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101 Things I Learned
101 Things I Learned in Film School
How to set a scene? What's the best camera angle? How does the new technology interact with scenes? And how does one even get the financing to make a movie?
These basic questions and much more are all covered in this exquisite packaged book on the film industry and making movies as a profession. Written by Neil Landau, an experienced screenwriter and script consultant to the major movie studios, this is the perfect book for anyone who wants to know about the inner-workings of this industry. Whether it's someone who wants to make movies as a full-timecareer, or just someone who is interested in film, this book covers it all.
These basic questions and much more are all covered in this exquisite packaged book on the film industry and making movies as a profession. Written by Neil Landau, an experienced screenwriter and script consultant to the major movie studios, this is the perfect book for anyone who wants to know about the inner-workings of this industry. Whether it's someone who wants to make movies as a full-timecareer, or just someone who is interested in film, this book covers it all.
212 pages, Hardcover
First published April 29, 2010
81 people are currently reading
1023 people want to read
About the author
Neil Landau
8 books16 followersNeil Landau is a screenwriter whose TV and film credits include "Don't Tell Mom the Babysitter's Dead", "Melrose Place", "Doogie Howser, M.D.", "The Magnificent Seven" and "Twice in a Lifetime". He has developed feature films for Fox, Disney, Universal and Columbia Pictures, and TV pilots for Warner Bros., Touchstone, Lifetime and CBS. He works internationally as a script consultant and teaches at UCLA's School of Film, TV and Digital Media. "101 Things I Learned in Film School" is his first book."
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Displaying 1 - 30 of 116 reviews
September 13, 2010
Neil Landau's 101 filmic tidbits are ideal for anyone interested in knowing more about the world of film. The information provided can really help a film student or a film buff learn something new or be reminded of an obvious that got lost over time (my case numerous times). However, explanations of different shots and mis-en-scene sit side by side with advice on how to develop characters and general, life philosophy type commentary. In other words, you do not have to be a film student or a film buff to enjoy this book. For example, one bit of advice says, "In fantasy stories, set the rules early, clearly, and simply." Whether you are into watching, reading, or writing, that's relevant.
While reading, I found myself marking practically every other page as a reminder to use that bit in my film class. I probably will be organizing class periods around quotes/images from the book (I'll give full credit to Landau and Frederick) in the coming semester. Or better yet, on those days where I've been slacking and don't have a lesson plan, I'll just flip the book open to a random page and go from there. For example, a random flip brings up the following:
Give your characters the anonymity test.
Each character's voice should be distinctive and idiosyncratic. When writing or reviewing a script, cover up the characters' names to see if you can tell who is speaking. If the lines are interchangeable, the characters are too similar.
Thank you Landau for not only providing me with a great lesson for my film students, but also for an in-class activity we can use! Outside of wanting to use Landau to do my job for me, I also think this is just a handy book to have around. I can see myself flipping it open from time to time to read a random tidbit or even reading a couple pages and then watching a movie to compare the lessons with reality.
While reading, I found myself marking practically every other page as a reminder to use that bit in my film class. I probably will be organizing class periods around quotes/images from the book (I'll give full credit to Landau and Frederick) in the coming semester. Or better yet, on those days where I've been slacking and don't have a lesson plan, I'll just flip the book open to a random page and go from there. For example, a random flip brings up the following:
Give your characters the anonymity test.
Each character's voice should be distinctive and idiosyncratic. When writing or reviewing a script, cover up the characters' names to see if you can tell who is speaking. If the lines are interchangeable, the characters are too similar.
Thank you Landau for not only providing me with a great lesson for my film students, but also for an in-class activity we can use! Outside of wanting to use Landau to do my job for me, I also think this is just a handy book to have around. I can see myself flipping it open from time to time to read a random tidbit or even reading a couple pages and then watching a movie to compare the lessons with reality.
January 2, 2023
Guess I don’t have to go to film school now!
Feel like I learned most of this in my screenwriting class but it’s good to know more than one person thinks these things
Feel like I learned most of this in my screenwriting class but it’s good to know more than one person thinks these things
April 28, 2025
Fascinating book.
October 16, 2024
lugesin kahe poekülastusega ära, many notes were made
August 31, 2025
Interesting
December 31, 2015
Mi papá me regaló este libro hace tres años, cuando decidí que quería especializarme en audiovisuales, específicamente en cine. Tres años descansó este libro en mi biblioteca hasta hace tres días cuando me decidí a leerlo. ¡Ojalá lo hubiera leído hace dos años o por lo menos uno!
Es un libro es ideal para las personas que están comenzando, quieren estudiar o ya estudiaron cine, pues posiblemente consigan alguna información que de hayas saltado durante tus clases o que necesiten reforzar.
101 tips sobre cine dados deforma amena que te ayudarán a visualizar el trabajo de un cinematógrafo. Si de verdad te gusta el cine este libro es un abreboca para investigar más sobre el trabajo que se realiza en esta industria.
Altamente recomendado para cinéfilos también.
Es un libro es ideal para las personas que están comenzando, quieren estudiar o ya estudiaron cine, pues posiblemente consigan alguna información que de hayas saltado durante tus clases o que necesiten reforzar.
101 tips sobre cine dados deforma amena que te ayudarán a visualizar el trabajo de un cinematógrafo. Si de verdad te gusta el cine este libro es un abreboca para investigar más sobre el trabajo que se realiza en esta industria.
Altamente recomendado para cinéfilos también.
