Ingmar Bergman is still the doyen of cinema. He is known for masterpieces of controlled human emotion, exploring every facet of the personality in relentless detail. He wrote: "I had the possibility of corresponding with the world around me in a language that is literally spoken from soul to soul."

These two screenplays, liberally illustrated with production stills featuring actors, including his favourite actress, ex wife, Liv Ullman, are classics of the screen. They will be sought after by film students, and lovers of his films, New interest in Bergman is being generated by the recent release of Faithless, Liv Ullman's 2001 masterpiece, with a screenplay by Bergman.

Born in Sweden in 1918, Ingmar Bergman is still contributing to his canon of work.

Rapture is a vivid, timely new play that shines a revealing light on Australia's unsettled soul. It is set among smart and educated people - whose cynicism appears to answer all questions. They navigate a world of uncertainty with ease. What could possibly shock or unsettle them? Faith. When two of their number 'find God', the consequences are profound. Ethics and certainties are tested on the battleground of inexplicable belief. Long-term friendships are pushed to their limits as the faithless wrestle with the affront of moral judgement.

In 1965 there doesn't seem to be too much going on in the ranks of the South Bendigo Communist Party. Even the presence of young recruit Martin Porter has done little to inject life into the weekly grind. While Martin's mum frets about his inexplicable abandonment of the church, short hair and the army reserve, George and Eli Tassekis welcome him into their family like a second son. But Martin is an ASIO spy and he's about to get his new friends into serious trouble. Based on a true story from country Victoria, The Spook reveals the world of activity involving the Communist Party and ASIO in Australian society during the post war decades.

Jason had it all until his addiction finally caught up with him. After being court ordered to serve 28 days in a substance abuse facility, he loses it all. Jason learns to change his selfishness into charity for others as he bonds and forms a family with fellow addicts. This inspires him to develop the 28 Tee-Shirts Calendar Method.

Screenwriters and Screenwriting is an innovative, fresh and lively book that is useful for both screenwriting practice and academic study. It is international in scope, with case studies and analyses from the US, the UK, Australia, Japan, Ireland and Denmark. The book presents a distinctive collection of chapters from creative academics and critical practitioners that serve one purpose: to put aspects of screenwriting practice into their relevant contexts. Focusing on how screenplays are written, developed and received, the contributors challenge assumptions of what 'screenwriting studies' might be, and celebrates the role of the screenwriter in the creation of a screenplay. It is intended to be thought provoking and stimulating, with the ultimate aim of inspiring current and future screenwriting practitioners and scholars.

Abusive, cantankerous and burned out by booze, Leo Bailey is one of Australia's national treasures. A gifted painter and chronic alcoholic, he can no longer take care of himself. His resentful daughter has been through a succession of minders, until Therese comes along, fresh out of jail and determined to make a go of her limited options. This is a tough, funny and big-hearted play. It's about shame and judgement, about who deserves to be loved and forgiven. It looks at how people exploit each other and where they find the beauty; and the qualities of transcendence, letting go and forgiveness. (2 acts, 2 male, 2 female).

If there is one skill that separates the professional screenwriter from the amateur, it is the ability to rewrite successfully. From Jack Epps, Jr., the screenwriter of Top Gun, Dick Tracy, and The Secret of My Success, comes a comprehensive guide that explores the many layers of rewriting. In Screenwriting is Rewriting, Epps provides a practical and tested approach to organizing notes, creating a game plan, and executing a series of focused passes that address the story, character, theme, structure, and plot issues. Included are sample notes, game plans, and beat sheets from Epps' work on films such as Sister Act and Turner and Hooch. Also featured are exclusive interviews with Academy Award (R) winning screenwriters Robert Towne (Chinatown) and Frank Pierson (Dog Day Afternoon), along with Academy Award (R) nominee Susannah Grant (Erin Brockovich).

This is" "the only screenwriting guide by two guys who have actually done it (instead of some schmuck who just gives lectures about screenwriting at the airport Marriott); "These guys are proof that with no training and little education, ANYONE can make it as a screenwriter" (Paul Rudd).
Robert Ben Garant and Thomas Lennon's movies have made over a billion dollars at the box office--and now they show you how to do it yourself This book is full of secret insider information about how to conquer the Hollywood studio system: how to write, pitch, structure, and get drunk with the best of them. Well...maybe not the best of them, but certainly the most successful. (If you're aiming to win an Oscar, this is not the book for you ) But if you can type a little, and can read and speak English--then you too can start turning your words into stacks of money
This is the only screenwriting book you will ever need (because all other ones pretty much suck). In these pages, Garant and Lennon provide the kind of priceless tips you won't find anywhere else, including:
- The art of pitching
- Getting your foot in the door
- Taking notes from movie stars
- How to get fired and rehired
- How to get credit and royalties
And most important: what to buy with the huge piles of money you're going to make
"Writing Movies for Fun and Profit" will take you through the highs and lows of life as a professional screenwriter. From the highs of hugging Gisele Bundchen and getting kung fu punched by Jackie Chan to the soul-crushing lows of "Herbie: Fully Loaded."
Read this book and you'll have everything you need to make your first billion the old-fashioned way--by "selling out" in show business
A portion of the authors' proceeds from this book are being contributed to the USO of Metropolitan Washington, a private, nonprofit organization dedicated to serving active duty military members and their families in the greater Washington, DC, region.

