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Rating: 
Summary: A good book for starting film novices.
Review: Don't be fooled that after you follow this book, and make your "used car" budget film that you'll soon see it on the big screens everywhere. You'll end up with a first project on a journey of a long learning process. Is it better to spend the ten grand for school? Maybe. A lot can be said for taking that plunge into cold water and getting your feet wet. Although, some people want the prestige of a piece of paper from an institution. Most of the methods are sound, but the book is pretty much outdated for today's high tech world. Beginning filmmakers rarely shoot on film, but instead go for cheaper video. It's a less painful process. Especially for your pocketbook. It's a good book for student or hobby filmmakers. But please don't shoot a feature using this book as an example. Read it as inspiration.
Rating: 
Summary: A good step-by-step guide, but out of date
Review: For someone who's never made a film before, this book will be very useful in laying out the steps that need to be taken at every stage of pre-production, production and post-production. It covers everything from writing the script to funding and payment contracts to editing your final cut. However, due to the changing nature of the film business, after reading this book, you might want to move on to something more recent for more timely information.The datedness of the book shows in the financial guidelines (when it offers price quotes on services at a lab, for example), which are five years old at this point. It also shows in the section on editing. The author promotes editing on a work print of film rather than on a digital video system, such as AVID. It may have been more cost-effective to do so in 1995, but today non-linear editing is much preferred. The book has detailed instructions on how to edit film, but none on how to use one of these computer systems, which in many larger communities, are readily accessible. For a more realistic financial picture of making a film, try the more recent IFP/West Independent Filmmaker's Guide, which uses the budgets from the movie "Swingers" as examples.
Rating: 
Summary: Is this okay, Rick?
Review: I liked the book, Rick. I don't make films, but in my horribly amerature opinion, I have to say that it nicely does the job of providing factual info to which a film maker can turn to when confused about something. The book is a manual. It's not supposed to be a thrill to read. (Chasing Amy sucked though.)
Rating: 
Summary: VERY DISAPPOINTING
Review: The problem with most independent productions in Hollywood is that they aren't truly independent. To understand Rick Schmidt's book it helps to know that a true independent production means that it is independent from Hollywood money (obviously) but also independent from it's influence, which is "profits" as the sole reason for making a movie. Most independent films are financed by major studios, and the same bottom line rule applys: to make money. That is why so much of what we see from independents is indistinguishable from anything else in Hollywood. To be truly independent means to be so in purpose and vision and approach. It is dishonest to call yourself an independent while all the time having one eye on the Hollywood "bottom line". Rick's book seems to be designed for that independent spirit, people who want to make films as a means of truthfully exploring the world around them, and sharing a vision that is honest, meaningful,and real. John Cassavetes made films for this reason. So does Jon Jost, Charles Burnett(earlier films), and others. To put down this book because it doesn't follow the artistically destructive path of Hollywood production methods is to miss the point. In that case, there are many other books out there that we can read and waste our time with.
Rating:
Summary: (2000 edition)
Review: This is pretty much the first book that I've read on the subject of filmmaking that was actually interesting. I even read the forward and the preface, which I usually skip in books. I bought the revised version (the 2000 version, at a bookstore, even though it says it's not published until June...?) and I found the websites and dv section to be very helpful. This is an extremely informative, as well as entertaining read, perfect for a newbie (like me).
Rating:
Summary: A great book
Review: What else can I say? This book is now my most treasured posession. I'm actually thinking about buying another copy to keep safe while I can take the other one everywhere with me.
Firstly, a young person with very little money and an ambition to make films has no idea where to start, I can speak from expreience. This book has helped me as I have written treatment since getting it and am now writing the screenplay. Sure, it may never get onto film but what's the harm in trying?
Secondly, addressing the question of how realistic the book is. I can't speak from experience but I think Kevin Smith can. Call me crazy but isn't this comment; "Why waste your money making something that looks like the dreadfully photographed and recorded "Clerks"; a little superficial?
Clerks was a great movie. I admit that this is a matter of taste, but who in their right mind would argue with the tast of the Cannes and Sundance festival.
It may not be an exact line to follow, but according to Kevin, it's a place to start.
So sure, if you want to make a dreadfully photographed film that recieves two awards then by all means buy Rick's book
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