January 5, 2019
short, fun, and easy. you don't need to be a cinemaphile or a film student to understand this book. it's super basic, however still entertaining, inspiring and educational. and it works like a flashcard thing if youre a film student to remind you of basic rules.
actually i have already known more than half of the things in the book, however, it's nice to read them again. basic things are the most important things, aren't they? i have put this cute book next to my bed, because this is the kind of book i will flip through everytime i feel bored or want to be inspired.
actually i have already known more than half of the things in the book, however, it's nice to read them again. basic things are the most important things, aren't they? i have put this cute book next to my bed, because this is the kind of book i will flip through everytime i feel bored or want to be inspired.
April 27, 2021
This series has been hit or miss. This one was somewhere in the middle. Some interesting learnings/observations, but also some that were way out in the weeds or too far on detail-level to constitute broadly applicable learnings. YMMV.
June 11, 2023
101 things! That's like everything.
How many can I remember...
1. The 180-degree rule: this way, you don't look dopey.
2. Remove things from your actors' eyeline so they are less distracted while doing a scene.
That's mostly it.
But I have a terrible memory, so learning two things from ONE book is pretty good for me!
How many can I remember...
1. The 180-degree rule: this way, you don't look dopey.
2. Remove things from your actors' eyeline so they are less distracted while doing a scene.
That's mostly it.
But I have a terrible memory, so learning two things from ONE book is pretty good for me!
January 26, 2022
A very quick read on how little I actually know about film making. I am humbled.
Read
January 30, 2023yay so many good tips
February 21, 2023
I have always been disappointed and critical of any film adaptations of books. These 101 lessons gave me a greater appreciation of films as well as a newfound respect for the countless individuals named in the credits that I will still continue to not read…
December 15, 2024
Exactly what it says it is, I read 1 page at a time to give things a chance to sink in
June 22, 2025
Well laid out with practical information. It’s nice to have a book reinforce what you already know and add a few new interesting tidbits.
April 2, 2023
This book is super fun yet also so helpful for giving objective pointers on any genre of film you’re trying to make. Regardless of if you’re trying to produce something or not, it is still worth the read so you might become a better viewer of films.
May 31, 2010
I am a still photographer and freelance writer and found this book helpful. Many of the techniques used in filmmaking are also used in photography and writing. How to plot, what speed to deliver the different elements of the story, how to visually convey a story, these are all important things for anyone who tells a story in any medium to know. With so many books and stories going to film, or being adapted for film, it helps to know what a filmmaker needs to do your story properly. It also gives you a common vocabulary so that you do not sound like a rube at your story discussions or contract negotiations.
This book is not a funny book in the manner of Robert Ludman. It is a concise instruction manual. As such, there are some dull items that need to be covered. There are also some really interesting items covered. For the most part, however, this is a straight read of things you need to know to function in the filmmaking industry or deal with those who do. I give it an A minus.
FCC Disclosure:
I was sent a book free to review and allowed to keep it. I was provided no other compensation for this post. My opinions are my own.
This book is not a funny book in the manner of Robert Ludman. It is a concise instruction manual. As such, there are some dull items that need to be covered. There are also some really interesting items covered. For the most part, however, this is a straight read of things you need to know to function in the filmmaking industry or deal with those who do. I give it an A minus.
FCC Disclosure:
I was sent a book free to review and allowed to keep it. I was provided no other compensation for this post. My opinions are my own.
December 26, 2024
The drawings accompanying each lesson are helpful.
May 26, 2010
I learned things I didn't know, including phrasing used while filming.
Fun illustrations to go along with the text.
Easy-to-read format yet still interesting.
Great quotes from famous people, including Billy Wilder & Sidney Lumet.
They use examples from current or popular films for easy reference.
Favorite Things Include:
#43 Beware children, animals, and liquids!
#90 Let it go, already.
#99 After the climax, get out fast. (that one just makes me giggle)
Fun illustrations to go along with the text.
Easy-to-read format yet still interesting.
Great quotes from famous people, including Billy Wilder & Sidney Lumet.
They use examples from current or popular films for easy reference.
Favorite Things Include:
#43 Beware children, animals, and liquids!
#90 Let it go, already.
#99 After the climax, get out fast. (that one just makes me giggle)
Read
June 11, 2010by film school he means film making school(like mfa), not so much the critical understanding of film from the viewer's standpoint.
March 27, 2025
Bueno, muy visual y fácil de entender. Un libro que seguro tendré que revisar más de 1 vez.
Chapter 1: Start strong.
Chapter 2: Start late.
Chapter 3: Show, don’t tell.
Chapter 4: Three stages of filmmaking
Chapter 5: Filmspeak
Chapter 6: Above-the-line versus below-the-line costs
Chapter 7: Follow the action.
Chapter 8: Conceal the action.
Chapter 9: Discover the action.
Chapter 10: Make psychology visual.
Chapter 11: Control the back-story.
Chapter 12: A flawed protagonist is more compelling than a perfect protagonist.
Chapter 13: The antagonist subverts the truth.
Chapter 14: Beginning, middle, end.
Chapter 15: 1 screenplay page = 1 minute of screen time.
Chapter 16: What’s at stake?
Chapter 17: Create tangible objects of desire.
Chapter 18: Practice perfect pitch.
Chapter 19: A high concept movie can be explained in one sentence.
Chapter 20: Have a strong but.
Chapter 21: A good title says what a movie is.
Chapter 22: Plot is physical events; story is emotional events.
