The most recommended filmmaking books

I have turned my childhood fascination with Hollywood into an academic career. For four decades I have explored, not least through extensive archival research, all aspects of the history of American cinema – films, filmmakers, studios, production histories, marketing campaigns, critical reception, audiences. Among other books, I have published three volumes in the British Film Institute’s Film Classics series (on Buster Keaton’s The General and Stanley Kubrick’s Dr. Strangelove and 2001: A Space Odyssey). I have focused on some of the most highly acclaimed, most commercially successful, most ardently loved, and most influential movies of all time. The starting point for my work is always my passionate engagement with particular movies.

I have turned my childhood fascination with Hollywood into an academic career. For four decades I have explored, not least through extensive archival research, all aspects of the history of American cinema – films, filmmakers, studios, production histories, marketing campaigns, critical reception, audiences. Among other books, I have published three volumes in the British Film Institute’s Film Classics series (on Buster Keaton’s The General and Stanley Kubrick’s Dr. Strangelove and 2001: A Space Odyssey). I have focused on some of the most highly acclaimed, most commercially successful, most ardently loved, and most influential movies of all time. The starting point for my work is always my passionate engagement with particular movies.

Julian Friedmann is co-owner of the Blake Friedmann Literary Agency and was the publisher of ScriptWriter magazine. At the agency, he has represented both book and scriptwriters for over 40 years and also acts as Executive Producer for and with clients. Julian is a TEDx speaker and is the author of the Make Money Screenwriting series, co-author of The Insider’s Guide to Writing for Television, and editor of two volumes on Writing Long-Running Television series. He has taught at universities and film schools all over the world. He designed the MA in Television Scriptwriting at De Montfort University, and PILOTS (for developing long-running television series) for the EU MEDIA Programme. 

I fell in love with young adult romance from the first time I read Twilight. Teenagers feel a first-time love so deeply—especially when there are life-and-death fantastical dangers surrounding them! I couldn’t get enough of these sci-fi/fantasy love stories, so I started writing my own. These picks are for YA fans who enjoy a sprinkling of magic or an epic space battle thrown in with their heart-pounding romance.

Princess Mononoke blew my mind. And as I read about Miyazaki himself I thought: here is a kindred spirit. I thought I’d try teaching a course on Miyazaki, not sure if I could sustain a whole semester just about his work—and then I found, there’s way more than a semester’s worth to talk about. After teaching about Miyazaki for a few years, I had to write it all down. Some reviews of my book say my essays are personal, and it’s true, for better or worse—it isn’t about Studio Ghibli or the production process or even about Japan—it’s my reflections on these great films. 

I usually write queer fiction with an urban fantasy or magic realism bent, although I’ve dabbled in dystopian novels and a couple of romance novellas. I have an interest in bringing to light modern queer works that aren’t rooted in erotica or romance because I know firsthand the misconceptions that are placed on writers of gay fiction. And too often I’ve had to find tactful ways to explain what I write when people assume I’m limited by genre.

I’m an artist, designer, writer. I usually work in collage. I enjoy how the constraints of collage generate more inventive thinking, forcing me to come up with unexpected solutions. I also like how the found material retains traces of its original context. I’ve always been interested in the interplay between words and images – for 15 years I did the weekly Lost Consonants series in the Weekend Guardian – and that gradually led me to writing fiction. All my books have visual or structural elements designed to bring an additional narrative dimension to the story. Over the years, I’ve become fascinated by what makes great stories great. Hence this list.

I worked for 27 years at The Washington Post, where I won a Pulitzer Prize for International Reporting. But when I returned home in 2006, I wanted to write about my own country, and what could be more American than the movies? They’re a wonderful looking glass into the past, and my books explore the making of an iconic movie and the historical era in which it was created. My recent ones have recounted the making of The Searchers, starring John Wayne, and High Noon, the Gary Cooper classic and its connection to the Hollywood blacklist, a time of vicious conflict eerily similar to our own troubled era.

I worked for 27 years at The Washington Post, where I won a Pulitzer Prize for International Reporting. But when I returned home in 2006, I wanted to write about my own country, and what could be more American than the movies? They’re a wonderful looking glass into the past, and my books explore the making of an iconic movie and the historical era in which it was created. My recent ones have recounted the making of The Searchers, starring John Wayne, and High Noon, the Gary Cooper classic and its connection to the Hollywood blacklist, a time of vicious conflict eerily similar to our own troubled era.

An intense passion for horror fiction, both adult and teen, began very early in my life, and has never dimmed or faltered through the years. There is a depth of humanity, light and dark, that exists in this form of writing, and horror writers are not afraid to get their hands dirty. When I create my stories, I remember the books that formed this passion, the stepping stones that brought me here. These stories have shown me how beautiful horror can truly be. And, with every tale that I weave, I try to live up to their example.