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243 of 252 found the following review helpful:
 Good lessons in visual storytellingSep 10, 2005
By Jymack
Having taught screenwriting for UCLA's Writing Program as well as being a working screenwriter for the past 20 years I've always been asked what separates a professional screenplay from the thousands of amateur screenplays out there. One of the things aspiring writers lack is what we call "getting your chops", a term borrowed from musicians. Meaning real, live experience that simply can't be taught. And usually, the only way to get it is by having your material produced. Jennifer Van Sijll's book CINEMATIC STORYTELLING, is the first book I've read to take an intensive look at what takes years and lots of produced credits to learn. By using written scenes from movies, coupled with actual film scenes printed alongside, Jennifer teaches visual storytelling in a way few books have done.
What I learned early on in this business is that there are several drafts after the one you sell. Many of us refer to them as the producer's draft, the director's draft, the actor's draft and the crew's draft. And you will make changes in all of those areas for reasons of character development, budget, schedule, location and ego.
Do writers really need to know about how films are shot and edited, even how sound can enhance a screenplay? The answer is yes and Jennifer's book, very appropriately titled provides invaluable information, something all writers whether aspiring ones or seasoned pros like myself need to consider. What she illustrates are the various parts of a movie and how they relate to the screenplay. The book is divided into chapters with topics like framing, locations, sound effects, transitions, camera motion and lenses, lighting, props and many more. Each chapter has many specific written scenes and still photo clips from well-known movies
Consider transitions, difficult for aspiring writers and even some pros. Learning to write good transitions between scenes rarely is taught in writing courses, and often left to the director, producer or editor. CINEMATIC STORYTELLING presents the reader written scenes from Citizen Kane, Fatal Attraction and many more movies, illustrating how sound and visual transitions are used in a finished film. A good writer can add smooth transitions into their screenplay and make their screenplay read more like a movie and more likely to be read. I've always been told my screenplays are easy reads, meaning that the reader is quickly engaged in the story, and this is directly due to my knowledge of visuals including transitions, close-ups, wide shots and sound cues. The secret here is writing it like it's part of the natural organic form of the screenplay rather than clumsy, noticeable descriptions. You don't have to write CLOSE UP, to indicate one.
Experience teaches the working writer and Jennifer's book is a solid attempt at dealing with this interconnected world of writing and making movies using many classic movies like Citizen Kane, Chinatown, The Searchers (my personal favorite), as well as contemporary movies like Pulp Fiction and lesser-known indie films including the cult favorite Harold and Maude to give a really good balance to her observations. She has focuses on framing, sound effects, transitions, camera motion, lighting, even camera lenses, which may not sound like anything a writer need know. However, a working knowledge of all those elements can and will contribute to a well-written screenplay.
I've always taught students that screenplays should be entertaining to read, in the same way movies should be entertaining, no matter how serious the subject. Breaking the rules is fine once you've sold your big feature, but don't forget the old saying, "you gotta learn the rules before you can break them". You have to write some thing that readers will want to read, to turn the page, to "see the movie". By knowing what directors, editors and even actors will need to interpret your screenplay, you can write a richer, clearer story. It's one of the best ways to protect the story you want to write, a lesson that took me years to learn. There are two things to remember when you're writing a screenplay, write a good story and write a good movie. Jennifer's book will help you make your screenplay more like a screenplay and will be useful time and time again.
126 of 136 found the following review helpful:
Review for "Cinematic Storytelling" that appeared on Microfilmmaker.comNov 18, 2005
By Jeremy T. Hanke
"Jeremy Hanke"
I recently reviewed a great debut film called 'Ascension' from a new microcinema director. The story and shooting style were fairly direct and straightforward; but--as this movie showed--just because the script didn't call for Michael Bay-style camera moves, it didn't mean that the shots had to be boring! A lot of beginning filmmakers (and even some that have more experience) can feel that they have to have lots of swooping crane or dramatic steadicam shots in order to have a great-looking movie. This isn't true. In reality, if you don't know how to effectively use the camera in the first place (visually speaking, not technically), you have no business putting it on a crane or steadicam; these devices cannot fix a visually uninteresting or inappropriate shot.
Enter Cinematic Storytelling. Using some of the most iconic and well-known films as examples, Jennifer Van Sijll explains how to use visual composition, lenses, editing, sound effects, transitions, camera position, and much more to give emphasis and convey information and emotion in your movie.
Comprehension
One of (the many) cool things about this book is that you don't have to have had any prior experience working with cameras to be able to understand the material. If you can read English and can look at the picture examples given (still photos from various films), then you can understand the concepts conveyed in the book.
