Every Frame a Rembrandt: Art and Practice of Cinematography

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Summary: What the book is about
Review: At the age of 11, my brother gave me a small camera he had received as a confirmation present, but didn't want. That event may have been a most important turning point in my life, having started me on the road to photography. Over the years as I went from still photography to low budget documentary films to megabucks Hollywood features, it became my life's calling, a religion bordering on obsession. Cinematography became my life.

A cinematographer's life may be broken down into segments, such as technical expertise, artistic ability, ingenuity, good political sense and experience. I consider experience by far, the most important element, one, which can only be acquired. Experience that enables one to deal with aspects of film production that can't be found in textbooks. Under the heading of War Stories, EVERY FRAME A REMBRANDT concentrates on this essential part of the cinematographer's life, be it technical, artistic, political, sad or funny.

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Summary: A "must read" for aspiring cinematographers & film students.
Review: Cinematographer Andrew Laszlo has filmed more than thirty motion pictures, numerous television shows, TV movies and commercials in a career spanning more than fifty years. In Every Frame A Rembrandt: Art And Practice Of Cinematography Laszlo draws upon his immense expertise and experience to provide the reader with a comprehensive, single-volume introduction to this fundamental aspect of filmmaking. Laszlo' reveals the day-to-day activities of a cinematographer before, during and after filming a project, and discusses such critical and central issues as equipment, filmstocks, testing, labs, unions, agents, budget requirements, as well as working with directors, producers, and crews. Clearly and concisely written (and enhanced with additional material by Andrew Quicke), Andrew Laszlo's Every Frame A Rembrandt is a "must" for any aspiring cinematographer, and an essential reference title for professional and academic collections.

Rating:
Summary: A "must read" for aspiring cinematographers & film students.
Review: Cinematographer Andrew Laszlo has filmed more than thirty motion pictures, numerous television shows, TV movies and commercials in a career spanning more than fifty years. In Every Frame A Rembrandt: Art And Practice Of Cinematography Laszlo draws upon his immense expertise and experience to provide the reader with a comprehensive, single-volume introduction to this fundamental aspect of filmmaking. Laszlo' reveals the day-to-day activities of a cinematographer before, during and after filming a project, and discusses such critical and central issues as equipment, filmstocks, testing, labs, unions, agents, budget requirements, as well as working with directors, producers, and crews. Clearly and concisely written (and enhanced with additional material by Andrew Quicke), Andrew Laszlo's Every Frame A Rembrandt is a "must" for any aspiring cinematographer, and an essential reference title for professional and academic collections.

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Summary: One of the 'Great Books' in the Industry.
Review: I first met Andy Laszlo some eight or ten years ago when he gave a two day seminar on Cinematography at NYU while I was director of the Department of Film, Video and Broadcasting at NYU's School of Continuing Education. One or two hundred students enrolled the first day, and as word spread across the campus of Andy's insights and trenchant comments, the attendance doubled on day two. When I learned of the existence of his book, I purchased it immediately. It is of immense value, not only to cinematographers, but also to directors, producers and writers: in short to anybody currently in film and video, or anybody who aspires to enter this field. It is immensely readable, written in clear, concise English and amply illustraed with some extraordinary examples, and a treasure trove of practicle knowledge. It is highly, highly recommended.

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Summary: Every Frame A Rembrant
Review: If you want to read a book about Andrew Laszlo then this is the book for you. The book takes you through projects he personally encountered and has little in the way of practical advise/techniques for the individual film maker developing their own projects. The book is easy to read and entertaining,although i was looking for a text book style read.

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Summary: oustanding cinematographer tells all
Review: Laszlo's Hollywood career speaks for itself. Now, with great style and eloquence, he has set down a vital and helpful look at his field. As director of the University of Miami's Motion Picture Program, I can report that this book has proven useful and valuable to undergraduates and graduates. More than a technical manual, it will prove informative and rewarding to anyone who loves film.

Rating:
Summary: oustanding cinematographer tells all
Review: Laszlo's Hollywood career speaks for itself. Now, with great style and eloquence, he has set down a vital and helpful look at his field. As director of the University of Miami's Motion Picture Program, I can report that this book has proven useful and valuable to undergraduates and graduates. More than a technical manual, it will prove informative and rewarding to anyone who loves film.

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Summary: Every Word a Laszlo
Review: The envelope please--best book by a cinematographer (or anyone else for that matter) about cinematography. Essential reading.

There are books of theory, there are books of anecdotes, and there are books on how-to. This has the best of all.

Andrew Laszlo, ASC is a wonderful storyteller, inspirational teacher, terrific writer as well as a distinguished cinematographer. His credits include Shogun, Owl and the Pussycat, One Potato-Two Potato, Newsies and many others.

The book is a wealth of film criticism, tricks of the trade, technical details, wonderful anecdotes and behind-the-scenes stories.

For example, Laszlo discusses how he lit a scene from Rambo with one match, and then explains that a second one was hidden behind. He is funny and iconoclastic at times: "I hate dailies," or "Taking a stand in the film industry is not an everyday event." But behind every attention-grabbing statement is a complete and highly intelligent, articulate explanation.

The book covers five of his films: "Southern Comfort, The Warriors, First Blood, Streets of Fire, and Innerspace." There is insight into the politics, diplomacy and psychology of filmmaking--dealing with directors, producers, studios and crew members. Through the writing, we watch a truly masterful problem solver, consummate professional and talented artist at work and reflecting upon that work.

Interviews done by Andrew Quickie (Film and TV Professor at Regent Univ.) punctuate the chapters.

I eagerly await the sequel to this book, perhaps to be called "Son of Rembrandt," or "Every Frame a Laszlo." Certainly there would be enough anecdotes and information from his 42 or more other films to fill a dozen standard volumes.