The most innovative and creative screenwriting book yet, from an author who knows first-hand what it takes to get a movie made.

Based on an award-winning website hailed as "smart enough for professional screenwriters and accessible enough for aspiring screenwriters", Crafty Screenwriting is the first book not only to offer a successful screenwriter's tricks of the trade, but to explain what development executives really mean when they complain that the "dialogue is flat," or "the hero isn't likeable." Fresh, provocative, and funny, Alex Epstein diagnoses problem that other screenwriting books barely address, and answers questions they rarely ask, like "Why is it sometimes dangerous to know your characters too well before you start writing," or "Why does your script have to be so much better than the awful pictures that get made every day?" As a development executive who has accepted and rejected countless screenplays, and a produced screenwriter himself, Epstein can take you into the heart of the most important question of all: "Is this a movie?" A crucial book for anyone who has ever wondered what it takes to get their movie made.

Adapted for the screen by the author from her enormously successful novel about Josie Alibrandi and her relationship with her friends and family in her last year at school. Includes stills from the film and an introduction from the author.

"Stalag 17" (1953), the riveting drama of a German prisoner-of-war camp, was adapted from the Broadway play directed by Jose Ferrer in 1951. Billy Wilder developed the play and made the film version more interesting in every way. Edwin Blum, a veteran screenwriter and friend of Wilder's, collaborated on the screenplay but found working with Wilder an agonizing experience.
Wilder's mordant humor and misanthropy percolate throughout this bitter story of egoism, class conflict, and betrayal. As in a well-constructed murder mystery, the incriminating evidence points to the wrong man. Jeffrey Meyers's introduction enriches the reading of "Stalag 17" by including comparisons with the Broadway production and the reasons for Wilder's changes.

Based on the Novel and with an Introduction by James Ellroy

L.A. Confidential

Now a Major Motion Picture from Warner Bros.

Los Angeles in the early '50s. A booming city anxious to shed its small-town skin. A city being touted as the metropolis of the future, L.A. is practically paradise on earth. That's the image. The reality is something different. From its fabulous mansions to its sizzling nightclubs, it's a city of corruption, double-dealing, and dangerous passions. A horrific mass murder shatters the simmering facade as three cops, each with his own private agenda for solving the case, are inextricably linked in a dangerously tightening spiral where justice and truth may cost them everything.

Based on James Ellroy's epic masterpiece, this screenplay of L.A. Confidential is being published to coincide with the release of the Warner Bros. film starring Kevin Spacey, Russell Crowe, Guy Pearce, James Cromwell, David Strathairn, Kim Basinger, and Danny DeVito.

L.A. Confidential has the critics raving!

"A flawless ensemble cast and style to burn ... boiled down beautifully from James Ellroy's labyrinthine novel."

-Janet Maslin, New York Times

"An electrifying thriller ... L.A. Confidential brings the rancid thrill of corruption cracklingly alive."

-Owen Gleiberman, Entertainment Weekly

"Jazzy, stylish, smashing film noir ... with a surprise in every scene."

-Rex Reed, New York Observer

"Expertly written ... rich and clever ... one of the best films of the year."

-Jeffrey Wells, L.A. Times Syndicate

"Terrific entertainment, as funny as it is nasty .... This may be the best noir storytelling since Chinatown."

-David Thomson, Esquire

"An irresistible treat, with enough narrative twists and memorable characters for a half-dozen films .... L.A. Confidentialis an almost overwhelming reminder of the pleasures of deeply involving narratives in the old Hollywood sense."

-Todd McCarthy, Daily Variety

Foreword by Jeremy Irons, preface by Adrian Lyne. Based on the novel by Vladimir Nabokov, Schiff tells the astounding story behind the most controversial movie of our time. 75 movie stills. "Like Nabokov's novel, it is an eloquent tragedy laced with wit and a serious, disturbing work of art..." - The New York Times

This collection consists of one-act plays which include stage, television and radio dramas, translated from the original isiZulu. The differences between these three types of plays are made apparent in the way they have been written.

