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Making Movies, by Sidney Lumet
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Amazon.com Review
It's well known that a vast number of people work on any given movie in roles as varied as writing scripts, choosing locations, dressing sets, costuming the players, lighting scenes, manipulating the camera, directing actors, editing film, working on sound, advertising the finished product, and screening it to an audience. Have you ever thought about how these components are collated? Or why the director is most often considered the author of a film? Wonder no more, because Sidney Lumet's Making Movies is a terrific journey through each stage of filmmaking that is overseen by the director. Lumet, the veteran director of Twelve Angry Men, The Pawnbroker, Serpico, Dog Day Afternoon, Network, The Verdict, and many other fine movies, knows the ins and outs of American filmmaking as well as anyone. In this excellent, personable account, Lumet tells what he's learned about making movies in the course of the last 40 years. He shows why fine directors need to have strong imaginations, extraordinary adaptability, and skill in many different fields. His enthusiasm for his life's work, particularly his love of actors, is evident on every page of this book. As Herculean as the labors of film directing are, Lumet takes great pleasure in his work, almost guiltily admitting that the film director's job is "the best in the world."
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From Publishers Weekly
Lumet, the acclaimed director of such films as Dog Day Afternoon and Network, presents an anecdotal insider's account of the key elements in filmmaking. Copyright 1996 Reed Business Information, Inc.
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Product details
Paperback: 218 pages
Publisher: Vintage; Reprint edition (March 19, 1996)
Language: English
ISBN-10: 9780679756606
ISBN-13: 978-0679756606
ASIN: 0679756604
Product Dimensions:
5.1 x 0.6 x 8 inches
Shipping Weight: 8.5 ounces (View shipping rates and policies)
Average Customer Review:
4.7 out of 5 stars
164 customer reviews
Amazon Best Sellers Rank:
#23,998 in Books (See Top 100 in Books)
MAKING MOVIES is an informative and quick read, in which the celebrated director of such gems as TWELVE ANGRY MEN, THE PAWNBROKER, SERPICO, DOG DAY AFTERNOON and NETWORK takes us through all the phases of moviemaking, from choosing the director and script through making the movie to postproduction and release. Lumet promises us at this book's outset that he won't offer celebrity gossip, and he doesn't. What the reader will find is enormous insight into the craft of filmmaking, right down to actual callsheets and the director's exhausting schedule. Highly recommended for anyone curious about why movies are made, how they're made and what happens upon their release.
"Making Movies" is one of the best books on the nuts and bolts of film-making ever. It deserves the highest rating simply because it is both well presented and full of practical insights. Lumet is brilliant on the psychology of movie-making in the old days, for instance, when each producer had the power to order cuts at will. The director who knew this would deliberately leave some weak scenes in during early screenings so that the producers could order them removed and thus later claim to have "saved" the picture – if, that is, it turned out to be a hit. That said, Lumet's overall approach is not historical but topical, from selecting a writer to making the final cut. In Chapter Three, he raises a point I often try to impress upon my students: The way you tell a story should relate somehow to what that story is about. That gets to the whole question of the importance of style, which he terms "the most misused word since love." (pg. 49) Good, practical advice can be found on every page. Here's how he can tell if something is off when watching a scene during rushes: "If my concentration breaks, something is wrong." (pg. 141) This, I might add, applies equally well to reading as to watching – if our attention drifts, there may be something wrong with the book we are reading, or the text of the speech we are delivering. Here's something that may seem counter-intuitive: The audience's perception of the length of a film depends not on the tempo of the movie itself so much as the presence or absence of changes in tempo. The fewer the changes, even if the tempo is fast, the longer the movie will seem. Most melodramas accelerate speed towards the end. Inexperienced directors adopt an up-tempo from the start, then believe they have left themselves nowhere to go except even faster, thus exhausting the audience long before the final credits. Lumet candidly confesses he doesn't know what makes a hit, and doubts that anyone really does. It is certainly not the stars alone. He talks about those he has worked with (including Paul Newman and Al Pacino) without indulging in gossip, and when he has something negative to say, he does so without naming names. One movie of his, which he refuses to identify, suffered from the limited range of one of its stars. "On the second day of shooting, I began to realize that the leading actress lacked the tenderness her part called for. She simply didn't have it in her as an actress or a person. She was superb with anger; she had humor. But if she was asked to show the simplest affection for the person playing opposite her, a falseness crept into her acting that was readily apparent, particularly since her acting was otherwise so real and true…. Since the movie was fundamentally a love story, I knew that we were in trouble." (pp. 143-144) I wonder if the movie in question might not have been "The Morning After." The only hint he provides is that the film "had three very high-powered stars in it." "Morning After" featured Jane Fonda, Jeff Bridges and Raul Julia. On the other hand, Fonda did receive an Oscar nomination for her performance here, so I can't be certain. Though most (but not all) of the examples are taken from movies he himself directed, the book is most definitely not a survey of his career. While "Murder on the Orient Express," for example, gets mentioned at least a dozen times, "Fail Safe" rates only a single one, early on. Incidentally, what he has to say about "Murder…" gives me a higher opinion of that movie than I ever had before; now I am tempted go back and take another look at it. The chapter on the "lens plot" in "12 Angry Men" – how he used differing lenses to create an increasing sense of claustrophobia – is justly famous. On the whole, Making Movies is an enlightening introduction to the craft, presented by an insider. If you are like me, you will be amazed at what you hadn't noticed in movies you thought you knew.For a longer version of this review, please go to hamiltonbeck dot wordpress dot com
Having lived in L.A. for 20 years and having been raised to despise the film industry, I didn't expect to learn from or like this book. I was very surprised to find so much to admire and wonder at: Lumet's work, his creative process, the clarity of his goals and how he meticulously works to meet those goals, and the logic behind all the expensive, difficult, tedious processes that go into making a movie. This vivid, engaging book was recommended to me by Dianne Durante, an art critic on Patreon (I recommend her recommendations).
After reading almost countless books on the subject of making films, Sidney Lumet's humble treatise on how he does it is almost 95% meat and 2% fat (the remainder is, IMHO, the title page and the covers). It's surprisingly simple stuff about how he goes about his process using a method culled from years of experience and training from others before him, as well as his television experience in the 50s. And yet, despite his tact and simplicity, the details he gives can probably shave weeks and months off of a production in terms of helping one consider what is important, what is not, and how to organize your people. Most useful, though, is how he describes the process of dividing your crew into units and then how to schedule and task them in the most efficacious and satisfying way. He also gives a rare glimpse into the process of test audiences and how they work, practically blow by blow.Although the information pre-dates the digital era (printed 1995), almost everything in it still applies today as it's more about production process than the actual technology (although there is some of that too). In short, this book is a brisk and valuable read, and I will never sell my copy.
Sidney Lumet's "Making Movies" is a wonderful insight into the director's role in the filmmaking process. The entire book reads like Lumet has sat you down to tell you a story. We get a chance to peer into his mind as he makes small but critical choices throughout the Pre-Production, Production, and Post-Production phases in the movie's life. Lumet gives many clear and specific examples of moments in his career where he had to overcome the odds to get the shot or performance that the film called for. This book is great for the aspiring filmmaker and seasoned industry veteran alike.I knocked off 1 star only because some of the technical processes of filmmaking described in the book are no longer used, and it made the book feel very dated. The writing is still great and it's nice to hear about how films used to be made. The techniques of working with actors still hold up, as well as the detailed descriptions of the director's role within the larger company of talent and executives.I highly recommend this book to anyone who wants to advance their cinema education and gain deep appreciation for the art form.
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