Word: scripting
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Dates: during 1990-1999
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Eventually, management did kick us out. Reluctantly, we gathered our belongings and headed out the door. I started to wonder if, thirty years from now, the four of us could still get together and play out the same script all over again...
Eyre and Alexie are also lining up future projects. Eyre is readying a biopic about imprisoned activist Leonard Peltier. Alexie plans on directing a script based on his 1996 book Indian Killer, sort of a Native American Psycho involving a murderer who scalps his victims. Though he'll continue with novels and poetry, Alexie has staked out his new territory. "I love the way movies have more power than books," he says. "They continue the oral tradition, the way we all sit around the fire and listen to stories." And in them, the Indians...
...after another late night at the office, lounging with a photo journal in her bathtub, where she notices that a pipe from the apartment immediately upstairs from hers has sprung a leak through her ceiling. Cholodenko, whose script won the Screenwriting Award at this spring's Sundance Film Festival, is nonetheless more than willing to throw in a few unlikely convolutions--the landlord doesn't answer his phone (apparently for days), Syd has a way with a wrench and some duct tape--to shuttle her protagonist into the upstairs den of depraved sophistication where her story will take...
...Unknown City is a cogent and at times, exhausting read. The impact of the book lies in the unmerciless truth of its subject matter. This is not a movie or TV miniseries of the week. In The Unknown City the screenplay is that of life; the script that of experience. The interviewees are not fictional characters, but real people divulging the most intimate and, oftimes, humiliating details of their lives. And this is why, unless you are using it for a research paper, The Unknown City can be hard to get through. Perhaps it is a function of a culture...
...sometime friend and co-star Jack Nicholson said it simply and best: "He gave us our freedom." By which he meant that Brando's example permitted actors to go beyond characterizations that were merely well made, beautifully spoken and seemly in demeanor; allowed them to play not just a script's polished text but its rough, conflicting subtext as well...