The complete Fleabag. Every Word. Every Side-eye. Every Fox. Fleabag: The Scriptures includes the filming scripts and the never-before-seen stage directions from the Golden Globe, Emmy and BAFTA winning series. 'Perfect' Guardian 'Perfect' Daily Telegraph 'Perfect' Stylist 'Perfect' Independent 'Perfect' Evening Standard 'Perfect' Metro 'Perfect' Irish Times 'Perfect' RTE 'Perfect' Spectator 'Perfect' Refinery29 'Perfect' Catholic Herald 'Perfection' Financial Times *** HAIRDRESSER NO. (pointing to Claire) That is EXACTLY what she asked for. FLEABAG No it's not. We want compensation. HAIRDRESSER Claire? CLAIRE I've got two important meetings and I look like a pencil. HAIRDRESSER NO. Don't blame me for your bad choices. Hair isn't everything. FLEABAG Wow. HAIRDRESSER What? FLEABAG Hair. Is. Everything. We wish it wasn't so we could actually think about something else occasionally. But it is. It's the difference between a good day and a bad day. We're meant to think that it is a symbol of power, a symbol of fertility, some people are exploited for it and it pays your fucking bills. Hair is everything, Anthony.

Three Aboriginal girls have been forcibly removed from their outback families in 1931 to be trained as domestic servants, as part of official government policy. They escape and begin a 1500-mile journey home using a rabbit-proof fence as a guide, with authorities chasing them all the way. Adapted fro m Doris Pilkington Garimara's book 'Follow the Rabbit-Proof Fence', which is based on her mother's true story.

Everything but the Script: Professional Writing in the Entertainment Industry introduces readers to the lesser known yet critically important forms of writing within the industry. The book offers insight into how these "hidden" but potentially lucrative writing practices determine the way in which creative work is understood, discussed, and "processed" as a potential sale or green light, as well as the role it plays in the development and marketing of a project. The book is divided into two main sections that mirror the filmmaking process. The first section covers acquisition, development, and preproduction; the second is devoted to production, distribution, and exhibition. Readers learn how to create an effective synopses, draft productive critical comments for script coverage, develop and refine story notes to help writers progress from draft to draft, write effective pitch letters to potential collaborators, and generate dynamic written materials to support a successful publicity campaign. Drawing from the author's extensive experience within the entertainment industry, Everything but the Script is an excellent resource for courses and programs in film and media studies.

"Contemporizing the Classics: Poe, Shakespeare, Doyle" is a how-to on the art and craft of transforming a classic into a feature-film screenplay with a modern storyline.

The introduction probes an issue that weaves throughout: role of artistic license in balancing fidelity to the original versus dramatic needs of the script.

Contemporization of a classic being the most flagrant form of dramatic license, the introduction presents three guidelines for a considered exercise thereof.

Each part debuts a feature-film script that resets a classic work(s) in the present.

Part One offers a contemporary visualization of Macbeth, in the process turning an Elizabethan tragedy into a dramatic comedy.

Part Two applies the guidelines to several renowned works by Edgar Allan Poe.

Arthur Conan Doyle's "The Hound of the Baskervilles" having frequently screened as a period piece, Part Three gives the hound a twenty-first century twist.

From the Academy Award--winning Eternal Sunshine of the Spotless Mind (2004) and Academy Award--nominated Adaptation (2002) to the cult classic Being John Malkovich (1999), writer Charlie Kaufman is widely admired for his innovative, philosophically resonant films. Although he only recently made his directorial debut with Synecdoche, New York (2008), most fans and critics refer to "Kaufman films" the way they would otherwise discuss works by directors Woody Allen, Martin Scorsese, or the Coen brothers. Not only has Kaufman transformed our sense of what can take place in a film, but he also has made a significant impact on our understanding of the role of the screenwriter. The Philosophy of Charlie Kaufman, edited by David LaRocca, is a collection of essays devoted to a rigorous philosophical exploration of Kaufman's work by a team of accomplished scholars from a wide range of disciplines. Including a new preface by the editor, this volume offers original philosophical analyses as well as extended reflections on the nature of film and innovative models of film criticism.

This collection of twenty essays originally presented at the Eleventh International Conference on the Fantastic in the Arts contains five parts: on fantasists and their work, contemporary fantastic theory and practice, studies in the British and European fantastic, studies in American fantasy and science fiction, and sex and techno-horror in fantastic literature and film.

What all the essays here have in common is that their authors are all aware of the tremendous latent power, for good and ill, of the fantastic text. We are given timely reminders of the dangers, as well as the appeal, of elves and how narrators in fantastic fictions take advantage of our desire to be part of a narrative community. We learn how some contemporary fantasists assimilate literary and scientific theory, while others seem in their fiction to require a new sociology to account for it.

Describing in detail precise differences between the psychological experience of reading a novel and watching a movie, "Make Believe in Film and Fiction" shows how movies' unique magnification of movements produces stories especially potent in exposing hypocrisy, the spread of criminality in contemporary society, and the relation of private experience to the natural environment. By contrasts of novels with visual storytelling the book also displays how fiction facilitates sharing of subjective fantasies, frees the mind from limiting spatial and temporal preconceptions, and dramatizes the ethical significance of even trivial and commonplace behavior, while intensifying readers' awareness of how they think and feel.

Jim Carrey is Truman Burbank, the most famous face on television, only he doesn't know it. He is the unwitting star of a nonstop, 24-hour-a-day documentary soap opera called The Truman Show, with every moment of his life broadcast to a worldwide audience. Everyone around him is an actor. He is a prisoner in a made-for-TV paradise. This is the story of his escape.

Rarely has a first-time collaboration between a writer and director produced such a stunning result. In this book, both Niccol and Weir's lively talents and creative force come to light, as each contributes some highly original material to amplify the brilliant107-page shooting script, reproduced here in facsimile. Niccol has given us another version of The Truman Show, in photos and captions--in effect, our very own photo album. For his contribution, Peter Weir chose to let us in on the intricately detailed, often hilarious "backstory," which he wrote as part of his preparation, and eventually shared with the cast and crew during production. Also included are complete cast and crew credits.