Concepts and techniques (such as montages, intercutting, visual foreshadowing, etc.) are defined and clarified; even very subtle techniques that are almost unnoticeable in movies are pointed out and their effect explained. (For example, in describing the X-axis in screen direction, Van Sijll notes:
"As Westerners we read left-to-right. If you rented fifty studio-made movies, there's a good chance that the 'good guy' will enter screen left every time. When the 'good guy' moves left-to-right, our eyes move comfortably. Subconsciously, we begin to make positive inferences. Conversely, the antagonist usually enters from the right. Since our eyes aren't used to moving from right to left, the antagonist's entrance makes us uncomfortable. The screenwriter exploits this by transferring our learned discomfort to the characters" (4).
The author then goes on to show stills and a script excerpt from Hitchcock's Strangers on a Train to illustrate the effect of this principle.
Depth of Information
The book covers a tremendous amount of information, starting with the conventions of stationary camera techniques and progressing through editing, sound, lenses, camera movement and positioning, lighting, and finally, environment (location, wardrobe, props, etc.). However, each topic has still photos of at least one movie that exemplifies that certain technique, as well as an explanation of its dramatic value. This latter part is essential, because it's pointless to just talk about certain camera shots, effects, movements, etc. if you don't explain why they are important or what they are effective for. Additionally, the techniques are explained in the context of the movie photos, thus illustrating their effect.
[Quick side note: Jennifer Van Sijll draws from both old and new movies as examples. From Fritz Lang's 1927 milestone Metropolis, to Citizen Kane, Psycho, Pulp Fiction, The Piano, and Requiem for a Dream, all of the films she picks are excellent for viewing. You might want to add the "example movies" in this book to your Netflix or Blockbuster rental list. (Not like it's probably already long enough as it is!]
Interest Level
I found that it was very easy to maintain interest in this book. Truth be told, I was rather skeptical at first when I was informed that I'd be reviewing a book entitled Cinematic Storytelling; I was expecting a textbook-sized tome with simple drawings and technical words. Not so. The format is very easy-to-follow; each chapter has approximately between 4-10 sections, with each section usually covered in one full page. This makes for quick reading and easy comprehension. There are no big, technical-geeky words to wade through, and the explanations and summaries are brief, but detailed and thorough.
Reusability
This book is definitely a must-have investment for a filmmaker; whether you are just starting your first short or are working on your tenth full-length feature, this is a book you'll want to have within reach while planning your shot sheets and/or storyboards. And you'll probably find yourself coming back to it again and again with each new project you do.
Value vs. Cost
While the listed retail price this book being $25, it is worth far more for the information and ideas it provides. If you've never taken any kind of cinematic layout class (and even if you have!) this book is well worth the price. This book helps you to make the maximum impact with your main artistic tool: the camera itself. Just like writers understand the impact of their words, and painters understand how colors are used on their canvas, so must the filmmaker understand and know how to use the camera without relying solely on special effects and equipment.
Overall Comment
This book belongs on the shelf of anyone interested or involved in filmmaking, storyboarding, camerawork, cinematography, producing, and/or directing. Too many filmmakers--both microcinema and "big Hollywood"--don't fully understand the purposes and implications of various shots; this book will help you make the best use of your time, equipment, story, planning, and ideas.
Understandability - 9
Depth of Information - 9.5
Interest Level - 9.0
Reusability - 10.0
Value vs. Cost - 10.0
Total Score - 8.3
Reviewed by Kari Ann Morgan
Microfilmmaker.com
25 of 25 found the following review helpful:
Writers, look through someone else's eyes.Oct 02, 2006
By Sable Jak
What a fascinating book for a scriptwriter to read! At first, you think "This isn't meant for me--it has chapters on camera lenses and camera positions, and wardrobe and sound effects! That's stuff directors and cinematographers and other people work with." From understanding the medium you're working in, comes better work.
Jennifer Van Sijll's Cinematic Storytelling provides 100 film conventions (as mentioned in the full title) in concise, two-page examples. The pages are index card-like in their brevity, but are so well-done there is no need for extra words. First, she lists the filmmaking element, such as "Motion," and gives an explanation. Next, she gives a film example, such as E.T., and explains the scene pictured in stills and how the particular scene conveys the element. If needed, she lists a script note or two and then explains what the dramatic value is of the element. Lastly, she lists a few other films that can serve as examples. The page with movie stills also contains the scene's script passage to show how the element was written. A writer will find the pieces of script excellent examples from which to learn.
Van Sijll's layout and logical progression through the different elements of film, from frame composition to locations and lighting, are easy to follow and almost Zen-like in their simplicity. Despite that simplicity, they do make an impact and stay with you long after you've put the book down. You'll find that when you sit down to write, you'll try and put those elements into your script with just a few well-chosen words (so not to look as if you're trying to direct). There are no exercises or homework and there is no general format information or advice on what the latest trick is to get your script seen. This is straightforward instruction presented in an easy-to-follow way.
