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On Film-making: An Introduction to the Craft of the Director
An invaluable analysis of the director's art and craft, from one of the most revered of all film school directors. Alexander 'Sandy' Mackendrick directed classic Ealing comedies plus a Hollywood masterpiece, Sweet Smell of Success. But after retiring from film-making in 1969, he then spent nearly 25 years teaching his craft at the California Institute of the Arts in Los Angeles.
Mackendrick produced hundreds of pages of masterly handouts and sketches, designed to guide his students to a finer understanding of how to write a story, and then use those devices peculiar to cinema in order to tell that story as effectively as possible. Gathered and edited in this collection, Mackendrick's teachings reveal that he had the talent not only to make great films, but also to articulate the process with a clarity and insight that will still inspire any aspirant film-maker.
Mackendrick produced hundreds of pages of masterly handouts and sketches, designed to guide his students to a finer understanding of how to write a story, and then use those devices peculiar to cinema in order to tell that story as effectively as possible. Gathered and edited in this collection, Mackendrick's teachings reveal that he had the talent not only to make great films, but also to articulate the process with a clarity and insight that will still inspire any aspirant film-maker.
336 pages, Paperback
First published June 17, 2004
193 people are currently reading
3210 people want to read
About the author
Alexander Mackendrick
9 books10 followersAlexander Mackendrick was an American-Scottish director and professor. He was born in Boston, Massachusetts and later moved to Scotland. He began making television commercials before moving into post-production editing and directing films, most notably for Ealing Studios where his films include Whisky Galore! (1949), The Man in the White Suit (1951), The Maggie (1954), and The Ladykillers (1955).
After his first American film Sweet Smell of Success (1957), his career as a director declined and he became Dean of the CalArts School of Film/Video in California. He was the cousin of the Scottish writer Roger MacDougall.
After his first American film Sweet Smell of Success (1957), his career as a director declined and he became Dean of the CalArts School of Film/Video in California. He was the cousin of the Scottish writer Roger MacDougall.
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Displaying 1 - 30 of 64 reviews
August 1, 2014
This book got stellar reviews and Martin Scorsese writes a glowing preface. I appreciate Mackendrick's advice but wish the content were a little more comprehensive. We get bits and pieces, anecdotes, into the art of screenwriting and directing. The book was edited together, post mortem, from Mackendrick's notes on the craft of filmmaking, and the seams show. The content is good but fragmentary. The book is somewhat like reading the pre-socratic philosophers--a great deal of wisdom but not much coherence or development. On Filmmaking seems best, not as an introduction to the craft as advertised, but as a secondary or tertiary reference for an emerging filmmaker.
June 10, 2007
Better than film school. Seriously, if a promising young filmmaker of 19 asked me if he/she should go to film school, I'd say, "Get a lot of practice, watch a lot of movies, and read Sandy Mackendrick's book. That's all you need."
The best book about the craft that will probably ever exist.
The best book about the craft that will probably ever exist.
August 4, 2016
The best book on filmmaking that I've ever read.
January 10, 2009
There will never be anything better than learning it directly from Sandy. I cherish all the memories I have of his teaching. However, Paul Cronin did a wonderful job of collecting Mackendrick's wisdom. I use it all the time, and I can hear Sandy's voice with his Scottish accent saying, "Student films come in three sizes. Too long. Much too long, and VERY MUCH TOO LONG!"
March 12, 2021
come back to CalArts Sandy ❤️
May 1, 2021
Ben Wheatley called this "the only book you need on filmmaking"!
So I'm super relieved to discover that a lot of the knowledge within I have managed to supplant with other books, practice and YouTube videos :D I don't think any serious filmmaker would deny the power of YouTube as a filmmakers' resource nowadays. Mackendrick is stuck to drawing and labelling storyboards of certain scenes from films, whereas on YouTube I can watch those scenes with moving diagrams alongside them, for free and as often as I want. It cuts years off the learning of theory. Surely.
I don't think I then got too much from this book but it's relieving if a director I respect says this is all you need and I've got most of it down!!
Great also that Mackendrick urges students not to get caught up in the rules and demonstrates that what he has collected is what has worked before. Filmmaking more so than other artistic media attracts very technically minded folk who are keen to tell you you're doing things wrong because you're not, for example, "adhering to the rule of thirds." The rule of thirds being a simplified version of the golden ratio applied to the dimensions of an image to maximise its appeal. The Golden Ratio being a pattern one can apparently find in the music of Bach.
And everyone knows how popular Bach is these days :)
So I'm super relieved to discover that a lot of the knowledge within I have managed to supplant with other books, practice and YouTube videos :D I don't think any serious filmmaker would deny the power of YouTube as a filmmakers' resource nowadays. Mackendrick is stuck to drawing and labelling storyboards of certain scenes from films, whereas on YouTube I can watch those scenes with moving diagrams alongside them, for free and as often as I want. It cuts years off the learning of theory. Surely.
