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The Portable Film School: Everything You'd Learn in Film School (Without Ever Going to Class), by D. B. Gilles
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The Portable Film School is a private tutorial from an instructor at one of the nation's most prestigious film schools. D.B. Gilles explains the fundamental skills and techniques of screenwriting and making a short film arming you with the two calling cards you'll need to break into Hollywood – without having spent the tuition or a minute in a classroom.
- Sales Rank: #678216 in Books
- Published on: 2005-10-01
- Released on: 2005-09-29
- Original language: English
- Number of items: 1
- Dimensions: 8.21" h x .70" w x 5.55" l, .56 pounds
- Binding: Paperback
- 272 pages
Review
“The Portable Film School should be mandatory reading not just for those unable to go to film school, but for anyone thinking about it or even currently attending it.” ―David Benullo, former student and co-writer of the screenplay for Around The World In 80 Days
“A crash course in a film school education. The Portable Film School is rated "R" for required reading.” ―Sheldon Woodbury, author of Cool Million: How to Become A Million-Dollar Screenwriter, and screenwriting professor in the Department of Dramatic Writing at New York University
“An excellent starter set for the fledgling filmmaker.” ―David McKenna, professor at Columbia University, Film Division
“Not only is The Portable Film School loaded with pertinent and valuable information told in an easy to absorb style but also it's truly enjoyable and fun to be in his "class." This instructor deserves high marks himself!” ―Rick Rosenberg, Chris/Rose Productions, Emmy and Peabody Award Winning Producer. "The Autobiography of Miss Jane Pittman," Miramax’s "Down In The Delta," A&E’s "The Crossing"
From the Back Cover
"Just when you think there aren't anymore books to write about filmmaking, here comes D.B. Gilles' The Portable Film School: a wonderful on-paper process that shows you how to write screenplays and make both short and long films. Ideal for anyone who doesn't go to film school."
--Lew Hunter, screenwriter, author of Lew Hunter's Screenwriting 434, and UCLA Screenwriting Professor and Chair Emeritus
"Will completely de-mystify the process of making a movie. Everything you need to know is here; you'll only have to supply the guts and a good story."
--Chris Vogler, Former Fox development executive and author of The Writer's Journey: Mythic Structure for Writers
"The Portable Film School should be mandatory reading not just for those unable to go to film school, but for anyone thinking about it or even currently attending it."
--David Benullo, former student and co-writer of the screenplay for Around The World In 80 Days
"A crash course in a film school education. The Portable Film School is rated "R" for required reading."
--Sheldon Woodbury, author of Cool Million: How to Become A Million-Dollar
Screenwriter, and screenwriting professor in the Department of Dramatic Writing at New York University
"An excellent starter set for the fledgling filmmaker."
--David McKenna, professor at Columbia University, Film Division
"Not only is The Portable Film School loaded with pertinent and valuable information told in an easy to absorb style but also it's truly enjoyable and fun to be in his "class." This instructor deserves high marks himself!"
--Rick Rosenberg, Chris/Rose Productions, Emmy and Peabody Award Winning Producer. "The Autobiography of Miss Jane Pittman," Miramax's "Down In The Delta," A&E's "The Crossing"
About the Author
D.B. Gilles, author of The Screenwriter Within, has taught in the Undergraduate Film & Television Department at New York University's Tisch School of the Arts for fifteen years. He has also taught in NYU's Department of Dramatic Writing and in the Graduate Film Department at Columbia University. Many of his former students have been finalists in screenwriting contests, gotten deals, sold scripts and directed films. He has written for the stage, screen and TV and is a member of the Writers Guild of America.
Most helpful customer reviews
6 of 6 people found the following review helpful.
Restored My Confidence and Broke Through My Stalled Story in Act III
By Milli Thornton
This book has two main advantages over other screenwriting books I've read:
(a) The friendly, conversational, humorous and self-effacing style of the author is a wonderful injection of self-confidence that cannot be underestimated.
(b) If, like me, your focus is on screenwriting, this book provides plain-speaking insight into the process of actually making a movie, as both writer and director.
Regarding (b): It had not occurred to me, before Gilles' book, that I needed to concern myself with `making' a movie, only with writing one. While I'm confident you can make it as a screenwriter without knowing the deeper merits of film vs. video, etc., this does prompt the newbie screenwriter to think beyond her script to the larger process involved in actually producing that script.
Mind you, I haven't taken his advice and actually made my own movie using a mini-DV camcorder - and, at times, I did have to coach myself to keep going through the film-making parts of the book - but I believe I'm better off knowing this stuff than not.
For me, the juiciest part of this book was when Gilles' advice in Lecture 15, "The Screenplay That Wouldn't End," came at the perfect moment and really saved my bacon.
I was writing my first screenplay from what I thought was a well-rounded treatment. I had the goal of finishing my first draft in one month, and working from the treatment was really making it flow. I never had writer's block, and all my sessions were a joy. I repeatedly racked up days of writing 6-8 pages and was ecstatic with my progress.
Suddenly, somewhere in Act III, I realized that the ending from my treatment was going to be far too insipid and would not do justice to the set-up. I had a vague idea in my mind for a new ending, but this idea involved so many logistics I didn't know how to make it all work. I didn't know how to write it.
I tried everything I could think of - brainstorming, asking my characters what they want, going for long walks, reading advice from screenwriting blogs, getting away from the computer altogether - but I was still stuck. Finally, I decided to use my enforced "down-time" to read Gilles' book. When I got to Lecture 15, this electrifying statement jumped out at me:
"Often, even with a solid outline or three-act storyline, a screenwriter will find herself approaching the middle of Act Three with the horrible realization that the ending she *thought* would happen is no longer the right ending."
What a relief to find out I wasn't alone with this problem. The simple advice given in the remainder of the chapter set me on fire to write my vaguely visualized new ending (first as a new ending for the treatment, and then as the final 30 pages of the script). The act of writing it cleared up the logistical problems and deepened the whole story.
This was not only creatively rewarding, but Gilles' sage advice also allowed me to meet my goal of finishing my first draft in one month.
I have plenty more to learn before I attempt my first rewrite, but this breakthrough has taught me so much and given me a new level of confidence.
4 of 4 people found the following review helpful.
Good for the beginner filmmaker
By Celeste Thoms
This was a great book for people who are just getting started. I've read a lot of books on filmmaking and made films, and I think there are better books on the subject. I was also alittle disappointed that a majority of the book talked about screenwriting. I was looking for something that talked more about the overall process. I figured something that talked about the things you learn in film school would discuss everything. But overall it is a good beginner book for the beginner filmmaker.
0 of 0 people found the following review helpful.
More writing than filming.
By Michael Beverly
What this book lacks is character in the voice, the book is written by an instructor, so I'm going to complain about it the same way I have complained about Bickham's book's on writing in other reviews, they come across as dry and "lecturery". It's not that the information is bad, necessarily; it's just not all that fun to read.
There were exercises in this book and I don't like books with exercises, but that's my prejudice, I also didn't like the long examples, they weren't fun to read and I got the point from the description.
Now the book gives lots of good advice on screen writing, and I think the title is a bit misleading. The book doesn't go into much depth on the film making side of the equation; most of it is on writing a screen play.
I don't think the title "film school" is accurate, I learned much more in another book I just read about independent film making, however the direction to visualize and "show" what is being written is good advice (and it applies to novel writing as well).
So, as far as a recommendation, I'd say for a novice, there is probably some good stuff here, for anyone beyond that point, it's probably not going to have that much of an impact.
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