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Talking Pictures: How to Watch Movies
A veteran film critic offers a lively, opinionated guide to thinking and talking about movies -- from Casablanca to Clueless
Whether we are trying to impress a date after an art house film screening or discussing Oscar nominations among friends, we all need ways to look at and talk about movies. But with so much variety between an Alfred Hitchcock thriller and a Nora Ephron romantic comedy, how can everyday viewers determine what makes a good movie?
In Talking Pictures , veteran film critic Ann Hornaday walks us through the production of a typical movie -- from script and casting to final sound edit -- and explains how to evaluate each piece of the process. How do we know if a film has been well-written, above and beyond snappy dialogue? What constitutes a great screen performance? What goes into praiseworthy cinematography, editing, and sound design? And what does a director really do? In a new epilogue, Hornaday addresses important questions of representation in film and the industry and how this can, and should, effect a movie-watching experience. Full of engaging anecdotes and interviews with actors and filmmakers, Talking Pictures will help us see movies in a whole new light-not just as fans, but as film critics in our own right.
Whether we are trying to impress a date after an art house film screening or discussing Oscar nominations among friends, we all need ways to look at and talk about movies. But with so much variety between an Alfred Hitchcock thriller and a Nora Ephron romantic comedy, how can everyday viewers determine what makes a good movie?
In Talking Pictures , veteran film critic Ann Hornaday walks us through the production of a typical movie -- from script and casting to final sound edit -- and explains how to evaluate each piece of the process. How do we know if a film has been well-written, above and beyond snappy dialogue? What constitutes a great screen performance? What goes into praiseworthy cinematography, editing, and sound design? And what does a director really do? In a new epilogue, Hornaday addresses important questions of representation in film and the industry and how this can, and should, effect a movie-watching experience. Full of engaging anecdotes and interviews with actors and filmmakers, Talking Pictures will help us see movies in a whole new light-not just as fans, but as film critics in our own right.
320 pages, Paperback
Published November 6, 2018
157 people are currently reading
1339 people want to read
About the author
Ann Hornaday
4 books4 followersAnn Hornaday is an American film critic. She has been film critic at The Washington Post since 2002 and is the author of Talking Pictures: How to Watch Movies. In 2008, she was a finalist for the Pulitzer Prize for Criticism.
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Displaying 1 - 30 of 101 reviews
June 29, 2017
A couple months ago, I found myself waiting in line to return something at a major big box store. The man in front of me turned around, looked at me with clear, ice-blue eyes, and said, "You like Pulp Fiction?"
I looked down at my shirt, a faded image of Uma Thurman from the iconic film poster across my torso. "I've seen it," I said. "And the shirt was on clearance." Pulp Fiction was my favorite movie when I was twelve, but I didn't feel the need to share that.
"I love movies," the lean, dreamy-eyed man in front of me said as he fiddled with the thick blue work gloves on his hands. "A lot of people like Pulp Fiction. It's a lot of people's favorite."
"I used to love it. But I don't care for Tarantino anymore."
"My favorite movie is Terminator 2. They don't make movies like that anymore." He took off one glove, scratched his (normal-looking) hand, and put it back on.
As we talked, basically all he could say about T2: Judgement Day was that it was "good" without articulating why. I wondered: does he try to talk about movies with any random stranger? Maybe he's the most movie-knowledgable person in his friend group and excited to find someone else who likes movies? Will he marry me? Why is wearing thick work gloves inside during summer?
I later saw him at the grocery store, and he was wearing gloves there, too.
If I see him again, I'm not daring enough to ask him why he wears gloves (or if he'll marry me) but I will recommend this book, Talking Pictures.
Talking Pictures is a valuable resource for anyone who wants to talk about movies on a deeper level than "it was good/bad/fun/boring." Washington Post film critic Ann Hornaday details all the moving parts that go into moving pictures, from screenwriting to editing to sound mixing to directing, and what they need to do right to make a film transcend being a 90-minute diversion to a masterful timeless work of art.
Around the time I was falling into the gloved one's bottomless blue eyes, I went to see A Quiet Passion, a film about Emily Dickinson written and directed by Terence Davies.
I did not like it.
Characters are introduced, disappear for most of the film, the reappear only a) to die or b) to have just died. Scenes that should be longer are cut short while other scenes drag on. After coming down with an illness, Emily spasms for what feels like eternity. What does that tell us, the viewer, other than Cynthia Nixon is really good at spasming?
From reading Talking Pictures, I learned that these scenes tell us the film is poorly edited. A sharper cut could have made the movie more engaging. Nixon was wonderful, as was Jennifer Ehle. An unknown actress over-acted all her parts, as if she were on stage instead of in a film, but the director also let her do it so...
Back to the book, your mileage may vary depending on your knowledge of the cinematic machine. My ignorance is broader when it comes to editing and music than, say, writing or cinematography. Hornaday delivers example after example after example, so a lot of the book is skimmable once you grasp her point.
It helped that Hornaday and I share simliar taste in films. Although, she criticizes directors who tell too much by crafting scenes that leave little to the imagine, yet she praises Aaron Sorkin on what feels like every other page. She also reminds readers that an actor who is bad in a movie is often the fault of the director for either miscasting the performer or not getting the performance out of them, let in one instance she criticizes Elizabeth Berkley's performance in Showgirls. Verhoeven himself is on the record saying, "If somebody has to be blamed, it should be me because I thought that it was interesting to portray somebody like that. [...] I asked Elizabeth to do all that — to be abrupt and to act in that way, but people have been attacking her about for that ever since." [Source: http://www.nydailynews.com/entertainm...]
