Working Within the Hollywood System | BFI | |
205 | Kino: A History of the Russian and Soviet Cinema | BFI | |
206 | Kiss Kiss Bang Bang | BFI | |
207 | Kubrick | Michael Herr | Elfs Japan |
208 | L’Imaginaire | BFI | |
209 | La Maison et le monde | BFI | |
210 | Leo McCarey: sonrisas y lágrimas | BFI | |
211 | Let’s Go to the Pictures | BFI | |
212 | Letters | BFI | |
213 | Lighting for Cinematography: A Practical Guide to the Art and Craft of Lighting for the Moving Image | David Landau | Film Tool Kit |
214 | Lignes d’ombre: une autre histoire du cinéma soviétique (1926-1968) | BFI | |
215 | Looking Away: Hollywood and Vietnam | BFI | |
216 | Louise Brooks | BFI | |
217 | Lulu in Hollywood | BFI | |
218 | Madame Depardieu and the Beautiful Strangers | BFI | |
219 | Magic and Myth of the Movies | BFI | |
220 | Make the Cut: A Guide to Becoming a Successful Assistant Editor in Film and TV | Lori Coleman, Diana Friedberg | Film Tool Kit |
221 | Making a Good Script Great | Linda Seger | Goodreads |
222 | Mamoulian | BFI | |
223 | Marvel’s Doctor Strange: The Art of the Movie | Concept Art Empire | |
224 | Mauritz Stiller och hans filmer 1912-1916 | BFI | |
225 | Me and Earl and the Dying Girl | Jesse Andrews | Goodreads |
226 | Melville on Melville | BFI | |
227 | Memoirs of the Beijing Film Academy | BFI | |
228 | Method | BFI | |
229 | MGM’s Greatest Musicals: The Arthur Freed Unit | BFI | |
230 | Michael Curtiz: A Life in Film | Huffington Post | |
231 | Mikio Naruse | BFI | |
232 | Mondo Macabro: Weird & Wonderful Cinema around the World | BFI | |
233 | More Than Night: Film Noir in Its Contexts | BFI | |
234 | Motion Picture and Video Lighting on Amazon | How To Film School | |
235 | My Autobiography | Charles Chaplin | Wolf Crow |
236 | My First Movie: Twenty Celebrated Directors Talk about Their First Film | Stephen Lowenstein | Film Lifestyle |
237 | My Last Breath | BFI | |
238 | My Last Sigh | The Guardian | |
239 | My Life and My Films | BFI | |
240 | My Mother Was Nuts | Penny Marshall | Film Tool Kit |
241 | Negative Space: Manny Farber on the Movies | BFI | |
242 | Nightmare USA: The Untold Story of the Exploitation Independents | BFI | |
243 | Notes on Cinematography | The Guardian | |
244 | Notes on Directing: 130 Lessons in Leadership from the Director’s Chair | How To Film School | |
245 | Notes: On the Making of Apocalypse Now! | BFI | |
246 | Nouvelle Vague, The First Decade | BFI | |
247 | On Film Editing | Edward Dmytryk | Goodreads |
248 | On the History of Film Style | BFI | |
249 | Out of the Past: Spanish Cinema After Franco | BFI | |
250 | Outliers: The Story of Success | How To Film School | |
251 | Paramount: City of Dreams | Huffington Post | |
252 | Personal Views: Explorations in Film | BFI | |
253 | Phantom Empire | BFI | |
254 | Picture | BFI | |
255 | Pictures at a Revolution | Mark Harris | Cheat Sheet |
256 | Pinocchio: The Making of the Disney Epic | Concept Art Empire | |
257 | Placing Movies: The Practice of Film Criticism | BFI | |
258 | Playing to the Camera: Film Actors Discuss Their Craft | Back Stage | |
259 | Poetics of Cinema | BFI | |
260 | Poétique du cinématographe | BFI | |
261 | Postcards from the Cinema | BFI | |
262 | Preston Sturges by Preston Sturges: His Life in His Words | BFI | |
263 | Producer to Producer: A Step-By-Step Guide to Low Budgets Independent Film Producing | How To Film School | |
264 | Projections: The Director’s Cut | John Boorman and Walter Donohue | Elfs Japan |
265 | Prometheus: The Art of the Film | Concept Art Empire | |
266 | Purity and Provocation: Dogme ’95 | Mette Hjort and Scott Mackenzie | Elfs Japan |
267 | Pursuits of Happiness: The Hollywood Comedy of Remarriage | BFI | |
268 | Qu’est-ce que le cinéma? (What is Cinema?) | BFI | |
269 | Quay Brothers Dictionary | BFI | |
