Word: screenplays
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...storyline of "Night and the City" reads like a bad choose-your-own-adventure novel in which every decision is wrong. Who deserves the credit for this drivel? Richard Price wrote the screenplay, adapting it from Jo Eisinger's original 1950 version, which itself was based on the Gerald Kersh novel. You decide...
Gomez's advice to young filmmakers: "Make mistakes, make mistakes. Write the screenplay after you know how much money you have." He says he knows he can always make another film for $40,000, so he can maintain a bit of independence...
HORTON FOOTE'S GIFTS FOR MOOD, DIAlogue and vignette won screenplay Oscars for To Kill a Mockingbird and Tender Mercies and gave Geraldine Page unforgettable moments in The Trip to Bountiful. But his stage plays suffer from haphazard , structure, predictable plot and an inability to invest poignant incidents with larger significance. These faults beset THE ROADS TO HOME, which opened off- Broadway last week under the author's direction. The cast of nine, an army on the tiny stage, seems thin and the story wan. But Emmy winner Jean Stapleton and the author's daughter Hallie glow as two Texas...
This intensity can be overwhelming. The novel is structured as a screenplay, and while this form is strikingly visual, it also makes for a jerky and disjointed narrative. At times, the story line seems about to collapse under the weight of all the explosive jokes and images. But what Negrohobia lacks in coherence it make up for in energy and inventiveness. James pulls no punches with his caricatures; both black and white concepts of race are adeptly, savagely satirized. He gets in especially sharp jabs at Black nationalism with his screeching Uncle H. Rap Remus, a preacher who leads...
...works of this wonderful writer (the plays Reckless and Blue Window, the screenplay Longtime Companion) pirouette impishly on themes as deep as the earth. His pieces begin as modern sophisticated comedies with the brisk banter of naturalism; then they spiral into tragedy and, finally, liberation from fears of madness, isolation, death. But not until his 1990 play, Prelude to a Kiss, did Lucas find the perfect blend of style and subject. The combatants here are the human body and the human urge to love. The first is impermanent, the second imperishable. For once an ad line gets the sense...