Aside from these minor differences of taste, I found Hornaday's book immensely educational and readable. She gives viewers questions to ask themselves as they watch a movie -- "Did the story 'want' to be a movie?" or "Where was the camera and why was it there?" She also offers recommended viewing suggestions, classic and modern. This book is a must-read for anyone who wants to do on Letterboxd what they do on Goodreads.
I looked down at my shirt, a faded image of Uma Thurman from the iconic film poster across my torso. "I've seen it," I said. "And the shirt was on clearance." Pulp Fiction was my favorite movie when I was twelve, but I didn't feel the need to share that.
"I love movies," the lean, dreamy-eyed man in front of me said as he fiddled with the thick blue work gloves on his hands. "A lot of people like Pulp Fiction. It's a lot of people's favorite."
"I used to love it. But I don't care for Tarantino anymore."
"My favorite movie is Terminator 2. They don't make movies like that anymore." He took off one glove, scratched his (normal-looking) hand, and put it back on.
As we talked, basically all he could say about T2: Judgement Day was that it was "good" without articulating why. I wondered: does he try to talk about movies with any random stranger? Maybe he's the most movie-knowledgable person in his friend group and excited to find someone else who likes movies? Will he marry me? Why is wearing thick work gloves inside during summer?
I later saw him at the grocery store, and he was wearing gloves there, too.
If I see him again, I'm not daring enough to ask him why he wears gloves (or if he'll marry me) but I will recommend this book, Talking Pictures.
Talking Pictures is a valuable resource for anyone who wants to talk about movies on a deeper level than "it was good/bad/fun/boring." Washington Post film critic Ann Hornaday details all the moving parts that go into moving pictures, from screenwriting to editing to sound mixing to directing, and what they need to do right to make a film transcend being a 90-minute diversion to a masterful timeless work of art.
Around the time I was falling into the gloved one's bottomless blue eyes, I went to see A Quiet Passion, a film about Emily Dickinson written and directed by Terence Davies.
I did not like it.
Characters are introduced, disappear for most of the film, the reappear only a) to die or b) to have just died. Scenes that should be longer are cut short while other scenes drag on. After coming down with an illness, Emily spasms for what feels like eternity. What does that tell us, the viewer, other than Cynthia Nixon is really good at spasming?
From reading Talking Pictures, I learned that these scenes tell us the film is poorly edited. A sharper cut could have made the movie more engaging. Nixon was wonderful, as was Jennifer Ehle. An unknown actress over-acted all her parts, as if she were on stage instead of in a film, but the director also let her do it so...
Back to the book, your mileage may vary depending on your knowledge of the cinematic machine. My ignorance is broader when it comes to editing and music than, say, writing or cinematography. Hornaday delivers example after example after example, so a lot of the book is skimmable once you grasp her point.
It helped that Hornaday and I share simliar taste in films. Although, she criticizes directors who tell too much by crafting scenes that leave little to the imagine, yet she praises Aaron Sorkin on what feels like every other page. She also reminds readers that an actor who is bad in a movie is often the fault of the director for either miscasting the performer or not getting the performance out of them, let in one instance she criticizes Elizabeth Berkley's performance in Showgirls. Verhoeven himself is on the record saying, "If somebody has to be blamed, it should be me because I thought that it was interesting to portray somebody like that. [...] I asked Elizabeth to do all that — to be abrupt and to act in that way, but people have been attacking her about for that ever since." [Source: http://www.nydailynews.com/entertainm...]
Aside from these minor differences of taste, I found Hornaday's book immensely educational and readable. She gives viewers questions to ask themselves as they watch a movie -- "Did the story 'want' to be a movie?" or "Where was the camera and why was it there?" She also offers recommended viewing suggestions, classic and modern. This book is a must-read for anyone who wants to do on Letterboxd what they do on Goodreads.
November 6, 2019
I've been a big fan of Ann Hornaday's movie reviews in the Washington Post for decades and generally trust them while selecting which movies I want to see at the cinema. She goes into a lot detail about how movies get made. Some sections were more interesting like the editing of movies. The pace is lively and I feel as if I know a lot more about movies after reading it.
May 26, 2020
Ann Hornaday’s Talking Pictures is a fabulous book about how to appreciate movies. She is an American film critic at The Washington Post. The book is filled with numerous insights from Hornaday’s interviews with filmmakers and actors, and from her own perceptive and reviews about the movies she has seen. She walks us through the production of an entire movie – from script and casting to final editing – and explains how to evaluate each piece of the whole process.
The book is divided into seven chapters. Each portion is seen as a building block of a film: The Screenplay, Acting, Production Design, Cinematography, Editing, Sound and Music, and Directing. She explains how so many small and big choices made behind the scenes create the ultimate immersive experience. According to her a well-made movie will teach you how to watch it. “Bad movies are about characters. Great movies are about people.” “I hate plots. I love stories.” "The best movies, the ones 'worth doing,' exist in that middle ground where audiences are invited to grapple with tough questions, reflect on their own most cherished ideals, experience the world from another point of view, and perhaps experience the singular joy that comes from authentic human connection."
