These texts represent a clean distillation of the filmmaking process, and the fundamentals of lighting, set design, editing, costumes and more. Of special note, are Mr. Hubbard’s writings on acting—a field that, because it mirrors life itself, obviously intrigued him. In particular, he objected to psychology’s intrusion into the art as advocated by the Stanislavsky Method, and the popular notion that the actor must “graft” his own psychological suffering onto his role with what has been perplexingly described as “a free flow of psychic energy from [the] unconscious.” Regardless of meaning, it is a long and emotionally painful process. To the writer and real actor, Mr. Hubbard declared, such methods were disastrous, and, in fact, “directly contrary to the role of an artist.”