Word: screenplays
(lookup in dictionary)
(lookup stats)
Dates: during 2000-2009
Sort By: most recent first
(reverse)
...crowd, Milk in New York and, in L.A., Pixar's summer hit WALL-E (which won for Animated film in the other groups). Best directors were David Fincher for Benjamin Button (NBR), Danny Boyle for Slumdog (D.C. and L.A.) and Mike Leigh for Happy-Go-Lucky (New York). Screenplay prizes were allotted to Slumdog, Benjamin Button, Happy-Go-Lucky, Rachel Getting Married and Gran Torino. Art-house habituées may wish to know that Man on Wire was judged best documentary by all four groups (the only clean sweep), and that the best foreign-language films were Mongol...
There's nothing that I wouldn't repeat if there was a new take or new dimension to it. A great role in a great screenplay, I'll never say no to. There are a lot of areas that I really want to approach. I would love to do more "real person" screenplays, somebody's life, like the average hero. I think there's a ton of historic Latin people whose stories need to be told. My dream is to do what I do on stage, on film. That's my huge quest in life. I want to take...
...play off of Brecher's uncredited role as script editor on The Wizard of Oz--also bestowed on Brecher the nickname "The Wicked Wit of the West." Brecher used that wit to create the long-running radio series The Life of Riley and pen the Academy Award--nominated screenplay for Meet Me in St. Louis...
...Blackpool, the Coney Island of England, and so won a scholarship to Cambridge. He loved jazz and American movies, so he got a grant to study at Yale and Harvard, and within a year the most famous person in the world, Charlie Chaplin, asked him to collaborate on a screenplay. He chafed under authority, so he got the BBC to let him do a Letter from America, in which he'd talk for 15 minutes a week on whatever he liked; that gig lasted for 58 years. What he didn't like was his drab name, Albert, so he changed...
...intensity of its misogyny, money worship and drug euphoria was embraced by hip-hop and gangsta rap. Scarface, Tucker claims, was more than just vulgar escapism. As the story caught on with urban audiences via home video, fans started filling in and expanding the story - going beyond the literal screenplay to construct alternate meanings and messages. Gradually it became a rallying cry for a subculture that was, in the early 1980s, just coming into its own. "A quarter-century after its release," Tucker writes, "it remains elusive yet pervasive, the movie that will not go away, but which pops...