The book is divided into seven chapters. Each portion is seen as a building block of a film: The Screenplay, Acting, Production Design, Cinematography, Editing, Sound and Music, and Directing. She explains how so many small and big choices made behind the scenes create the ultimate immersive experience. According to her a well-made movie will teach you how to watch it. “Bad movies are about characters. Great movies are about people.” “I hate plots. I love stories.” "The best movies, the ones 'worth doing,' exist in that middle ground where audiences are invited to grapple with tough questions, reflect on their own most cherished ideals, experience the world from another point of view, and perhaps experience the singular joy that comes from authentic human connection."
April 6, 2019
very easy to read and references movies even non movie-people have seen or heard of.
for someone who doesn't know anything about movies, i appreciated that it felt more like "heres a vocabulary for talking about why you might have liked / not liked that" rather than "youre wrong , smart people value this not that."
guiding questions: what was the artist trying to achieve? did they achieve it? was it worth doing?
movies it made me appreciate more: children of men, pans labrynth, the hurth locker, the social network
movies it made me more skeptical of: the gangs of new york, the revenant, american hustle, amores perros
movies i need to see: do the right thing, the visitor, boogie nights, michael clayton, and on and on
for someone who doesn't know anything about movies, i appreciated that it felt more like "heres a vocabulary for talking about why you might have liked / not liked that" rather than "youre wrong , smart people value this not that."
guiding questions: what was the artist trying to achieve? did they achieve it? was it worth doing?
movies it made me appreciate more: children of men, pans labrynth, the hurth locker, the social network
movies it made me more skeptical of: the gangs of new york, the revenant, american hustle, amores perros
movies i need to see: do the right thing, the visitor, boogie nights, michael clayton, and on and on
July 3, 2019
🍿🍿🍿🍿🍿
Early in my career I reviewed films as a freelancer. So was thrilled to find veteran movie critic Ann Hornaday’s TALKING PICTURES: HOW TO WATCH MOVIES on NetGalley. Loved her intro, where she describes not being a film fan, but finding her way to the critic’s seat anyway.
For me, it was the opposite ... I ADORED movies and still do. Left to babysit my brother, I had the riches of Saturday Night at the Movies. One night Kev and I watched “Niagara” as Marilyn Monroe and Joseph Cotten sped toward the falls in a dinghy. We both screamed at the screen, “Jump,” while Cotten retorted over the roar, “We can’t. We’ll be torn apart by the rocks.” Hooked from that moment on!
Ann, by contrast, came circuitously to the job ... a fascinating trip which included a stint as Gloria Steinem’s P. A. She describes writing her first official film review, terror stricken, knowing she loved the flick but couldn’t fathom how best to say why. Then she recalled advice from TV critic David Friedman, who riffed off Goethe when he told her to ponder three questions, “What was the artist trying to achieve? Did they achieve it? And was it worth doing?”
Ann survived that moment of terror to go on to bigger gigs, eventually making her way to the elevated realms of The Washington Post, where her reviews are revered.
In TALKING PICTURES, she shares her wisdom by taking readers through the production of a typical movie--from script and casting to final sound edit--and explains how to evaluate each phase. She instructs on screenwriting, performances, cinematography, editing, and sound design. She also includes engaging anecdotes and interviews with actors and filmmakers ... all designed to shape us into movie critics in our own right. A highly recommended trip for every lover of flicks! 5/5
Pub Date 06 Nov 2018
Thanks to Perseus Books, Basic Books and NetGalley for the review copy. Opinions are fully mine.
#TalkingPictures #NetGalley
Early in my career I reviewed films as a freelancer. So was thrilled to find veteran movie critic Ann Hornaday’s TALKING PICTURES: HOW TO WATCH MOVIES on NetGalley. Loved her intro, where she describes not being a film fan, but finding her way to the critic’s seat anyway.
For me, it was the opposite ... I ADORED movies and still do. Left to babysit my brother, I had the riches of Saturday Night at the Movies. One night Kev and I watched “Niagara” as Marilyn Monroe and Joseph Cotten sped toward the falls in a dinghy. We both screamed at the screen, “Jump,” while Cotten retorted over the roar, “We can’t. We’ll be torn apart by the rocks.” Hooked from that moment on!
Ann, by contrast, came circuitously to the job ... a fascinating trip which included a stint as Gloria Steinem’s P. A. She describes writing her first official film review, terror stricken, knowing she loved the flick but couldn’t fathom how best to say why. Then she recalled advice from TV critic David Friedman, who riffed off Goethe when he told her to ponder three questions, “What was the artist trying to achieve? Did they achieve it? And was it worth doing?”
Ann survived that moment of terror to go on to bigger gigs, eventually making her way to the elevated realms of The Washington Post, where her reviews are revered.
In TALKING PICTURES, she shares her wisdom by taking readers through the production of a typical movie--from script and casting to final sound edit--and explains how to evaluate each phase. She instructs on screenwriting, performances, cinematography, editing, and sound design. She also includes engaging anecdotes and interviews with actors and filmmakers ... all designed to shape us into movie critics in our own right. A highly recommended trip for every lover of flicks! 5/5
Pub Date 06 Nov 2018
Thanks to Perseus Books, Basic Books and NetGalley for the review copy. Opinions are fully mine.
