Word: scripting
(lookup in dictionary)
(lookup stats)
Dates: during 1950-1959
Sort By: most recent first
(reverse)
...speaks French, German. Italian and Spanish (plus devastatingly accurate American of several regions), gives funny, plausible imitations of languages he does not speak, e.g., Russian with a Japanese accent, can make noises like a talking dog. a bugle, a violin, flute, bassoon or harpsichord. He is halfway through the script of a novel. And he has been doing this sort of thing for half of his life. Says Ustinov: "This talk of Wunderkind gets more intense as I grow older and the white hairs crop out in my beard...
...Manhattan's Ritz Tower, quietly went to work on a story which no one wanted. A war novel, it had been kicking around producers' offices for about eight years, was considered too diffuse and sprawling for the screen. Lichtman liked it anyway, painstakingly turned out a script, came out of retirement at Fox's request, saw The Young Lions through production, died a month before its release...
...holes in pants pockets, in-laws, self-improvement, reformers and movie censorship ("Upon what kind of filth do these our censors feed, that they have become so pure?"). Though he draws on a subject file of 6,000 cross-indexed listings for his conversational ploys, Gibson never uses a script, a Teleprompter or an "idiot card," even ad-libs his commercials. He makes it a jaunty habit to breeze into the radio studio scant seconds before air time, hits his chair talking...
...play need not be so dour and melodramatic as Director Michael Kirby makes it. He has almost all of his characters bluster at each other from the moment the show begins. There are many scenes in which he rides roughshod over the poetry of the script. The small insights into character are one of Garcia Lorca's main assets as poet and play-wright, and by throwing them away he hamstrings the whole production. A bit of humor as well as more understanding and less frenetic acting would give the play vastly more verisimilitude, and in consequence make the tragedy...
...woman and portraying a woman. Thus she misses the tenderness that must go with the hate that she must feel almost against her will. She captures little of the depth of soul or wisdom from suffering--"We want to hear the things that will hurt us"--that the script would seem to grant her. Richard Galvin as the Bridegroom seems slightly foppish in the part and his stage presence is at times lacking. John Heffernan is perhaps the best actor on the stage in the extremely difficult part as the lover of the Bride. As his wife, Roz Faber likewise...