Chapter 23: Story concerns the specific characters in a film; theme concerns the universal human condition.
Chapter 24: Whose story is it?
Chapter 25: Create memorable entrances.
Chapter 26: An actor entering through the door, you’ve got nothing. But if he enters through the window, you’ve got a situation.
Chapter 27: Tell a story at different scales.
Chapter 28: Beware the passive protagonist.
Chapter 29: Props reveal character.
Chapter 30: The human eye can distinctly process about 20 images per second.
Chapter 31: Act 2 is where a poorly structured film goes to die.
Chapter 32: The best story structure is invisible.
Chapter 33: Every scene must reveal new information.
Chapter 34: Every scene must contain conflict.
Chapter 35: In fantasy stories, set the rules early, clearly, and simply.
Chapter 36: Animation provides an opportunity to think expansively, not expensively.
Chapter 37: Make setting a character.
Chapter 38: In film noir, everyone is corrupt.
Chapter 39: The fourth wall
Chapter 40: Dialogue is not real speech.
Chapter 41: Give your characters the anonymity test.
Chapter 42: Mise-en-scène
Chapter 43: Beware children, animals, and liquids!
Chapter 44: Save time—and money.
Chapter 45: Studio or remote?
Chapter 46: Lighting
Chapter 47: Clear the eye line.
Chapter 48: Call “Action” in the mood of the scene.
Chapter 49: Shoot it again.
Chapter 50: Have a plan, but enjoy the detours.
Chapter 51: All great work is preparing yourself for the accident waiting to happen
Chapter 52: Signs of a novice filmmaker
Chapter 53: The 180-degree rule
Chapter 54: The rule of thirds
Chapter 55: Leave breathing room.
Chapter 56: Place figures in uncomfortable proximity.
Chapter 57: Film is three-dimensional.
Chapter 58: Make sure everyone is making the same movie.
Chapter 59: Have some showstoppers.
Chapter 60: Every movie is a suspense movie.
Chapter 61: Random hypothesis
Chapter 62: Make the conflict existential.
Chapter 63: Help the audience keep track of your characters.
Chapter 64: Dig deeper.
Chapter 65: Film, novel, television, or stage?
Chapter 66: Film is a director’s medium; television is a writer’s medium.
Chapter 67: A movie is a novel turned inside out.
Chapter 68: A comedy isn’t just about jokes.
Chapter 69: Good writing is good rewriting.
Chapter 70: Make rejection a process.
Chapter 71: Who is the intersection?
Chapter 72: Montage
Chapter 73: Different lenses tell different stories.
Chapter 74: The plotlines of ensemble movies share a single theme.
Chapter 75: Make visual motifs specific.
Chapter 76: Rhythm and tempo
Chapter 77: Tell the story in the cut.
Chapter 78: Augment action scenes with clean cutaways.
Chapter 79: The music you hear in your head during filming is probably not the right music for the film.
Chapter 80: Burn your characters’ bridges.
Chapter 81: I would never write about someone who is not at the end of his rope
Chapter 82: Set the clock ticking.
Chapter 83: Read it aloud.
Chapter 84: Don’t cast solely by looks.
Chapter 85: Rehearsal isn’t just for the actors.
Chapter 86: Give actors something to do.
Chapter 87: Acting speaks louder than words.
Chapter 88: If you want to write, read. If you want to make films, see films.
Chapter 89: Work in the trenches.
Chapter 90: Let it go, already.
Chapter 91: Play well with others.
Chapter 92: Make it shorter.
Chapter 93: Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away.
Chapter 94: Convenient versus inconvenient coincidences
Chapter 95: Hang a lantern.
Chapter 96: Don’t overtax an audience’s good will.
Chapter 97: Deus ex machina
Chapter 98: The climax is the truth.
Chapter 99: After the climax, get out fast.
Chapter 100: Catharsis
Chapter 101: You are your protagonist.
Chapter 1: Start strong.
Chapter 2: Start late.
Chapter 3: Show, don’t tell.
Chapter 4: Three stages of filmmaking
Chapter 5: Filmspeak
Chapter 6: Above-the-line versus below-the-line costs
Chapter 7: Follow the action.
Chapter 8: Conceal the action.
Chapter 9: Discover the action.
Chapter 10: Make psychology visual.
Chapter 11: Control the back-story.
Chapter 12: A flawed protagonist is more compelling than a perfect protagonist.
Chapter 13: The antagonist subverts the truth.
Chapter 14: Beginning, middle, end.
Chapter 15: 1 screenplay page = 1 minute of screen time.
Chapter 16: What’s at stake?
Chapter 17: Create tangible objects of desire.
Chapter 18: Practice perfect pitch.
Chapter 19: A high concept movie can be explained in one sentence.
Chapter 20: Have a strong but.
Chapter 21: A good title says what a movie is.
Chapter 22: Plot is physical events; story is emotional events.
Chapter 23: Story concerns the specific characters in a film; theme concerns the universal human condition.
Chapter 24: Whose story is it?
Chapter 25: Create memorable entrances.
Chapter 26: An actor entering through the door, you’ve got nothing. But if he enters through the window, you’ve got a situation.
Chapter 27: Tell a story at different scales.
Chapter 28: Beware the passive protagonist.
Chapter 29: Props reveal character.
Chapter 30: The human eye can distinctly process about 20 images per second.
Chapter 31: Act 2 is where a poorly structured film goes to die.