#TalkingPictures #NetGalley
January 4, 2021
Talking Pictures was highly readable and full of entertaining anecdotes and popular references. I think sometimes the general movie watching public feels like critics are aloof and snooty, snobbish really, but Ann Hornaday proves here that's not always (or often) the case. She has praise for a surprising amount of "new" and not necessarily beloved movies (Trainwreck, the Edge of Tomorrow) as well as disdain for supposed masterpieces (the Revenant). This made Hornaday relatable and I trusted her more because of her balanced analysis.
The book is split up wonderfully by the major components of movie-making such as screenwriting, music, editing, and acting. This was the perfect way to write the book and I was always excited to tackle a new section. Hornaday's thesis is that good editing, acting, sound/music, etc. (just fill in the blank) all comes down to one question: "how did it serve the story". This question can serve as the one and only metric you use to put every aspect of a movie to the test. Throughout each chapter, Hornaday does an excellent job of explaining how vastly different methods can be effective, depending on what the story calls for. Simply put, there's a myriad of ways to make a good movie, it all depends on the story you're trying to tell.
(This is probably a 3.5 star book for me)
The book is split up wonderfully by the major components of movie-making such as screenwriting, music, editing, and acting. This was the perfect way to write the book and I was always excited to tackle a new section. Hornaday's thesis is that good editing, acting, sound/music, etc. (just fill in the blank) all comes down to one question: "how did it serve the story". This question can serve as the one and only metric you use to put every aspect of a movie to the test. Throughout each chapter, Hornaday does an excellent job of explaining how vastly different methods can be effective, depending on what the story calls for. Simply put, there's a myriad of ways to make a good movie, it all depends on the story you're trying to tell.
(This is probably a 3.5 star book for me)
August 26, 2017
The author of the adroitly named Talking Pictures: How to Watch Movies, Ann Hornaday, chief film critic for The Washington Post, is deeply perceptive and intelligent in her approach to this medium. She discusses each of the aesthetic and technical elements of filmmaking: the screenplay, acting, production design, cinematography, editing, sound and music, and directing, with an epilogue aptly called "Was It Worth Doing."
Anyone who ever watches a movie (or contributes to making them) would enjoy and benefit from this book. It does not address the indiscriminate "movie lover." I just went to a movie theater for the first time in 15 years, to see Dunkirk, and I might have seen ten other films on television in that time, but all the silly, shallow, and sentimental wish-wash that Hollywood produces does not invalidate the medium. Ms. Hornaday has fine taste, and she uses great films and talents for examples, including her own interviews and conversations with filmmakers. She integrates the entire process to show how mere humans can very occasionally produce stories of great power and beauty that will continue to resonate. Those few films make it all worthwhile.
Anyone who ever watches a movie (or contributes to making them) would enjoy and benefit from this book. It does not address the indiscriminate "movie lover." I just went to a movie theater for the first time in 15 years, to see Dunkirk, and I might have seen ten other films on television in that time, but all the silly, shallow, and sentimental wish-wash that Hollywood produces does not invalidate the medium. Ms. Hornaday has fine taste, and she uses great films and talents for examples, including her own interviews and conversations with filmmakers. She integrates the entire process to show how mere humans can very occasionally produce stories of great power and beauty that will continue to resonate. Those few films make it all worthwhile.
January 30, 2018
As much as Ann Hornaday has to say about the elements of movie-making and what constitutes good and bad movies I'll still rely on my instincts. She thought Manchester by the Sea was an excellent movie whereas I hated it; and she'll never convince me otherwise.
This isn't so much a book for the average to below-average (me) movie-watcher as it's better suited for the movie afficianado or someone seeking a career in filmmaking. There were lots of interesting points and much I agreed with and learned but there was just too much detail about things I don't care to know and will never think about again. Also, her go-to movie references are just too repetitive and she repeats about a dozen words (apotheosis and verisimilitude among them) to a nauseating degree.
While reading the book I kept thinking about the movie Adaptation and its satirical take on the script-writing process. I didn't love the last quarter of the movie but I still think it's an excellent film. This scene is a good sample (and Bryan Cox's speech in the final minute of the clip is riveting): https://www.youtube.com/watch?v=_VseQ...
This isn't so much a book for the average to below-average (me) movie-watcher as it's better suited for the movie afficianado or someone seeking a career in filmmaking. There were lots of interesting points and much I agreed with and learned but there was just too much detail about things I don't care to know and will never think about again. Also, her go-to movie references are just too repetitive and she repeats about a dozen words (apotheosis and verisimilitude among them) to a nauseating degree.
While reading the book I kept thinking about the movie Adaptation and its satirical take on the script-writing process. I didn't love the last quarter of the movie but I still think it's an excellent film. This scene is a good sample (and Bryan Cox's speech in the final minute of the clip is riveting): https://www.youtube.com/watch?v=_VseQ...
April 26, 2018
Accessible book introducing the mechanics of what is often very hard to put into words - why a movie does or does not work for you.
I like how the book is broken down and organized by the components of any movie (script, acting, editing, cinematography, sound). Her choice to kick off the book with the script and move directing to the end underscores the uniquely collaborative nature of filmmaking and limitations of the auteur theory.
Each section is filled with both good and bad examples, at least in her opinion. By doing this Hornaday provides a general template for how to talk about movies, but also suggests what to look for if you want a deeper viewing experience and reflection that goes beyond thumbs up thumbs down.
