Word: scripting
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Dates: during 1950-1959
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...wonder, with such a large and subtle character to draw, that the studio hired a gifted novelist, Christopher Isherwood, to write the script for this picture. No wonder that expense was damned in the effort to make settings splendid and costumes rich, and all authentic to the period in the least detail. By all that literary art and cinematic craft could do, the way was prepared for the heroine of history, and suddenly, in a sputter of high heels and a clatter of false eyelashes, she arrives on the scene-the most cultivated woman of the French Renaissance: Lana Turner...
Speaking about the relation of playwright to director Anderson praised Kazan's genius, describing how he works up to a play by studying the author as well as the script. Anderson didn't think much of the idea of a writer-director. He said he was personally glad to have someone else work with the actors to get at his meaning, especially a director like Kazan, who he feels has a knack for getting a great deal out of the actor. By revealing personal things about himself, Anderson explained, Kazan gets his actors to do the same--making their experience...
Richard Brown '57, who did the score for Pinocchio, the Theater's fall production, will write the music for the play. Script writing competition will be open until Feb. 5. Beverly Butte '58 will produce the play...
...Dreyfus story is extremely complicated, and if it sometimes appears totally confused in the film, the script-writer can hardly be blamed. The affair began in 1894, when some secret French defense plans leaked into German hands. The commanders of the French army picked Captain Alfred Dreyfus, the only Jew on the General Staff, to take the blame, and after and absurd court-martial sent him to Devil's Island. Eventually, of course, the novelist Emile Zola came to his aid, with the result that the Captain finally received his freedom and the award of a Legion of Honor...
...assigned the mount on Seabiscuit," says Alexander. "A few days before the race, a national network asked me to conduct a two-way radio program between Woolf in a Boston broadcasting studio and Pollard in his hospital room. I gave Pollard, whose leg was in traction, a carefully prepared script, but he dropped it on the floor at a crucial point of the broadcast . . . Woolf had just asked The Cougar how he should ride Seabiscuit in the match. 'Why, Georgie boy,' Pollard ad-libbed, 'just ride your usual race. Get left at the post and louse...