270 | Queer Edward II (annotated screenplay) | BFI | |
271 | Rebels on the Backlot | Sharon Waxman | Cheat Sheet |
272 | Reclaiming Fair Use: How to Put Balance Back in Copyright | Documentary Cameras | |
273 | Red Cars | BFI | |
274 | Reeling | BFI | |
275 | Reeling By Pauline Kael | BFI | |
276 | Refocus: Cutting-Edge Strategies to Evolve Your Video Business | Ron Dawson & Tasra Dawson | Film Lifestyle |
277 | Rivette: Texts and Interviews | BFI | |
278 | Romantic Comedy in Hollywood: From Lubitsch to Sturges | BFI | |
279 | Rosebud: The Story of Orson Welles | BFI | |
280 | Running the Show: The Essential Guide to Being a First Assistant Director on Amazon | How To Film School | |
281 | Save the Cat! Goes to the Movies: The Screenwriter’s Guide to Every Story Ever Told | Blake Snyder | Goodreads |
282 | Scheduling and Budgeting Your Film: A Panic-Free Guide | How To Film School | |
283 | Science Fiction Movies | BFI | |
284 | Selling Your Film Without Selling Your Soul | The Film Collaborative, Jon Reiss, and Sheri Candler | No Film School |
285 | Set Lighting Technician’s Handbook: Film Lighting Equipment, Practice, and Electrical Distribution | Harry Box | Film Tool Kit |
286 | Setting Up Your Shots: Great Camera Moves Every Filmmaker Should Know | Jeremy Vineyard | Goodreads |
287 | Sex In the Cinema: The Pre-Code Years (1929-1934) | Huffington Post | |
288 | Shooting Time – Conversations with Cinematographers | Richard van Oosterhout, et al. | Elfs Japan |
289 | Shot by Shot; A Practical Guide to Filmmaking | John Cantine, Susan Howard, and Brady Lewis | Film Lifestyle |
290 | Signs and Meaning in the Cinema | BFI | |
291 | Silent Films in St. Augustine | Huffington Post | |
292 | Single-Camera Video Production | EP Films | |
293 | Sirk on Sirk: Interviews with Jon Halliday | BFI | |
294 | Slapstick Divas: The Women of Silent Comedy | Huffington Post | |
295 | Something to Do with Death | Christopher Frayling | Wolf Crow |
296 | Soshun: Früher Frühling von Ozu Yasujiro | BFI | |
297 | Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema | David Sonnenschein | Film Tool Kit |
298 | Speaking of Films | Satyajit Ray | Wolf Crow |
299 | Spellbound in Darkness | BFI | |
300 | Spider-Man: Homecoming Art Book | Concept Art Empire | |
301 | Spike Lee’s Gotta Have It | Spike Lee | Wolf Crow |
302 | Stargazer: The Life, World and Films of Andy Warhol | BFI | |
303 | Storaro: Writing with Light | Vittorio Storaro | Elfs Japan |
304 | Subtitles: On the Foreignness of Film | BFI | |
305 | Sul cinema By Roland Barthes | BFI | |
306 | Suspects | BFI | |
307 | The ‘I’ of the Camera: Essays in Film Criticism, History, and Aesthetics | BFI | |
308 | The 100 Most Frequently Asked Questions about Screenwriting | Stuart Friedel and Godwin Jabangwe | Elfs Japan |
309 | The Aesthetics and Psychology of the Cinema | BFI | |
310 | The American Cinema | BFI | |
311 | The American Cinema: Directors and Directions 1929-1968 | BFI | |
312 | The Anatomy of Story: 22 Steps to Becoming a Master Storyteller | John Truby | Goodreads |
313 | The Art and Making of Alien: Covenant | Concept Art Empire | |
314 | The Art of Captain Underpants The First Epic Movie | Concept Art Empire | |
315 | The Art of Dramatic Writing: Its Basis in the Creative Interpretation of Human Motives | Lajos Egri | Goodreads |
316 | The Art of Ghost in the Shell | Concept Art Empire | |
317 | The Art of Kong: Skull Island | Concept Art Empire | |
318 | The Art of Oz The Great and Powerful | Concept Art Empire | |
319 | The Art of Pirates of the Caribbean | Concept Art Empire | |
320 | The Art of Star Wars: The Force Awakens | Concept Art Empire | |
321 | The Art of The Boss Baby | Concept Art Empire | |
322 | The Aurum Film Encyclopedia | BFI | |
323 | The Avant-Garde Finds Andy Hardy | BFI | |