I don't think I then got too much from this book but it's relieving if a director I respect says this is all you need and I've got most of it down!!
Great also that Mackendrick urges students not to get caught up in the rules and demonstrates that what he has collected is what has worked before. Filmmaking more so than other artistic media attracts very technically minded folk who are keen to tell you you're doing things wrong because you're not, for example, "adhering to the rule of thirds." The rule of thirds being a simplified version of the golden ratio applied to the dimensions of an image to maximise its appeal. The Golden Ratio being a pattern one can apparently find in the music of Bach.
And everyone knows how popular Bach is these days :)
March 16, 2019
A fantastic book packed with insights and practical advice, focusing mostly on interpreting and executing a screenplay and on camera positioning. As it is a compilation of 'lecture notes' given by Mackendrick throughout his teaching career, the tone is quite engaging and enjoyable (albeit quite formal at times). The first section, focusing on dramatic construction, is relevant to any narrative art form. Overall the content is fairly accessible, although it definitely assumes some familiarity with film concepts and history.
August 12, 2024
Las clases de cine de Alexander Mackendrick en el CalArts sobre construcción dramática, estructuración y análisis de las historias y gramática audiovisual son una auténtica joya y un gran modelo de enfoque formativo: absolutamente recomendable la edición de @Albaeditorial.
August 19, 2024
Actually and concretely helpful. Came at the right time. I’m manifesting the exact same life path as MacKendrick (right up til his decline … )🤞
April 22, 2022
One of the finest books on technical craft and storytelling technique that I've ever read. Basically a series of lectures and hand-scrawled notes and panels, but man what a wealth of knowledge and inspiration.
January 6, 2016
El libro es básicamente una masterclass de parte de Mackendrick.
November 21, 2025
A worthwhile overview of filmmaking with some useful tips, though not as in-depth as I was hoping for from a director of major films like Sweet Smell of Success.
I guess I was looking for a book that would really break down visual storytelling and blocking ideas, and how to tell a cinematic story (as opposed to a filmed play, which is what most movies are these days).
Mackendrick does hint at this in the opening when he critiques screenwriting books and manuals for not focusing enough on the cinematic qualities of effective screenwriting, but rather focusing on principles that would be just as effective on stage. I loved in particular his discussion of a scene from the film Les amants de Vérone by André Cayatte, where a moment of courtship shot through little mirrors dramatizes a love triangle between a woman and her two suitors beautifully without saying a word. Mackendrick describes the scene and then says that such a scene would never work in a novel, because it would take too long to describe whereas the drama is captured in an instant via the image. He goes on to say that this is a scene only a screenwriter who understood the medium would write.
Reading this, I was excited for and expecting a different book than the one that this ultimately is. The discussion of visual storytelling isn't followed up much until the final pages where he compares a conventional storyboard of a scene from Citizen Kane against what Welles and Toland actually shot (which was much more visually economical).
There are some chapters on screenwriting, and a comparison of two drafts of the same scene from Sweet Smell of Success, which I found interesting. He also said something about exposition I hadn't heard before, which is to use exposition as a reaction to events that take place, events that serve as a provocation for expository dialogue. I think this is a sound principle and an interesting way to look at the problem of exposition in film I hadn't thought of in that way before.
He discusses the pros and cons of writing without knowing where the scene is going (which makes livelier scenes, where characters surprise you) and writing with the end in mind (which creates thematic richness). I think a combination of both is probably the way to go.
Overall, my favourite parts of the book are in the end, where he has storyboards illustrate how to block and direct various scenes, but these are relatively few and a tad simplistic, whereas there is a lot more to learn along the lines of the "purely cinematic" sequence from Les amants de Vérone that he discussed in the opening chapter.
Good for beginners, but not essential if you've already made a few films.
I guess I was looking for a book that would really break down visual storytelling and blocking ideas, and how to tell a cinematic story (as opposed to a filmed play, which is what most movies are these days).
Mackendrick does hint at this in the opening when he critiques screenwriting books and manuals for not focusing enough on the cinematic qualities of effective screenwriting, but rather focusing on principles that would be just as effective on stage. I loved in particular his discussion of a scene from the film Les amants de Vérone by André Cayatte, where a moment of courtship shot through little mirrors dramatizes a love triangle between a woman and her two suitors beautifully without saying a word. Mackendrick describes the scene and then says that such a scene would never work in a novel, because it would take too long to describe whereas the drama is captured in an instant via the image. He goes on to say that this is a scene only a screenwriter who understood the medium would write.
Reading this, I was excited for and expecting a different book than the one that this ultimately is. The discussion of visual storytelling isn't followed up much until the final pages where he compares a conventional storyboard of a scene from Citizen Kane against what Welles and Toland actually shot (which was much more visually economical).