Side Note: Ann Hornaday sure does love All The President's Men and Spotlight. I stopped counting how many times both movies were used as an illustration. I happen to share the enthusiasm, but Ann, your journalist bias is showing :)
I like how the book is broken down and organized by the components of any movie (script, acting, editing, cinematography, sound). Her choice to kick off the book with the script and move directing to the end underscores the uniquely collaborative nature of filmmaking and limitations of the auteur theory.
Each section is filled with both good and bad examples, at least in her opinion. By doing this Hornaday provides a general template for how to talk about movies, but also suggests what to look for if you want a deeper viewing experience and reflection that goes beyond thumbs up thumbs down.
Side Note: Ann Hornaday sure does love All The President's Men and Spotlight. I stopped counting how many times both movies were used as an illustration. I happen to share the enthusiasm, but Ann, your journalist bias is showing :)
November 1, 2023
I enjoy movies. I want to continue to enjoy movies just to escape for a little while from the real world. I don't want to be watching for every little technique a director or cinematographer might use to make a film better. But I wouldn't mind being a little more knowledgeable about what makes a good movie great. That is what this book by Washington Post film critic Ann Hornaday helps me do. Each chapter covers a different aspect of moviemaking, from screenwriting to directing to acting to music to, well, everything. And it's not overbearing. It's actually almost conversational much of the time. The result is that I now have a long list of movies to check out - some recent, some classic - that she has highlighted as doing things well.
June 27, 2017
This is an absolutely fantastic book. I could not recommend it more highly. I have watched thousands of movies, but it is only now, after having read Ms. Hornaday's masterpiece, that I feel I understand what really goes into the making of a movie. However, I certainly did not absorb it all. There is far too much there to grasp it all in one reading. Instead, I will refer to it frequently, especially when the "good" movies come out toward the end of the year in anticipation of the awards' ceremonies. Oh, and about Ms. Hornaday. She's a genius and writes with tremendous insight and brio. This is one very readable book.
October 17, 2022
I'm not sure I finished Ann Hornaday's Talking Pictures with a single thought about film changed or a single reaction to any particular film deepened, sorry.
Is Hornaday's book too "film studies 101," or is it just difficult to write about film in print?
My sense is that I don't know very much about film... It does seem possible to discuss films in podcasts. And I think a lot of websites can insightfully point stuff out using stills and images and videos. Maybe too much of what goes into film is lost in books.
Critics sometimes balk at adding a star rating to their reviews because the audience reads the star, not the words. Perhaps the readers are on to something.
Is Hornaday's book too "film studies 101," or is it just difficult to write about film in print?
My sense is that I don't know very much about film... It does seem possible to discuss films in podcasts. And I think a lot of websites can insightfully point stuff out using stills and images and videos. Maybe too much of what goes into film is lost in books.
Critics sometimes balk at adding a star rating to their reviews because the audience reads the star, not the words. Perhaps the readers are on to something.
March 21, 2018
Living in Washington, DC, I've been reading Hornaday's reviews and find I often disagree with her. Our tastes in films seems to be radically different. However, her book is well written and well reasoned. It was fun to read her opinions on classic directors and films and to see where her critical aesthetic comes from. The book, arranged by production elements such as editing, directing, and sound, cogently presents her arguments and gives one a good basis in understanding what one should look for in a film. I still don't always agree with her, but now I understand her reasoning.
November 15, 2017
I really enjoyed reading this one! It was engaging and talked about both recent and classic films, which was nice as I feel many books about movies never talk about anything made past the 90s. A great read for anyone who loves watching and talking about good cinema.
August 8, 2017
I learned a lot! Can't wait to try out my new knowledge at the next movie
I see.
I see.
January 21, 2018
As I expected - it was a good read, helped me structure my understanding of movie industry and what different roles do during the movie production but nothing groundbreaking.
November 5, 2018
Have you ever wondered about the engine under the hood of your favorite movie or television show? If so, Talking Pictures: How to Watch Movies is a comprehensive resource you need to read.
Beginning with the screenplay, this book has a chapter about each part of the movie making process. Other chapters focus on acting, production design, cinematography, editing, sound/music and directing. There is also a short chapter about documentaries in the appendix.
Each of the chapters offer an in-depth look at the work of the providers of the skill. The author defines some industry terms. There are fascinating stories from the past. Who knew the first time the title of production designer was used was for Gone with the Wind? Names of actors and movies are given as both good and bad examples of the skill being studied. Finally, at the end of each chapter is a list of recommended movies to watch to see the craft at its highest level.
Talking Pictures: How to Watch Movies is enchanting. It’s perfect for movie fans who want to see the multiple skills necessary to make a great movie. I loved it! 5 stars.
Thanks to Basic Books and NetGalley for an advance copy in exchange for an honest review.
Beginning with the screenplay, this book has a chapter about each part of the movie making process. Other chapters focus on acting, production design, cinematography, editing, sound/music and directing. There is also a short chapter about documentaries in the appendix.
Each of the chapters offer an in-depth look at the work of the providers of the skill. The author defines some industry terms. There are fascinating stories from the past. Who knew the first time the title of production designer was used was for Gone with the Wind? Names of actors and movies are given as both good and bad examples of the skill being studied. Finally, at the end of each chapter is a list of recommended movies to watch to see the craft at its highest level.