Die Drehbuchforschung ist ein junges, sich rasch entwickelndes internationales Forschungsfeld. Der Sammelband fuhrt Forschungen aus dem deutschsprachigen Raum zusammen, die sich mit dem Drehbuch als schriftliches Artefakt und als Teil des Produktionsprozesses auseinandersetzen. Neben grundlegenden theoretischen Konzepten der Drehbuchforschung stehen historische und archivbasierte Analysen sowie gegenwartsbezogene Problemstellungen im Vordergrund. Praxisnah finden ausserdem Akteure und Ablaufe der Drehbuchentwicklung sowie Fragen der Dramaturgie Beachtung. Der Sammelband verschafft somit einen UEberblick uber die Bandbreite interdisziplinarer Ansatze des Forschungsfeldes und veranschaulicht das Erkenntnispotential der aktuellen Drehbuchforschung.

A major release from Initial films for Channel Four starring Stephen Rea and Richard Harris. Award-winning writer Billy Roche and director Gillies Mackinnon create a strange compelling world on the edge of society Eddie is a small-town hawker who dreams of a business of his own. Treated as little more than an errand boy by his employer John Power, the godfather of the local traveller community, his modest ambitions seem far beyond his grasp until Power becomes obsessed with a young traveller girl, Kathleen. On the night of their wedding Kathleen elopes with Power's nephew, Dermot, and GBP11,000 in dowry money. Eddy aids their escape and finds himself inextricably embroiled in the violent consequences..."A feisty flavourful script from Billy Roche...Trojan Eddie will please audiences still in search of old-fashioned storytelling values" Screen International

Winner of the 1996 BAFTA for Best Single Drama Jane Austen's classic novel is the story of Anne Elliot. Engaged eight years previously to a young navel officer, Frederick Wentworth, she allowed herself to be persuaded by a trusted family friend that the young man she loved wasn't an adequate match, and that she had better prospects. The scene opens some seven years after Anne has refused the love of her life when Frederick Wentworth returns from the sea, in search of a wife. Nick Dear's critically acclaimed screen play was first screened on BBC2 in April 1995 and was subsequently released worldwide as a feature film.

In a field being transformed by technology, Syd  Field shows you what works and why and how to find  new ways to create a truly outstanding film using  four extraordinary examples: Thelma &  Louise, Terminator 2: Judgement  Day, The Silence Of The  Lambs, and Dances With  Wolves.

Set during the early 1950s, this story of love and linguini, purity and compromise--soon to be a major motion picture from MGM--takes a poignant and pointed look at Old World vs. New World values and provides a rueful assessment of the American Dream. In a New Jersey town, two Italian immigrant brothers stuggle to keep their restaurant afloat. Includes recipes.

The hilarious, Academy Award-nominated screenplay that features six old friends, three disastrous receptions, a tongue-tied priest, and the role that made Hugh Grant the world's favorite bumbling bachelor.

Toasted by romantics and cynics, critics and fans, Four Weddings and a Funeral grossed more than $250 million worldwide, garnered Academy Award nominations for Best Picture and Best Original Screenplay, and was unanimously pronounced the romantic comedy of the 90s.

Richard Curtis's smart, irreverent, and brilliantly crafted screenplay will delight fans of the movie, as well as screenwriters and film students. From the first spoken line (see page 7) to the last ("I do"), it's a jubilant celebration of friendship, romance, and good humor.

The second in a series: the master filmmaker's prose scenarios for four of his notable films On the first day of editing Fata Morgana, Werner Herzog recalls, his editor said: "With this kind of material we have to pretend to invent cinema." And this, Herzog says, is what he tries to do every day. In this second volume of his scenarios, the peerless filmmaker's genius for invention is on clear display. Written in Herzog's signature fashion-more prose poem than screenplay, transcribing the vision unfolding before him as if in a dream-the four scenarios here (three never before translated into English) reveal an iconoclastic craftsman at the height of his powers. Along with his template for the film poem Fata Morgana (1971), this volume includes the scenarios for Herzog's first two feature films, Signs of Life (1968) and Even Dwarfs Started Small (1970), along with the hypnotic Heart of Glass (1976). In a brief introduction, Herzog describes the circumstances surrounding each scenario, inviting readers into the mysterious process whereby one man's vision becomes every viewer's waking dream.