There are some chapters on screenwriting, and a comparison of two drafts of the same scene from Sweet Smell of Success, which I found interesting. He also said something about exposition I hadn't heard before, which is to use exposition as a reaction to events that take place, events that serve as a provocation for expository dialogue. I think this is a sound principle and an interesting way to look at the problem of exposition in film I hadn't thought of in that way before.
He discusses the pros and cons of writing without knowing where the scene is going (which makes livelier scenes, where characters surprise you) and writing with the end in mind (which creates thematic richness). I think a combination of both is probably the way to go.
Overall, my favourite parts of the book are in the end, where he has storyboards illustrate how to block and direct various scenes, but these are relatively few and a tad simplistic, whereas there is a lot more to learn along the lines of the "purely cinematic" sequence from Les amants de Vérone that he discussed in the opening chapter.
Good for beginners, but not essential if you've already made a few films.
June 17, 2022
Full disclosure: I didn't read the whole thing. There are sections of this dealing with film grammar that I decided to skip, and the book is really a collection of essays or lessons that Mackendrick prepared for his classes at the California Institute of Arts. As such, some are more interesting than others, and I believe that if I were an aspiring filmmaker I'd be more enthused about some essays than others (the way that I am as someone who aspires to possibly do book reviews on YouTube at the most, because isn't that the way to fame and fortune?). I found it at a used book sale at my local library, so I didn't put too much money down on it. It's good in places, a bit dull in others, like any other collection of essays or lectures, really.
June 4, 2020
took me good two years to finish this one (whilst also doing film studies for a degree). here is why:
i'm stealing a quote of his student's mackendrick uses in the epilogue: reading this book 'i didn't learn anything that i didn't already know - even if i didn't know that i knew it', but that's how ot usually is when you try to learn about film style. so this is a great book if you want to realize how much you already know and as a reference point if you, like me, like to have that knowledge in print.
i'm stealing a quote of his student's mackendrick uses in the epilogue: reading this book 'i didn't learn anything that i didn't already know - even if i didn't know that i knew it', but that's how ot usually is when you try to learn about film style. so this is a great book if you want to realize how much you already know and as a reference point if you, like me, like to have that knowledge in print.
October 11, 2018
Different from Lumet's Making Movies (which is also one of the best books on the craft), in this one the director has looked within himself and consciously tried to make theory of the methods that, most say, only come through experience. Sandy's love for the craft and especially for the teaching of the craft is evident on every page. Incredible book with invaluable exercises for the study of dramatic construction.
April 6, 2020
Probably the best of all three books I had to read portions of for Screenwriting. Because these essays mostly all came from recently teaching students, they felt true to the experience of what I was going through and the state of the film world. I probably read more than half of these and greatly appreciated them.
May 6, 2020
Among screenwriting and filmmaking manuals —perhaps not 'books' in general— this one might be the best I've encountered so far. There are two reasons for this: 1) Mackendrick's outstanding respect for the limits of what can be taught; and 2) his teaching discourse, which goes from practice to theory, never demeaning either one.
January 5, 2021
Decisively written, full of knowledge and practically useful advice from a remarkably experienced author. The first half gives a very convincing philosophy of storytelling (mostly in film, but not all). The second half is a little bitty and basic but depending on what you're after that's no bad thing.
March 11, 2025
This book by the great, still underrated Alexander Mackendrick (THE SWEET SMELL OF SUCCESS) is full of good practical advice about all aspects of filmmaking - from writing to directing to editing. Highly recommended for film students and experienced directors alike.
November 29, 2025
Insightful and engaging book about the filmmaking ("film-making") process. A significant idea that has stayed with me: one should master the "garde" before attempting the "avant-garde." This has come up again and again since first encountering the idea.
August 3, 2017
This book is a huge asset to anyone with an interest in filmmaking. I especially loved Mackendrick's section on screenwriting and his writing exercises and writing prompts.
June 18, 2020
Es genial para iniciarse en el mundo del cine en un aspecto más técnico y profundo.
October 28, 2020
An absolute treasure for a filmmaker and a film enthusiast...
January 22, 2021
Recommended for beginners screenwriter and director.
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January 26, 2022probs the best book on filmaking ever written.
March 21, 2023
great guide to filmmaking for beginners
July 22, 2023
Got less interested the more I read but still a lot of quality basic information
November 1, 2023
He is so wise, a vital book for any creative.
March 10, 2024
Readable, insightful, and thought-provoking. The best of its kind with no doubt.
April 1, 2024
3.5
Often dips too heavily into the older style of filmmaking ideals, but have plenty of dog ears so it's clearly worth the time.
Often dips too heavily into the older style of filmmaking ideals, but have plenty of dog ears so it's clearly worth the time.
Displaying 1 - 30 of 64 reviews