Talking Pictures: How to Watch Movies is enchanting. It’s perfect for movie fans who want to see the multiple skills necessary to make a great movie. I loved it! 5 stars.
Thanks to Basic Books and NetGalley for an advance copy in exchange for an honest review.
didnt-finish
March 3, 2023(Stopped reading after 50%)
The author, a working film critic of Washington Post, presents a guide on how to evaluate the 7 key aspects of a film (writing, acting, production design, cinematography, editing, sound, and directing). Regrettably, the format is more than dissatisfying. Not a single photo is used , so you just have to recall the scenes in your head to get the points. As if to compensate this, each point comes with 3 or 4 examples, which, for their 2-sentences brevity, seldom explain anything beyond the basics. More often than not, the pages are filled with anecdotes or direct quotes of filmmakers that are closer to their idiosyncrasy than reasons behind their technical decision.
It may still be a useful guide, particularly for those with no knowledge in film. The writing is clear and the references are up to date, popcorn flicks and canon included. That being said, readers may be better off to learn from video essay channels on Youtube or dive deep into the gold standard of film education, Film Art: An Introduction. For those with knowledge in FILM 101, please stay away from it.
The author, a working film critic of Washington Post, presents a guide on how to evaluate the 7 key aspects of a film (writing, acting, production design, cinematography, editing, sound, and directing). Regrettably, the format is more than dissatisfying. Not a single photo is used , so you just have to recall the scenes in your head to get the points. As if to compensate this, each point comes with 3 or 4 examples, which, for their 2-sentences brevity, seldom explain anything beyond the basics. More often than not, the pages are filled with anecdotes or direct quotes of filmmakers that are closer to their idiosyncrasy than reasons behind their technical decision.
It may still be a useful guide, particularly for those with no knowledge in film. The writing is clear and the references are up to date, popcorn flicks and canon included. That being said, readers may be better off to learn from video essay channels on Youtube or dive deep into the gold standard of film education, Film Art: An Introduction. For those with knowledge in FILM 101, please stay away from it.
November 13, 2025
I’ve really been starting to become a certified movie snob so this movie came in handy, courtesy of one of my best buddies Nolan :)
A primer on how to watch movies. Was really helpful for putting my thoughts and feelings about what I’ve liked and not liked about movies into words and a way to frame my thinking about watching movies going forward. I watched In Bruges and Phantom Thread recently, and reflected on a lot of the points she hits on here.
Knock on it was that it could get tedious and example heavy.
Ultimately a good read if you enjoy watching and thinking about movies!
A primer on how to watch movies. Was really helpful for putting my thoughts and feelings about what I’ve liked and not liked about movies into words and a way to frame my thinking about watching movies going forward. I watched In Bruges and Phantom Thread recently, and reflected on a lot of the points she hits on here.
Knock on it was that it could get tedious and example heavy.
Ultimately a good read if you enjoy watching and thinking about movies!
June 27, 2019
Informative, interesting, clear, conversational, and often witty. It's not a book of theory nor a book seeking to develop a profound analysis of particular films so much as a respectful but often uncompromising breakdown of what makes a movie go (or not go). I learned a lot about technique, particularly in the sections on art direction, sound, and editing, and my enjoyment of particular films made more sense when Hornaday uses them as examples. A great book for anyone who loves films or would like to make one someday.
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April 23, 2018👀Read with eyes
October 9, 2017
I live a few minutes from five independent movie screens, two in a hundred-year-old neighborhood theater and three others in a ninety-year-old beautiful movie palace. Those two handy theaters, which play mostly indies, serve me as a rough first cut of films to see and enjoy. Meanwhile, the big commercial films playing at outlying theaters take more of an effort to reach.
I'm a moviegoer motivated by the story. So, I cannot tell you much about the actors, directors or technique. I may see several dozen films a year, whether on the big screen or here at home.
The medium is at once an art form, mass entertainment and an industry, writes Ann Hornaday. Films share a lexicon of visual, aural and performance conventions, she adds.
Hornaday, in this book, covers a spectrum of movies, peeking behind the screen in seven chapters, each one covering an aspect of film-making, beginning with the screenplay. Her experience as a non-expert allowed her to approach movies more like her readers, who may see half a dozen a year.
This book added little insight to my enjoyment of films. Maybe my antennae became spoiled by the five nearby indie screens, which often show good films while letting the commercial crowds go to the other theaters.
I'm a moviegoer motivated by the story. So, I cannot tell you much about the actors, directors or technique. I may see several dozen films a year, whether on the big screen or here at home.
The medium is at once an art form, mass entertainment and an industry, writes Ann Hornaday. Films share a lexicon of visual, aural and performance conventions, she adds.
Hornaday, in this book, covers a spectrum of movies, peeking behind the screen in seven chapters, each one covering an aspect of film-making, beginning with the screenplay. Her experience as a non-expert allowed her to approach movies more like her readers, who may see half a dozen a year.
This book added little insight to my enjoyment of films. Maybe my antennae became spoiled by the five nearby indie screens, which often show good films while letting the commercial crowds go to the other theaters.
February 26, 2019
I am an avid film buff, so the title of this book, "Talking Pictures: How to Watch Movies," caught my attention the moment I saw it in a bookstore. Even though I consider myself fairly conversant about film, because my son studied film and has made some small documentaries, I have learned that I need to know more about the making of movies and how to discuss them intelligently, particularly, with him. This book was perfect for that.