Chapter 32: The best story structure is invisible.
Chapter 33: Every scene must reveal new information.
Chapter 34: Every scene must contain conflict.
Chapter 35: In fantasy stories, set the rules early, clearly, and simply.
Chapter 36: Animation provides an opportunity to think expansively, not expensively.
Chapter 37: Make setting a character.
Chapter 38: In film noir, everyone is corrupt.
Chapter 39: The fourth wall
Chapter 40: Dialogue is not real speech.
Chapter 41: Give your characters the anonymity test.
Chapter 42: Mise-en-scène
Chapter 43: Beware children, animals, and liquids!
Chapter 44: Save time—and money.
Chapter 45: Studio or remote?
Chapter 46: Lighting
Chapter 47: Clear the eye line.
Chapter 48: Call “Action” in the mood of the scene.
Chapter 49: Shoot it again.
Chapter 50: Have a plan, but enjoy the detours.
Chapter 51: All great work is preparing yourself for the accident waiting to happen
Chapter 52: Signs of a novice filmmaker
Chapter 53: The 180-degree rule
Chapter 54: The rule of thirds
Chapter 55: Leave breathing room.
Chapter 56: Place figures in uncomfortable proximity.
Chapter 57: Film is three-dimensional.
Chapter 58: Make sure everyone is making the same movie.
Chapter 59: Have some showstoppers.
Chapter 60: Every movie is a suspense movie.
Chapter 61: Random hypothesis
Chapter 62: Make the conflict existential.
Chapter 63: Help the audience keep track of your characters.
Chapter 64: Dig deeper.
Chapter 65: Film, novel, television, or stage?
Chapter 66: Film is a director’s medium; television is a writer’s medium.
Chapter 67: A movie is a novel turned inside out.
Chapter 68: A comedy isn’t just about jokes.
Chapter 69: Good writing is good rewriting.
Chapter 70: Make rejection a process.
Chapter 71: Who is the intersection?
Chapter 72: Montage
Chapter 73: Different lenses tell different stories.
Chapter 74: The plotlines of ensemble movies share a single theme.
Chapter 75: Make visual motifs specific.
Chapter 76: Rhythm and tempo
Chapter 77: Tell the story in the cut.
Chapter 78: Augment action scenes with clean cutaways.
Chapter 79: The music you hear in your head during filming is probably not the right music for the film.
Chapter 80: Burn your characters’ bridges.
Chapter 81: I would never write about someone who is not at the end of his rope
Chapter 82: Set the clock ticking.
Chapter 83: Read it aloud.
Chapter 84: Don’t cast solely by looks.
Chapter 85: Rehearsal isn’t just for the actors.
Chapter 86: Give actors something to do.
Chapter 87: Acting speaks louder than words.
Chapter 88: If you want to write, read. If you want to make films, see films.
Chapter 89: Work in the trenches.
Chapter 90: Let it go, already.
Chapter 91: Play well with others.
Chapter 92: Make it shorter.
Chapter 93: Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away.
Chapter 94: Convenient versus inconvenient coincidences
Chapter 95: Hang a lantern.
Chapter 96: Don’t overtax an audience’s good will.
Chapter 97: Deus ex machina
Chapter 98: The climax is the truth.
Chapter 99: After the climax, get out fast.
Chapter 100: Catharsis
Chapter 101: You are your protagonist.
August 9, 2017
I am not an aspiring filmmaker, nor did any film-specific thoughts come to mind when I picked this book up at the store. I pulled it off the shelf simply because I thought the cover was interesting and I was curious to see if the insides were as fascinating as the outside.
As opposed to filmmaking, I'm far more interested in arts such as drawing, painting, creating comics and the like, so I was surprised that there were things to learn from this book that I could apply to that. For instance, there were points made in the book explaining the psychological impact of certain film angles on the person viewing it that I hadn't been able to pinpoint or realise myself, and after discovering that, I was able to identify those elements in art and comics that I came across frequently, and appropriately apply it to my own work.
Though there were a few pages here and there that were worded a little oddly and a bit hard for me to properly comprehend, this filmmaking book taught me a fair amount of knowledge that can be very useful in improving the quality and impact of my art. Besides that, the layout of the book was something I liked too. The book wasn't just composed of big blocks of tiny text, it went straight to the point and had charming illustrations accompanying the content.
Maybe it's because I've only recently begun to, but I don't frequently find books that teach me new and fascinating or useful things that I can incorporate into what I like to do. This book did almost exactly that, it provided me with plenty of new knowledge while being interesting and fun to read. I'd definitely recommend this book to anyone looking to learn more about art; anything from the process of filmmaking to writing a good script and portraying scenes effectively.
As opposed to filmmaking, I'm far more interested in arts such as drawing, painting, creating comics and the like, so I was surprised that there were things to learn from this book that I could apply to that. For instance, there were points made in the book explaining the psychological impact of certain film angles on the person viewing it that I hadn't been able to pinpoint or realise myself, and after discovering that, I was able to identify those elements in art and comics that I came across frequently, and appropriately apply it to my own work.
Though there were a few pages here and there that were worded a little oddly and a bit hard for me to properly comprehend, this filmmaking book taught me a fair amount of knowledge that can be very useful in improving the quality and impact of my art. Besides that, the layout of the book was something I liked too. The book wasn't just composed of big blocks of tiny text, it went straight to the point and had charming illustrations accompanying the content.