After each chapter, Van Sijll inserts a "Chapter Credits by Film Element" index where you'll find a segment on each film she's highlighted. Within the segment, you'll find its release date, writer, director, production company and distributor. It's an unconventional scriptwriting book, for sure, and definitely worth checking out. Van Sijll teaches at San Francisco State University, holds seminars, and also works as a script analyst for producers. I enjoyed this book thoroughly.
92 of 106 found the following review helpful:
 Don't Let Good Reviews Fool YouNov 05, 2009
By Real Director
"Jimmy"
I read many reviews before I commit to getting a book. Because this book was so well reviewed, I thought it would be perfect.
I am a screenwriter and I recently directed my first commercial. I turned to this book to expand my visual vocabulary. I expected to see many visual conventions explained in graphic detail that I could adopt or at least be aware about.
Don't let the reviews fool you. This book is academic jargon. Deconstructionist dribble. Postmodern silliness. It is not -- I repeat, NOT -- practical cinematic storytelling devices put on paper by a working professional, but reads more like an undergraduate film student's take on Citizen Kane, Raging Bull, etc...
If you like film criticism, great. But this book claims to be a resource for screenwriters hoping to use a richer visual technique, or for directors who need to know the most common shots and visual conventions.
So you understand what I am saying, understand: the very first chapter/point is "The Horizontal Axis." Our young author -- with no real experience -- then goes on to relate how often times good characters move from left to right, and villains move from right to left. If you don't see how annoying and impractical and just plain theoretical this book can be, let me choose another example.
Chapter 14: Triangular Composition.
Using the film "Witness" as an example, our naive author goes on to show how the filmmakers used triangles to show a love triangle between three central characters. First of all, there isn't any use of triangles in any obvious way, even in the picture she chose. Second of all, because she overlays the screenplay, you can see how there is no notion as such in the screenplay as well. Worst of all, the author then claims that the other elements in the frame --a birdhouse, picket fence -- are themselves triangular and part of the thematic message.
This is the BS that they taught me in college English courses. This is what they call deconstructionism where the author's intent has nothing to do with a reader's ability to derive whatever meaning they want.
If you are looking for a good practical shot guide, or anything to expand your moviemaking technique, do not get this book. It is not written by a filmmaker. A PA would no more about film than this woman.
If you like post-modern crap, then get this book. I wish I could get rid of it.
13 of 13 found the following review helpful:
 Can't completely recommend itMar 11, 2011
By Darkmatters
"Stop Motion Animator and filmmaker"
I can't say I completely recommend it, at least not until after reading more informative books about directing and cinematic composition such as Film Directing Shot by Shot: Visualizing from Concept to Screen (Michael Wiese Productions) and Film Directing: Cinematic Motion, Second Edition, both by Steven D Katz and The Filmmaker's Eye: Learning (and Breaking) the Rules of Cinematic Composition by Gustavo Mercado. I'm actually a little surprised at all the overwhelmingly positive reviews of this book and thought it needed a bit of more critical appraisal.
It seems to be part of a series of books all made in the "widescreen" format, I think trying to cash in on the HD craze. The layout of these books is similar to the 16:9 HD aspect ratio, and the books are designed to be visually appealing, but seem to be very sparse on information. There's a lot of blank white space, and what few words there are suffer from a stiffly formulaic presentation loaded with pointless repetition. Each page only features a few brief paragraphs and feels like it could have been developed a lot more. And then to waste more space, each chapter pointlessly lists the credits for each movie mentioned in that chapter - what's the point of that? I wouldn't mind it if it seemed the actual descriptions of the cinematic conventions themselves -- the meat and potatoes of the book - were more fully presented first, but it seems the credits listing eats up valuable space that should have been devoted to more fully developed discussion of those conventions.
I'm not completely panning the book... it IS a good brief introduction to "100 cinematic conventions every filmmaker should know". But that's all it is. To make an analogy, it's like a book that lists 100 great ingredients with very brief notes as to how each tastes and what kind of dish it can be used in, but has no recipes in it. The books mentioned above have those recipes... they go into great detail about staging and blocking and how to arrange actors and scene elements for various effects. The information in those books is presented in such a way that you come out with coherent understanding of how to set up certain types of scenes.
Once you have a grounding in that kind of detailed info, then a book like Cinematic Storytelling is a good addition... some additional ingredients to add to your dishes once you know how to cook them. But that listing of ingredients does no good until you know some recipes.
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