When it appeared in 1960, the inspired fun of Francois Truffaut's Shoot the Piano Player shocked and delighted critics and audiences around the world. Its sudden shifts of tone and mood, its willful play with genre stereotypes, and its hilarious in-jokes clearly signaled that Jean-Luc Godard's equally innovative Breathless of the same year was not a fluke. The two films heralded the arrival of the so-called New Wave, sharing with other New Wave films an insistence on low-budget, location shooting and, above all, on cinema as the personal statement of an author. These films had a tremendous impact on all cinematic practice. Peter Brunette's introduction to this book gives us new insight into the film, based in part on revisualizing it in terms of recent postmodern and poststructuralist thinking. He argues, in effect, that Truffaut was one of the directors who paved the way for a postmodern aesthetic. The volume also contains a complete and accurate continuity script of the film (based on the authoritative, wide-screen version), a series of interviews with Truffaut (including one by Helene Laroche Davis, previously unpublished), a large number of reviews and essays, a filmography, and selected bibliography. Peter Brunette is a professor of English and film studies at George Mason University. He is the author of Roberto Rossellini and co-author of Screen/Play: Derrida and Film Theory.

Douglas Sirk (Claus Detler Sierck) was born in Hamburg, Germany, in 1900. He made nine films before fleeing Nazi Germany, eventually coming to America. His best-known films, made during the 1950s--all of them melodramas--were "Magnificent Obsession," "All That Heaven Allows," "The Tarnished Angels," "Written on the Wind," and "Imitation of Life" (made in 1958, released in 1959).

Because of the special stamp he put on his melodramas, Sirk's best works transcend the constraints of their genre. In them, he both exemplified and critiqued postwar, conservative, materialistic life and its false value systems. There is much in Sirk, particularly in "Imitation of Life," that is of interest to us today. The time seems to be right for a new look at the film, its reception amidst scandal over the affairs of its star--Lana Turner--the relationships between its mothers and daughters, the tensions between its men and its women, the friendships between its black and white women, and the ambiguous, controversial approach of Sirk to his material.

This volume includes the complete continuity script of the film, critical commentary and published reviews, interviews with the director, and a filmography and bibliography. It also includes an excellent introduction by Lucy Fischer.

Six independent African American filmmakers, including Charles Burnett, director of the film To Sleep with Anger, are represented in this collection by screenplays produced from 1973 to 1989. They speak in their own voice, a black voice which has resisted the cultural dominance of Hollywood. Phyllis Rauch Klotman introduces each screenplay provides a biographical sketch of the filmmaker, and lists the casts and production credits for each film: Ganja and Hess, Killer of Sheep, Losing Ground, Illusions, A Different Image, and Sidewalk Stories.

Invasion of the Body Snatchers (1956) is a low-budget science fiction film that has become a classic. The suspense of the film lies in discovering, along with Miles, the central character (played by Kevin McCarthy), who is "real" and who is not, and whether Miles and Becky (played by Dana Wynter) will escape the pod takeover. As the center of the film moves outward from a small-town group of neighbors to the larger political scene and institutional network (of police, the FBI, hospital workers), the ultimate question is whether "they" have taken over altogether. Although Invasion can be interpreted in interesting ways along psychological and feminist lines, its importance as a text has centered primarily on political and sociological readings. In his introduction to this volume, Al LaValley explores the politics of the original author of the magazine serial story on which the film is based, Don Siegel; and of its screenwriter, Daniel Mainwaring. And he looks at the ways the studio (Allied Artists) tried to neutralize certain readings by tacking on an explanatory frame story. The commentary section includes readings by Stephen King, Peter Biskind, Nora Sayre, and Peter Bogdanovich. A section of postproduction documents reproduced here (many for the first time) includes many written by Wanger and Siegel. The volume also contains two previously unpublished framing scripts written for Orson Welles. For students and individual enthusiasts, the contextual materials are particularly interesting in showing how crucial the postproduction history of a film can be. A filmography and bibliography are also included in the volume. Al LaValley is the director of film studies at Dartmouth. He is the author of many articles on film and editor of Mildred Pierce in the Wisconsin screenplay series.

One spring morning, a quiet, shy man in his sixties sets out from Land's End to walk the length of his native land. He has never walked more than a dozen miles in his life before, his health is uncertain, his boots are new, and he is too diffident to talk to anyone he meets along the way.

His slow, solitary progress up the spine of Britain is watched by an unseen audience--his family and friends at home. How far will he get before he is forced to give up? Is he being heroic or merely selfish?

As the days of his absence go by, the old alliances and quarrels inside the family shift and alter. What emerges is a story about the arbitrariness of human endeavor, the tenacious complexity of human relationships, one man's glimpse of the country he lives in, courage, and love.

"One of theatre's subtlest, most sophisticated minds."--"The Times"

"First and Last" was directed by Alan Dossor in a production for BBC television with Joss Ackland as the walker.