Maybe it's because I've only recently begun to, but I don't frequently find books that teach me new and fascinating or useful things that I can incorporate into what I like to do. This book did almost exactly that, it provided me with plenty of new knowledge while being interesting and fun to read. I'd definitely recommend this book to anyone looking to learn more about art; anything from the process of filmmaking to writing a good script and portraying scenes effectively.
February 4, 2022
心🉐️
本人看了那麼多的電影…發覺作者所提出的101 點中只有1/3 是重要，1/3 過時，1/3 是過時及廢話⋯
Well, I have watched thousands movies in the past years...indepedent, EU, Asian, etc...This book does not represent all the trueness....I would say 1/3 is true..
4/10
目錄
作者序
01、開場要強
02、起述要晚
03、用演的，別用說的
04、電影製作三階段
05、電影行話
06、線上支出 vs. 線下支出
07、跟緊動作
08、隱藏動作
09、發現動作
10、用視覺手法呈現心理狀態
11、隨著故事進展，背景故事也逐漸揭露
12、有缺點的主角比完美更具說服力
13、用反派來推翻真理
14、開始，中間，結尾
15、劇本一頁＝銀幕一秒
16、什麼東西岌岌可危？
17、創造明確具體的追求目標
18、執行完美簡報
19、高概念其實可以用一句話解釋清楚
20、安排強而有力的「轉折」
21、好片名要能道出電影的精髓
22、情節是真實事件；故事是情感事件
23、故事和電影裡的某個角色有關；主題和普遍的人類境況有關
24、這是誰的故事？
25、打造難以忘懷的進場印象
26、創造情境
27、用不同的鏡頭說故事
28、別讓主角變成被動式人物
29、用道具透露性格
30、眼睛每秒約可接收20個影像
31、結構不佳，到了第二幕就會掛掉
32、最好的故事結構要融於無形
33、每一場戲都必須透露新訊息
34、每一場戲都必須有衝突點
35、奇幻故事片要盡早設定規則
36、動畫片讓你「揮灑」想像力，但非「揮霍」想像力
37、把場景化為角色
38、在黑色電影，每個人都是墮落鬼
39、第四道牆
40、對白和真正的講話不同
41、幫你的角色進行匿名測試
42、場面調度
43、小心童星、動物和液體！
44、節省時間—和金錢
45、攝影棚或外景？
46、燈光
47、清理視線
48、根據每場戲的氣氛喊「ACTION」
49、再拍一次
50、要有計畫，但請享受意外
51、做好準備，等待意外發生
52、電影新手的幾個特徵
53、180度假想線
54、三等分法則
55、保留喘息空間
56、讓角色靠近一點
57、電影是三度空間
58、確認所有人員在做同一部電影
59、要有讓觀眾鼓掌叫好的精采高潮
60、每部電影都是懸疑片
61、隨機假設
62、把衝突拉高到存在層次
63、協助觀眾牢記你的角色
64、挖深一點
65、電影、小說、電視，或舞台劇？
66、電影重導演；電視重編劇
67、電影是化無形為有形的小說
68、喜劇不只是開玩笑
69、好劇本都是令人滿意的改寫本
70、把退件視為一種過程
71、誰是交會點？
72、蒙太奇
73、不同鏡頭訴說不同故事
74、用單一主題貫串多段式情節
75、量身打造視覺主圖像
76、節奏和拍子
77、用剪接說故事
78、用切出鏡頭強化動作場面
79、好配樂
80、讓角色展現破釜沉舟的決心
81、好角色
82、設定倒數時鐘
83、大聲讀出來
84、選角不能只看長相
85、排練不只是為了演員
86、讓演員有事可做
87、行為比話語更響亮
88、想拍電影，就看電影
89、埋頭挖壕溝
90、過去就讓它過去
91、和別人打成一片
92、短一點
93、刪的重要
94、別取巧地製造巧合
95、掛燈籠
96、別過度濫用觀眾的好意
97、機器神
98、真我就是高潮
99、高潮之後，盡快走人
100、淨化
101、你就是自己的主角
本人看了那麼多的電影…發覺作者所提出的101 點中只有1/3 是重要，1/3 過時，1/3 是過時及廢話⋯
Well, I have watched thousands movies in the past years...indepedent, EU, Asian, etc...This book does not represent all the trueness....I would say 1/3 is true..