What did I learn? That movies are highly collaborative, and that my perceptions of what makes a great movie have been limited to mainly the screenplay (the story and character development), with a bit of appreciation for the music and cinematography, and of course, the acting. The book opened my eyes to a number of different aspects of what makes a film well done, or poorly made. It also told me that I have been too focused on the literary aspects of film. Now I will be able to discuss films intelligently, and I have found out about some films that I want to check out that I haven't seen before to put my new-found skills to the test. Well done, well written, and generally entertaining and enlightening - especially for avid film buffs like me.
What did I learn? That movies are highly collaborative, and that my perceptions of what makes a great movie have been limited to mainly the screenplay (the story and character development), with a bit of appreciation for the music and cinematography, and of course, the acting. The book opened my eyes to a number of different aspects of what makes a film well done, or poorly made. It also told me that I have been too focused on the literary aspects of film. Now I will be able to discuss films intelligently, and I have found out about some films that I want to check out that I haven't seen before to put my new-found skills to the test. Well done, well written, and generally entertaining and enlightening - especially for avid film buffs like me.
July 8, 2017
It's an interesting format and concept for a book. I'm not the hugest fan of Hornaday's style of writing, but I'm impressed by her careful articulation of essentially every single possible angle at which to think about a film. It's difficult to imagine actually applying her questions to movies in any kind of literal or exhaustive way, but the book functions as a set of deep thought experiments about, literally, "how" to watch a movie.
October 9, 2017
I can't wait to watch a movie, after reading this book!
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September 24, 2024The book is a pretentious compilation of platitudes and basically that’s all I can tell you about it. Enough, I’ve already spent too much time on this nonsense.
March 24, 2025
Appreciating a movie is more of an acquired skill than an inherent talent. Good news, it can be learned! This book fulfilled its purpose of teaching readers how to watch a movie, anatomises film production into aspects spanning screenplay, acting, production design, cinematography, editing, sound and directing.
I particularly enjoyed the chapters on screenplay and directing, as the former explores a good story while the latter offers insights into the mind of a director.
I like to talk a little on the first chapter. The first chapter delves into what constitutes a good story, it sounds somewhat scientific to evaluate an art form. I found myself resonating with the author’s observations while she points out many reasons of a bad or good movie experience - concepts which myself have never properly consolidated or put to words. Expositions, long drawn dialogues are turn offs as well as the effect of deus ex machine where things conveniently happen to fall together in the right place, time and moment. The opening ten minutes ought to capture the audience’s attention while emanating crucial information of the characters. The next ten to twenty minutes stage the story context and mood, all the characters introduced, building anticipation for the story to unfold. Many stories also share common plot points such as adhering to the three act structure (setup, conflict and resolution) or the heroic plot. Sometimes, an appealing story deviates from this narrative, close ended norm without a fixed conclusion. As mechanical as this book reveals about story telling, I clutch onto remnants of myself not knowing it all.
Lastly, reading this book felt like navigating through a collection of movie reviews dissected into aspects of file production and then put into chapters, as a book. The author demonstrated a profound understanding of the cinema. However, readers with less exposure to film, may struggle to understand the author. It would be beneficial to return to this book after watching the films discussed by the author to allow for critical reflection on the concept presented.
I particularly enjoyed the chapters on screenplay and directing, as the former explores a good story while the latter offers insights into the mind of a director.
I like to talk a little on the first chapter. The first chapter delves into what constitutes a good story, it sounds somewhat scientific to evaluate an art form. I found myself resonating with the author’s observations while she points out many reasons of a bad or good movie experience - concepts which myself have never properly consolidated or put to words. Expositions, long drawn dialogues are turn offs as well as the effect of deus ex machine where things conveniently happen to fall together in the right place, time and moment. The opening ten minutes ought to capture the audience’s attention while emanating crucial information of the characters. The next ten to twenty minutes stage the story context and mood, all the characters introduced, building anticipation for the story to unfold. Many stories also share common plot points such as adhering to the three act structure (setup, conflict and resolution) or the heroic plot. Sometimes, an appealing story deviates from this narrative, close ended norm without a fixed conclusion. As mechanical as this book reveals about story telling, I clutch onto remnants of myself not knowing it all.
Lastly, reading this book felt like navigating through a collection of movie reviews dissected into aspects of file production and then put into chapters, as a book. The author demonstrated a profound understanding of the cinema. However, readers with less exposure to film, may struggle to understand the author. It would be beneficial to return to this book after watching the films discussed by the author to allow for critical reflection on the concept presented.
This entire review has been hidden because of spoilers.
August 12, 2018
I spend a lot of time in movie theaters, and a fair amount more time watching them on TV. Of course, people ask me what I thought of what I saw and why, and I try my best to explain what I liked or didn’t like. Because of how many movies I see, I both admire and am puzzled by movie critics- they see lots of movies, good and bad, and have to give their audience a better accounting than just saying “I liked it”. For various reasons, I find myself asking what film critics in general or one in particular saw that made them review a film the way they did. Ann Hornaday, a distinguished film critic, tries to give us some idea of what critics see, and what it tells them- and thus what they tell us- about the films they’re reviewing.
