When is qgrouchoq not a comedian? A qseagullq not a bird? A qbananaq not a fruit, and a qtaco cartq not a food stand? What's the qCastle rock ruleq and when should you call for a qbuff a puffq? And why expect trouble when the A.D. (assistant director) knowingly mumbles qGone With the Wind in the morning, Dukes of Hazzard after lunchq? An oral tradition gathered and passed down for more than a hundred years, the language of moviemaking, like other secret lexicons, is the only accepted way of communicating on a setaand is all but unknown to the outside world. Technical, odd, colorful, mysterious, the working language of movies sheds light not only on the hugely complex process of making a film, but on the invisible hierarchies of a set, the unspoken etiquette between cast and crew, and the evolution of a process that's endlessly fascinating. Movie Speak is a book about language, but through language also a book about what itas really like to be a director or a producer or an actor or a crew member. An Oscarwinning producer (The Sting), actor (who worked with Spielberg, Coppola, and Sydney Pollock), and director (Five Corners, Flyboys, My Bodyguard, and more), Tony Bill has been on sets for more than 30 years and brings a writer's love of language to this collection of hundreds of film terms. A futz. A cowboy. A Brodkin and a double Brodkin (a.k.a. screamer). Streaks an tips, a Lewinsky, Green Acres, rhubarb, a peanut, a Gary Coleman, snot tape, twin buttes, manmaker (and why you can yell for one if needed for a grip, but must whisper if it's for Tom Cruise)athese are the tricks of the trade.How to Talk Like You Belong on a Movie Set Tony Bill ... In 1998, director Tony Kaye clashed with Edward Norton over the editing of American History X. Kaye took out ads attacking the film and tried to be credited as aHumpty Dumpty.
|Publisher||:||Workman Publishing - 2009-01-08|