4/10
目錄
作者序
01、開場要強
02、起述要晚
03、用演的，別用說的
04、電影製作三階段
05、電影行話
06、線上支出 vs. 線下支出
07、跟緊動作
08、隱藏動作
09、發現動作
10、用視覺手法呈現心理狀態
11、隨著故事進展，背景故事也逐漸揭露
12、有缺點的主角比完美更具說服力
13、用反派來推翻真理
14、開始，中間，結尾
15、劇本一頁＝銀幕一秒
16、什麼東西岌岌可危？
17、創造明確具體的追求目標
18、執行完美簡報
19、高概念其實可以用一句話解釋清楚
20、安排強而有力的「轉折」
21、好片名要能道出電影的精髓
22、情節是真實事件；故事是情感事件
23、故事和電影裡的某個角色有關；主題和普遍的人類境況有關
24、這是誰的故事？
25、打造難以忘懷的進場印象
26、創造情境
27、用不同的鏡頭說故事
28、別讓主角變成被動式人物
29、用道具透露性格
30、眼睛每秒約可接收20個影像
31、結構不佳，到了第二幕就會掛掉
32、最好的故事結構要融於無形
33、每一場戲都必須透露新訊息
34、每一場戲都必須有衝突點
35、奇幻故事片要盡早設定規則
36、動畫片讓你「揮灑」想像力，但非「揮霍」想像力
37、把場景化為角色
38、在黑色電影，每個人都是墮落鬼
39、第四道牆
40、對白和真正的講話不同
41、幫你的角色進行匿名測試
42、場面調度
43、小心童星、動物和液體！
44、節省時間—和金錢
45、攝影棚或外景？
46、燈光
47、清理視線
48、根據每場戲的氣氛喊「ACTION」
49、再拍一次
50、要有計畫，但請享受意外
51、做好準備，等待意外發生
52、電影新手的幾個特徵
53、180度假想線
54、三等分法則
55、保留喘息空間
56、讓角色靠近一點
57、電影是三度空間
58、確認所有人員在做同一部電影
59、要有讓觀眾鼓掌叫好的精采高潮
60、每部電影都是懸疑片
61、隨機假設
62、把衝突拉高到存在層次
63、協助觀眾牢記你的角色
64、挖深一點
65、電影、小說、電視，或舞台劇？
66、電影重導演；電視重編劇
67、電影是化無形為有形的小說
68、喜劇不只是開玩笑
69、好劇本都是令人滿意的改寫本
70、把退件視為一種過程
71、誰是交會點？
72、蒙太奇
73、不同鏡頭訴說不同故事
74、用單一主題貫串多段式情節
75、量身打造視覺主圖像
76、節奏和拍子
77、用剪接說故事
78、用切出鏡頭強化動作場面
79、好配樂
80、讓角色展現破釜沉舟的決心
81、好角色
82、設定倒數時鐘
83、大聲讀出來
84、選角不能只看長相
85、排練不只是為了演員
86、讓演員有事可做
87、行為比話語更響亮
88、想拍電影，就看電影
89、埋頭挖壕溝
90、過去就讓它過去
91、和別人打成一片
92、短一點
93、刪的重要
94、別取巧地製造巧合
95、掛燈籠
96、別過度濫用觀眾的好意
97、機器神
98、真我就是高潮
99、高潮之後，盡快走人
100、淨化
101、你就是自己的主角
September 18, 2024
Because these 101 tidbits are hard to remember just by reading them through once, I am going to reflect on some of them here. I am most interested in the writing portion of filmmaking. So, I will concentrate on the tidbits that specifically have to do with screenwriting.
(Edit: now that I've written this review, I realize that these tips can be easily put into two categories: plot and characters, with a kind of P.S. at the end about being concise).
#14: Beginning, middle, end. The three-act structure Landau states simply: Act 1, establish the problem; Act 2, Complicate the problem; Act 3, resolve the problem. This relates to #20: Have a strong but. "A strong but—for example, "Mamie promises the mob she will deliver a drug shipment from Colombia to Italy, but she's afraid of flying"—will lead to an Act 2 in which the essential conflict of the film plays out naturally. This further relates to #62: Make the conflict existential, part of which says, "At the midpoint [halfway through Act 2], make the protagonist's Plan A inadequate. Turn the initial crisis into one that is broader, deeper, and darker, and that forces the protagonist to reexamine his or her values and self-identity." #98, "The climax is the truth" also relates: "A climax is not just the point of highest action or plot revelation; it is the moment at which the protagonist recognizes his or her existential core. The protagonist's false self, previously supported by secrets, likes, shame, or fear, is stripped away so that a truer, more fulfilled self can emerge."
#71: Who is the intersection? "When the protagonist's path intersects with that of the pivotal character, usually in Act 2, the pivotal character provides advice that causes the protagonist to reevaluate his or her understanding of the central dilemma." #72: Montage. "Montage is particularly effective for revealing a protagonist's point of reckoning, at which an epiphany is achieved regarding priorities, values, and the necessary course of action."
#16: What's at stake? When a story lacks tension, it is usually because (a) the stakes were poorly defined; (b) the stakes were not set high enough; or (c) the antagonist is not sufficiently threatening." Related to this is #82, "Set the clock ticking [literally or figuratively]."
#60: Every movie is a suspense movie. I liked this line from this page: "Will the accumulating successes be sufficient for the protagonist to overcome her accumulating difficulties?"
#94: Make coincidences inconvenient. "Make your protagonist earn every triumph and piece of information; don't use plot conveniences like eavesdropping or accidental discovery of crucial data to help the protagonist solve his or her dilemma. If you do introduce a coincidence, it will be more acceptable to the audience if it makes the protagonist's quest more difficult rather than easier."
#21: Plot is physical events; story is emotional events. This reminded me, again, of Jim Butcher, specifically his teaching on scenes and sequels. After some kind of action (scene), we need a time for the characters to feel, think, reflect, and plan their next move (sequel). So, a film is plot-story-plot-story just as a book is scene-sequel-scene-sequel.
#12: A flawed protagonist is more compelling than a perfect protagonist. This relates to #101, "You are your protagonist," which is "why it is difficult to create a flawed protagonist: a storytellers, we must publicly display ourselves as flawed."
#29: Props reveal character. This reminds me, yet again, of Jim Butcher. He says characters need tags (words that the writer brings up each time the character enters, such as "green-eyed" or "wolf-like") and traits, which could be a tic, prop, certain attitude, way of speaking, etc. #41 relates, "Give your characters the anonymity test," in other words, "cover up the characters' names to see if you can tell who's speaking." Again, #63 relates: Help the audience keep track of your characters with "distinct names" and "identifying habits."
