Word: script
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...Curbs on religious freedom have been accompanied by cultural restrictions. The Uighur language, written in Arabic script, has been steadily phased out of higher education, having been once deemed by Xinjiang's Communist leader to be unsuitable for China's "scientific development." Uighurs in Xinjiang are often denied the right to travel outside of China, or even within it. Those who do manage to move to China's major cities eke out a desperate living as migrant workers, often viewed with distrust and suspicion by the larger Chinese population. The immediate cause of Sunday's protest in Urumqi appears...
Moneyball • final script turned in for by the director of (Steven Soderbergh) results in the studio pulling the plug...
...easy character to approach. There's something iconic about his presence in American gangster lore, and you also have him as portrayed by Johnny Depp, a very inward guy who offers glimpses of being gregarious. Getting that inner turbulence across was a challenge. The one thing about the script that intrigued me was the collision between the rural Dust Bowl and the new, shining, amazing city of Chicago, with all that amazing architecture. You can almost imagine Steinbeck's America, Grapes of Wrath, in stark contrast with the high fashion of Chicago in that period. So the music in that...
Allen unabashedly loved the city in its grimy, dangerous years; his 1979 Manhattan opened with fireworks over Central Park, to the strains of Gershwin's Rhapsody in Blue. That's when the script for Whatever Works first took shape. Today the city is spiffier, and Boris is mired in '70s disgust. But Allen isn't; he's a tour guide to local attractions, from the Statue of Liberty to Madame Tussauds on the Disneyfied 42nd Street. It's a vision of New York City as the welcomer and transformer of all lost souls, possibly including Boris the grouse...
...lovers, yet even the most romantic-minded moviegoer will likely struggle with them as exemplars of true love. He's a shallow fop, she's a jaded businesswoman. There's more hauteur than heat in the way they interact, and the tenor of Frears' film and Christopher Hampton's script tends to the dispassionate, much like Colette's writing. Emotionally speaking, the pacing is languorous; almost all of the film's impact is delivered in its last minutes, when you've almost given up on it. (See the 100 best movies of all time...