It’s no secret that a lot of different elements go into making a film, and any one of them can make the difference between a movie being just OK and being a classic. Scripts, acting, production design, editing, sound, directing - all of them play an important role in the process; Ann tells us about what she looks for in a film when it comes to these elements, and gives readers some questions to ask about a film, so they can figure out what they really thought of a film and why.
For those of you bristling at the prospect of a long dull book full of theory and opinions on film being forced on them, not to worry; Ann keeps the information and perspective on what she shares within reach of the non-cinephile, and provides a historical and current film industry perspective to help people who haven’t seen all the acclaimed films a chance to understand the world of movies a little better.
I don’t think Ann‘s book has made me ready to stop just watching movies and become a film critic. But what she shares gave me some valuable insight into what to watch for on screen. Thanks to this book, I think I’ll be better prepared to answer the question, “What was the filmmaker (or critic) thinking?” on my own, and appreciate what I’m seeing that much more. A very interesting book!
It’s no secret that a lot of different elements go into making a film, and any one of them can make the difference between a movie being just OK and being a classic. Scripts, acting, production design, editing, sound, directing - all of them play an important role in the process; Ann tells us about what she looks for in a film when it comes to these elements, and gives readers some questions to ask about a film, so they can figure out what they really thought of a film and why.
For those of you bristling at the prospect of a long dull book full of theory and opinions on film being forced on them, not to worry; Ann keeps the information and perspective on what she shares within reach of the non-cinephile, and provides a historical and current film industry perspective to help people who haven’t seen all the acclaimed films a chance to understand the world of movies a little better.
I don’t think Ann‘s book has made me ready to stop just watching movies and become a film critic. But what she shares gave me some valuable insight into what to watch for on screen. Thanks to this book, I think I’ll be better prepared to answer the question, “What was the filmmaker (or critic) thinking?” on my own, and appreciate what I’m seeing that much more. A very interesting book!
August 15, 2017
If you're a serious movie fan, Talking Pictures is a must read. The author, Ann Hornaday, is the chief film critic for the Washington Post, and in explaining to a lay audience the fundamentals of film criticism, she, of course, draws on her experience as a critic but also upon numerous conversations and interviews with directors, actors, cinematographers, and others in the film industry.
Hornaday examines in detail each of the primary aspects of film making (cinematography, acting, directing, etc.), and she provides examples of the good and the bad in each category, liberally using examples from films with which most movie-goers will be familiar. Prior to reading this book, I really had only the vaguest idea about how to, for example, assess how well directed or how well edited a film is. Now, I'm not saying this film has suddenly turned me into Roger Ebert, but having read Talking Pictures, I do now feel like I have a much better technical grasp of what makes for good directing, production design, etc., and thus can provide a more nuanced, objective assessment of a film's quality.
Besides providing great technical information, Talking Pictures is very well written. Hornaday writes in a conversational style and never talks down to the readers. There are also a lot of great anecdotes about classical and modern films with interesting information from some of Hollywood's best actors and directors.
Talking Pictures makes an excellent addition to any cinephile's library.
Hornaday examines in detail each of the primary aspects of film making (cinematography, acting, directing, etc.), and she provides examples of the good and the bad in each category, liberally using examples from films with which most movie-goers will be familiar. Prior to reading this book, I really had only the vaguest idea about how to, for example, assess how well directed or how well edited a film is. Now, I'm not saying this film has suddenly turned me into Roger Ebert, but having read Talking Pictures, I do now feel like I have a much better technical grasp of what makes for good directing, production design, etc., and thus can provide a more nuanced, objective assessment of a film's quality.
Besides providing great technical information, Talking Pictures is very well written. Hornaday writes in a conversational style and never talks down to the readers. There are also a lot of great anecdotes about classical and modern films with interesting information from some of Hollywood's best actors and directors.
Talking Pictures makes an excellent addition to any cinephile's library.
October 20, 2018
This book succinctly and entertainingly describes the major elements, from sound editing to cinematography, that go into making a film. I learnt a huge amount about what various roles contribute to films and in so doing have a much better conception of what makes a good film.
Particularly helpful are the sets of questions scattered throughout the book that you should ask when watching a film to help guide your critical appreciation. The index in the back also helps you go back to interesting comments about particular films when you come to watching them.
I have only one criticism, inevitable in a book like this: Hornaday is a little bit too luvie with her movie star friends and refers to one too many “coffees” with such people which gets a bit grating. We get it. You know lots of cool famous people. But this is a minor gripe in an otherwise very enjoyable book.
Hopefully we will soon get a compendium of Hornaday reviews as I would love to read her in-detail comments about some of the movies I’ve read. Or else a sequel to this book, perhaps describing what on earth a grip or gaffer does.
Particularly helpful are the sets of questions scattered throughout the book that you should ask when watching a film to help guide your critical appreciation. The index in the back also helps you go back to interesting comments about particular films when you come to watching them.
I have only one criticism, inevitable in a book like this: Hornaday is a little bit too luvie with her movie star friends and refers to one too many “coffees” with such people which gets a bit grating. We get it. You know lots of cool famous people. But this is a minor gripe in an otherwise very enjoyable book.
Hopefully we will soon get a compendium of Hornaday reviews as I would love to read her in-detail comments about some of the movies I’ve read. Or else a sequel to this book, perhaps describing what on earth a grip or gaffer does.
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