#86 "Give the actors something to do," even if it's not in the script, to reveal subtext.
#1: Start strong. "The opening image should suggest a movie's central theme..." This reminds me of what writer Jim Butcher calls "Characteristic Entry Action," which is when you introduce a character, having them do something that reveals their character. This is true with the film, as well; when you introduce the film to audiences in the opening scene, have the film "do" something that will right away introduce the theme. This also relates directly to #25, "Make the [character's] entrance memorable."
#64: Dig Deeper. "Resist the urge to clutter a film with more and more plot events, hidden agendas, shoot-'em-ups, illicit acts, and quirky characters... Instead, dig deeper into the murky gray areas of the events, themes, and emotions already present in the story."
(Edit: now that I've written this review, I realize that these tips can be easily put into two categories: plot and characters, with a kind of P.S. at the end about being concise).
PLOT#11: A story moves backward as it moves forward [i.e. with backstory] What I really liked about this one is that backstory can be done quickly, a la #2 and #92, such as in Landau's following example: "A single on-screen event can demonstrate a long-term pattern: A man storms out on his wife in the midst of an argument, and she hurls a high-heeled shoe at him. The shoe hits the door, and a dozen heel marks are seen on the doors it slams shut."
#14: Beginning, middle, end. The three-act structure Landau states simply: Act 1, establish the problem; Act 2, Complicate the problem; Act 3, resolve the problem. This relates to #20: Have a strong but. "A strong but—for example, "Mamie promises the mob she will deliver a drug shipment from Colombia to Italy, but she's afraid of flying"—will lead to an Act 2 in which the essential conflict of the film plays out naturally. This further relates to #62: Make the conflict existential, part of which says, "At the midpoint [halfway through Act 2], make the protagonist's Plan A inadequate. Turn the initial crisis into one that is broader, deeper, and darker, and that forces the protagonist to reexamine his or her values and self-identity." #98, "The climax is the truth" also relates: "A climax is not just the point of highest action or plot revelation; it is the moment at which the protagonist recognizes his or her existential core. The protagonist's false self, previously supported by secrets, likes, shame, or fear, is stripped away so that a truer, more fulfilled self can emerge."
#71: Who is the intersection? "When the protagonist's path intersects with that of the pivotal character, usually in Act 2, the pivotal character provides advice that causes the protagonist to reevaluate his or her understanding of the central dilemma." #72: Montage. "Montage is particularly effective for revealing a protagonist's point of reckoning, at which an epiphany is achieved regarding priorities, values, and the necessary course of action."
#16: What's at stake? When a story lacks tension, it is usually because (a) the stakes were poorly defined; (b) the stakes were not set high enough; or (c) the antagonist is not sufficiently threatening." Related to this is #82, "Set the clock ticking [literally or figuratively]."
#60: Every movie is a suspense movie. I liked this line from this page: "Will the accumulating successes be sufficient for the protagonist to overcome her accumulating difficulties?"
#94: Make coincidences inconvenient. "Make your protagonist earn every triumph and piece of information; don't use plot conveniences like eavesdropping or accidental discovery of crucial data to help the protagonist solve his or her dilemma. If you do introduce a coincidence, it will be more acceptable to the audience if it makes the protagonist's quest more difficult rather than easier."
#21: Plot is physical events; story is emotional events. This reminded me, again, of Jim Butcher, specifically his teaching on scenes and sequels. After some kind of action (scene), we need a time for the characters to feel, think, reflect, and plan their next move (sequel). So, a film is plot-story-plot-story just as a book is scene-sequel-scene-sequel.
CHARACTERS#28: Beware the Passive Protagonist. "The protagonist ultimately must make the clear choice to act." Related to this is #80: Burn your characters' bridges. "Limit their options so they remain trapped in the central dilemma [away from their ordinary world] and their only course is to keep forging into the unknown."
#12: A flawed protagonist is more compelling than a perfect protagonist. This relates to #101, "You are your protagonist," which is "why it is difficult to create a flawed protagonist: a storytellers, we must publicly display ourselves as flawed."
#29: Props reveal character. This reminds me, yet again, of Jim Butcher. He says characters need tags (words that the writer brings up each time the character enters, such as "green-eyed" or "wolf-like") and traits, which could be a tic, prop, certain attitude, way of speaking, etc. #41 relates, "Give your characters the anonymity test," in other words, "cover up the characters' names to see if you can tell who's speaking." Again, #63 relates: Help the audience keep track of your characters with "distinct names" and "identifying habits."
#86 "Give the actors something to do," even if it's not in the script, to reveal subtext.
#1: Start strong. "The opening image should suggest a movie's central theme..." This reminds me of what writer Jim Butcher calls "Characteristic Entry Action," which is when you introduce a character, having them do something that reveals their character. This is true with the film, as well; when you introduce the film to audiences in the opening scene, have the film "do" something that will right away introduce the theme. This also relates directly to #25, "Make the [character's] entrance memorable."
BE CONCISE#2 (start late) & #92 (make it shorter) are related: get rid of bloated beginnings of scenes and really all bloat period. It reminds me of Stephen King's quote, "Kill your darlings." The things you think are funniest need to be cut if they do not (1) advance the story, (2) "prepare the audience for what comes next," or (3) "reveal and deepen character."
#64: Dig Deeper. "Resist the urge to clutter a film with more and more plot events, hidden agendas, shoot-'em-ups, illicit acts, and quirky characters... Instead, dig deeper into the murky gray areas of the events, themes, and emotions already present in the story."