The complete screenplay and credits with dozens of photos from the 1998 film. "A carnival! A wonderland! A weekend with nine Friday nights! Terry Gilliam's lavish dreams are beyond those of mere mortals." - Harlan Ellison

This film is the essence of thirties screwball comedy. It is also quintessential Howard Hawks, treating many of the director's favourite themes, particularly the loving war between the sexes. Criticized by some reviewers when it was released for its dependence on a prepostorous plot employing comic cliches and stereotypes, few recognized it as a potential classic. The introduction of this book gives the production history of the film. It also provides a biographical sketch of Hawk's career. The original story by Hagar Wilde, on which the film is based, is reprinted as well. Also included are an interview with Hawks by Joseph McBride, reviews, essays by Stanley Cavell, Peter Wollen and Gerald Mast and a filmography.

The fifth title in the Rutgers Films in Print Series, "Letter from an Unknown Woman" is directed by Max Ophuls and based on the novella by Stefan Zweig. It is the story of Lisa, a young girl who rejects the constricting life of her small town and family in order to dedicate her life to a musician, Stefan. The film's elegant fin-de-siecle Viennese setting, lyrical camera work, dispassionate and ironic point of view, and fine performances by Joan Fontaine and Louis Jourdan elevate what could have been a mere tearjerker into one of Ophuls's finest works.

This volume provides a detailed transcription of the 1948 film. Notes appended to the film's continuity script detail all the significant differences between the finished film and the shooting script.

Wexman's introductions to each of the book's sections discuss the history of the film's reception and provide an overview of the central issues the film has raised. A cross section of commentary by well-known critics attests to the film's enduring position as a central text for cinema study. These essays acknowledge the film's significance as a preeminent example of Ophuls's art, as an important woman's film, and as a representative of the classic Hollywood style. A biographical sketch of Ophuls, the entire Zweig novella, a bibliography and other background materials are also included.

Introductions, the motion picture treatments, credits and screenplays for these two movies by James Ivory.

"Considered by many critics to be one of Welles's great works, the film gets a superb review in this first-rate anthology. . . . Recommended." --Film Study "This is a welcome addition to the growing collection of scripts of film classics, one to put on the shelf next to Welles's Citizen Kane. . . . Recommended." --Choice Welles is by consensus one of the most talented film directors who ever worked in Hollywood, and this flamboyant film--a 1958 exploration of the thriller form--is one of his greatest achievements. Comito's introduction considers the film's relation to the tradition of film noir and demonstrates how Welles's mastery of cinematic language transforms the materials of a routine thriller into a work that is at once a sardonic examination of the dark side of sexuality, and elegiac rumination on the loss of innocence, and a disquieting assault on the viewer's own moral and aesthetic certainties. Other contextual materials in the book include a biographical sketch of Welles; an important interview with Welles by Andre Bazin, Charles Bitsch, and Jean Domarchi, available here for the first time in English; an interview with Charlton Heston on the making of the film; representative reviews; critical essays by William Johnson, Jean Collet (translated especially for this book), and Stephen Heath; an analysis of the relation of the complete film to Welles's recently discovered shooting script; and a filmography and bibliography. The continuity script collates the two available versions of Touch of Evil and provides an invaluable, shot-by-shot guide through the visual and audio complexities of Welles's masterpiece.

"The Marriage of Maria Braun" is the fourth volume in the Rutgers Films in Print Series and the most contemporary of those to appear in it thus far. Because of the enormous influence of New German Cinema and the importance of Fassbinder himself, the film is already considered a classic. "Maria Braun" is its director's attempt to recount and assess postwar German history through the personal example of his main character, played brilliantly by Hanna Schygulla. It is also a tribute to the Hollywood directors of the women's movies of the thirties and forties. Maria, and in the loose allegory Fassbinder has constructed, Germany itself, in their cold acquisitiveness and materialism, melodramatically rise from the ashes of World War II only to veer toward an inevitable doom that takes the film full circle, recalling the film's opening shots of a city reduced to rubble.

This volume contains the editor's introduction, a chronology of the the years 1943-1954, a biographical sketch of Fassbinder, the full transcript of the film as released, notes on the shooting script, interviews with the scriptwriter and director, commentary on Douglas Sirk by Fassbinder, reviews, commentaries by Thomas Elsaesser and Sheila Johnston, a filmography, and a bibliography.