324 | The Brechtian Aspect of Radical Cinema | BFI | |
325 | The British Film Catalogue, 1895-1970 | BFI | |
326 | The Camera and I | BFI | |
327 | The Cinema Book | BFI | |
328 | The Cinematograph in Science, Education and Matters of State | BFI | |
329 | The Color Correction Handbook: Professional Techniques for Video and Cinema | Alexis Van Hurkman | Film Lifestyle |
330 | The Complete Making of Indiana Jones | Concept Art Empire | |
331 | The Conversations: Walter Murch and the Art of Editing Film | Michael Ondaatje | Goodreads |
332 | The Deer Park | BFI | |
333 | The Devil’s Candy: The Bonfire of the Vanities Goes to Hollywood | BFI | |
334 | The Digital Filmmaking Handbook, 5th Edition | Film Shortage | |
335 | The Disaster Artist: My Life Inside The Room, the Greatest Bad Movie Ever Made | Greg Sestero | Goodreads |
336 | The DSLR Cinematography Guide | No Film School | |
337 | The Eight Characters of Comedy: Guide to Sitcom Acting and Writing | Back Stage | |
338 | The Encyclopaedia of Indian Cinema | BFI | |
339 | The Film Director’s Intuition: Script Analysis and Rehearsal Techniques | Judith Weston | Goodreads |
340 | The Film Encylopedia | BFI | |
341 | The FilmCraft series | Focal Press | Elfs Japan |
342 | The Filmmaker’s Handbook: A Comprehensive Guide for the Digital Age | Steven Ascher | Goodreads |
343 | The Filmmaker’s Eye: The Language of the Lens: The Power of Lenses and the Expressive Cinematic Image | How To Film School | |
344 | The Films in My Life | BFI | |
345 | The Fred Astaire and Ginger Rogers Book | The Guardian | |
346 | The Genius of the System: Hollywood Filmmaking in the Studio Era | BFI | |
347 | The Grip Book: The Studio Grip’s Essential Guide | How To Film School | |
348 | The Haunted Screen | BFI | |
349 | The History of World Cinema | BFI | |
350 | The Hollywood Hallucination | BFI | |
351 | The Imperial Screen: Japanese Film Culture in the Fifteen Years’ War, 1931-45 | BFI | |
352 | The Invention of Morel | BFI | |
353 | The Japanese Film: Art and Industry | BFI | |
354 | The Last Tycoon | BFI | |
355 | The LEGO Batman Movie Art Book | Concept Art Empire | |
356 | The Location Sound Bible: How to Record Professional Dialog for Film and TV | Ric Viers | Film Tool Kit |
357 | The Magnificent Heel: The Life and Films of Ricardo Cortez | Huffington Post | |
358 | The Making of Citizen Kane | BFI | |
359 | The Man Who Made the Movies: The Meteoric Rise and Tragic Fall of William Fox | Huffington Post | |
360 | The Material Ghost: Films and Their Medium | BFI | |
361 | The Memory of Tiresias: Intertextuality and Film | BFI | |
362 | The Movie Art of Syd Mead: Visual Futurist | Concept Art Empire | |
363 | The Movie Business: The Definitive Guide to the Legal and Financial Secrets of Getting Your Movie Made | Kelly Crabb | Film Lifestyle |
364 | The Name above the Title | Frank Capra | Wolf Crow |
365 | The Name of this Book is Dogme95 | Richard Kelly | No Film School |
366 | The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette | BFI | |
367 | The Parade’s Gone By | BFI | |
368 | The Pat Hobby Storie | BFI | |
369 | The Phantom Empire | BFI | |
370 | The Pleasure Dome | BFI | |
371 | The Production Assistant’s Pocket Handbook | How To Film School | |
372 | The Republic | BFI | |
373 | The Resistance: Ten Years of Pop Culture That Shook the World | BFI | |
374 | The Science of On-Camera Acting | Back Stage | |
375 | The Screenwriter’s Workbook | Syd Field | Goodreads |
376 | The Shadow of an Airplane Climbs the Empire State Building | BFI | |
377 | The Social Media Bible | Premium Beat | |
378 | The Society of the Spectacle | BFI | |
379 | The Sound Effects Bible: How to Create and Record Hollywood Style Sound Effects | Ric Viers | Film Tool Kit |
380 | The Story of Film | Mark Cousins | Film Lifestyle |
381 | THE STORYTELLING ANIMAL | JONATHAN GOTTSCHALL | Uphill Cinema |