March 7, 2021
I got this book from my uncle a while ago. Although I don't have a strong interest of becoming a film maker, I think there are similarities between writing and film making (which I am interested in writing). After all, novels and movies both tell the story although in a different way. This book is surprisingly a lot more detailed than I thought. Even though didn't understand some parts as I have no prior knowledge about film making, this book explain each detail in a fairly easy way so the reader could understand easily despite having no prior knowledge about film making. When I finished reading this book, I found a lot of similarities between writing a novel and making a film. I also didn't know that film studies put this much details into each scene in the movie. I have learned a lot about plot, crafting a character , and each points in a story which I think might be helpful for me in the future when I finally write a book
August 6, 2024
I’m always interested in filmmaking but I’m going to say this is not a perfect book for it. Of course, there’re many things I just discovered but there’re some aspects that the authors could do better.
Because this is a book explaining about filmmaking, which is a visual art, so many topics would be better explained if they included more than one photo or drawing to illustrate the concepts, e.g. comparing the same shot using different lenses or explaining how each scene framing offers specific feelings of the characters.
Some of the tips can be put together as they’re the same topic, in my opinion. I think it’s quite obvious that they unnecessarily separate the topic just because they could get exactly 101 tips to go with the book title. A single quote from certain people was definitely not considered as a tip, at least in some of the narrative. And if they’re going to use a quote as a tip, at least give the readers more context about who they are, not just give them names. Not everyone knows about every person in the film industry.
On the positive note, I like that the authors put these tips in the same sequence as in an order of how movies played out, that is, the beginning of the story, characters’ development in the middle, and conclusion in the end.
I’d say this book served my purpose, which is to learn something new about filmmaking. But if you’re not a big movie enthusiast, don’t waste $20 on it. Or if you don’t mind, it will make quite a decoration on your coffee table. (This means as a compliment because you’d actually learn something, not just those big hardback books that are only there for aesthetic effect.)
Because this is a book explaining about filmmaking, which is a visual art, so many topics would be better explained if they included more than one photo or drawing to illustrate the concepts, e.g. comparing the same shot using different lenses or explaining how each scene framing offers specific feelings of the characters.
Some of the tips can be put together as they’re the same topic, in my opinion. I think it’s quite obvious that they unnecessarily separate the topic just because they could get exactly 101 tips to go with the book title. A single quote from certain people was definitely not considered as a tip, at least in some of the narrative. And if they’re going to use a quote as a tip, at least give the readers more context about who they are, not just give them names. Not everyone knows about every person in the film industry.
On the positive note, I like that the authors put these tips in the same sequence as in an order of how movies played out, that is, the beginning of the story, characters’ development in the middle, and conclusion in the end.
I’d say this book served my purpose, which is to learn something new about filmmaking. But if you’re not a big movie enthusiast, don’t waste $20 on it. Or if you don’t mind, it will make quite a decoration on your coffee table. (This means as a compliment because you’d actually learn something, not just those big hardback books that are only there for aesthetic effect.)
June 29, 2017
I have a feeling movie lovers are gonna pick up this book because of the title. If you haven't gone to film school, this is gonna be new to you but you will also be confused. The 101 ideas are explained in brief words so if you haven't learned about some of the terms that are mentioned in the book, you wouldn't understand what you're reading.
However, if you've studied filmmaking, this book is just be mediocre. It's just a bunch of stuff you learned at school put down in words, nothing new. That's how I felt when I finished it yesterday.
However, if you've studied filmmaking, this book is just be mediocre. It's just a bunch of stuff you learned at school put down in words, nothing new. That's how I felt when I finished it yesterday.
February 22, 2022
super easy read, something you can definitely just flip through to remind yourself about the general rules of film. would definitely use this if i were a teacher and will continue to use this in my own time in film school. like he said in the intro, sometimes it all just feels incredibly overwhelming, but really it can be broken down into a 101 rules. of course they aren’t necessarily rules but general guidelines.
June 3, 2017
If you're looking to somewhat deepen your understanding of film then this is a good book to start with. It doesn't delve into too much detail but has enough meat in it to satisfy.
With every page turn I learnt more and more and the techniques described made me think back to films I'd seen in a different light.
With every page turn I learnt more and more and the techniques described made me think back to films I'd seen in a different light.
July 29, 2018
eye-opening and very informative, learned quite a lot about filmmaking and screenwriting
and it reminds me how important it is to have humility and confidence, if you want to succeed in this industry.
the illustrations are clear and to the point, I may read others in the series as well.
"Genuinely creative people aren't creative once." so learn to let it go.
and it reminds me how important it is to have humility and confidence, if you want to succeed in this industry.
the illustrations are clear and to the point, I may read others in the series as well.
"Genuinely creative people aren't creative once." so learn to let it go.
July 6, 2021
I read this once before starting film school and once after - verdict? It's a must have!
If you're an aspiring filmmaker, there can be no better companion than this book. It's handy, covers all the fundamentals and has neat pictorials as well.
If you're interested, I would suggest getting the physical copy, the digital version just isn't the same.
10/10 Would recommend 👏🎥
If you're an aspiring filmmaker, there can be no better companion than this book. It's handy, covers all the fundamentals and has neat pictorials as well.
If you're interested, I would suggest getting the physical copy, the digital version just isn't the same.
10/10 Would recommend 👏🎥
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