Quote: O, mio babbino caro plays as a woman skates gracefully. In contrast, little is graceful and daddy is not dear in Julien’s world.

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His father listens to blues wearing a gas mask; dad prods, lectures, and derides Julien as well as Julien’s brother and pregnant sister, while grandma attends to her dog. Julien is different, schizophrenic. He wears gold teeth. He bowls, sings, worships, and chats with a group of young adults with disabilities.

His sister’s child is probably his own. He talks on the phone, imagining it’s his mother, who died in childbirth years before. He may be a murderer of children.

From his point of view (perhaps), the film follows this odd family for a few weeks. Language(s):English Subtitles:None.

One of the reasons this site is named 'No Film School' is because of the widespread availability of excellent materials for self-teaching these days: almost every movie is available on disc or online, DVD special features often make for great learning tools, and there are plenty of books on the topic. Oh, and digital are cheaper than the film cameras of decades past, when access to a celluloid-shooting camera was a major reason to go to film school. While we hope this site is itself a good resource for learning, there are so many good books on filmmaking that we thought we'd start recommending and compiling them. Here are 15 of our top recommendations. As one of our goals with No Film School is to make film education accessible to folks who can't afford film school, we've also listed used prices right in the widget (most of these books also have Kindle versions if you click through).

The books here are suggested by myself,,,,. Happy reading! The Filmmaker’s Handbook, 3rd Edition by Steven Ascher & Edward Pincus. Is the quintessential book for filmmakers of any skill level. It is jam-packed with information on every aspect of making a movie from pre-production all the way through to post-production and distribution. For the most part the book goes into explaining the technical aspects and common issues in working with film, video, lenses, sound recording, editing, and lighting, but it is written in a style that makes these topics rather accessible.

It also gives a good overview of fundamental techniques and aesthetic considerations in all the aforementioned topics. If all that weren’t enough, the appendices are full of tables on data rates for digital formats, depth of field, hyperfocal distance, lens angle/focal length, as well as instructions on how to calibrate a video monitor. And for those die hard people who still use film there is plenty of supplementary info on cement splicing, synching rushes, comparisons of running times for different formats, and splitting mag tracks. In short, like the quote from The Independent on the cover says it’s “The bible -- updated”.

Minich Story: Substance, Structure, Style and The Principles of Screenwriting by Robert McKee. Just because we recommend a book here doesn't mean you should do what the book tells you to do. As I say in the comments disclaimer for this site, 'you don't have to agree with us to learn something,' and I feel similarly about the ubiquitous, which is famously featured on-screen in. McKee likes to pretend that by using the word 'form' instead of 'formula' he's encouraging originality, but I remember thinking after reading the book in college that Story was most useful from a 'learn to walk before you run' standpoint.

Whatever you want to call them, it's helpful to know the forms/formulas/principles/rules of screenwriting, even if you're just going to forget about them when you're knee-deep in your draft. Besides, if you're submitting your screenplay to producers or studios, it's likely that whoever's writing coverage on your script will have read Story or one of its myriad contemporaries, and if you're getting notes on structure or form, it can be helpful to know your (fr)enemy. - RK On Directing Film by David Mamet. This is one of the few books I read in college that really made me question everything I’d ever considered about movies. Mamet may be best known for his theater work, but he’s also come into his own as a filmmaker.

Is short and sweet, and can easily be read in a day, but the ideas that he puts forth will leave you thinking about what makes a film good long after you’ve put it down. From his ideas about screenwriting to the process of directing, Mamet encourages you to consider that film is a visual medium, first and foremost. He argues that juxtaposition is more important than what is contained within each shot -- it is the meaning between shots that will move a film forward, and scenes should be composed in the least interesting way possible. When it comes to his actors delivering dialogue, he proposes uninflected acting to Bressonian proportions. Like the French master himself, it is the connection between the images on screen that matters more than the performance of the actor. To me, it's not a how-to book (though its title would suggest otherwise). My advice is to read it, think about it, but don’t let it influence your work unless you want it to.