382 | The Studio | BFI | |
383 | The Videomaker Guide to Video Production | EP Films | |
384 | The Visual Story: Creating the Visual Structure of Film, TV and Digital Media | Bruce Block | Goodreads |
385 | The War of Art | Steven Pressfield | Lights Film School |
386 | The Wizard of Oz | The Guardian | |
387 | Theory of Film Practice | BFI | |
388 | Think Outside the Box Office | Jon Reiss | Film Lifestyle |
389 | This Much is True: 14 Directors on Documentary Filmmaking | James Quinn | Film Tool Kit |
390 | Too Marvelous for Words: The Life and Career of Ruby Keeler | Huffington Post | |
391 | Transcendental Style in Film: Ozu, Bressson, Dreyer | Paul Schrader | Cheat Sheet |
392 | True Fiction Pictures & Possible Films | Hal Hartley | No Film School |
393 | Typical Men: The Representation of Masculinity in British Cinema | BFI | |
394 | Ultimate Film Festival Survival Guide | Chris Gore | Film Lifestyle |
395 | Video Production Handbook | EP Films | |
396 | Video Production: Disciplines and Techniques | EP Films | |
397 | Video Shooter: Mastering Storytelling Techniques | EP Films | |
398 | Visionary Film | BFI | |
399 | Viv(r)e le cinéma | BFI | |
400 | Vulgar Modernism | BFI | |
401 | Wanderer | BFI | |
402 | Werner Herzog: A Guide for the Perplexed | Paul Cronin | Film Lifestyle |
403 | When the Moon Waxes Red: Representation, Gender and Cultural Politics | BFI | |
404 | Which Lie Did I Tell?: More Adventures in the Screen Trade | William Goldman | Goodreads |
405 | World War Z: The Art of the Film | Concept Art Empire | |
406 | Writing Movies for Fun and Profit: How We Made a Billion Dollars at the Box Office and You Can, Too! | Robert Ben Garant | Goodreads |
407 | Your Movie Sucks | Pond 5 | |
408 | Your Screenplay Sucks!: 100 Ways to Make It Great | William M. Akers | Goodreads |
409 | Zur Kritik des Politischen Films: 6 analysierende Beschreibungen und ein Vorwort “Über Filmkritik” | BFI |
Source | Article |
Amy Clarke Films | 5 Great books for Filmmakers 2018 Book Reviews — Amy Clarke Films |
Back Stage | 11 Amazing Books for the On-Camera Actor | Backstage |
BFI | The best film books, by 51 critics | Sight & Sound | BFI |
Bustle | 10 Books Every Aspiring Filmmaker Should Read – Bustle |
Cheat Sheet | The 8 Best Books for Film History Buffs – The Cheat Sheet |
Concept Art Empire | 20 Best Movie & Film Concept Art Books – Concept Art Empire |
Documentary Cameras | List: Top Books About Documentary Filmmaking – Documentary Film … |
DSLR Video Shooter | 5 Film Books You Should Have on Your Coffee Table |
Elfs Japan | Film Books Every Filmmaker Should Read – ELFS Japan |
EP Films | Top 10 Film Production Books for Professional Filming – Epfilms.tv |
Film Lifestyle | 57 Filmmaking Books You Need To Read • Filmmaking Lifestyle |
Film Shortage | 8 Filmmaking Books any Filmmaker Should Own – Film Shortage |
Film Tool Kit | Best Books On Filmmaking – The Ultimate List – FilmToolKit |
Goodreads | Popular Filmmaking Books – Goodreads |
How To Film School | The Best Filmmaking Books Ever Written – How to Film School |
Huffington Post | Best Film Books of 2017 | HuffPost |
Indie Film Hustle | Filmmaking Books You Need to Read – Top Ten List – IFH |
Jonny Elwyn | 5 Books on The Craft of Film Editing | Jonny Elwyn – Film Editor |
Lights Film School | 10 Best Books on Filmmaking for Beginners | Lights Film School |
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NYFA | 7 Essential Books on Filmmaking and Directing |
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The Guardian | Word and image: my top 10 books on film | Books | The Guardian |
Uphill Cinema | 3 Books Every Filmmaker & Storyteller Must Read — UpHill Cinema |
Wolf Crow | 13 Books for Directors, by Directors – Wolfcrow |
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