Word: scripting
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Dates: during 2000-2009
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...from one typist to some departed others, I write farewell to Malvin Wald, 90, whose script for the 1948 The Naked City served as basis for hundreds of police procedurals (and the excellent TV series); to Ennio De Concini, 84, a screenwriter for nearly 60 years in the Italian film industry, and an Oscar-winner for the sublimely misanthropic Divorce Italian Style; and to Golden Age TV dramatists Abby Mann, 80 (Judgment at Nuremberg), William Gibson, 94 (The Miracle Worker) and Tad Mosel, 86, who later wrote Up the Down Staircase for director Robert Mulligan, and whose Broadway adaptation...
...Hanks was not sticking to the script. Called up to the stage by Sony boss Sir Howard Stringer during the keynote speech on the opening day of the Consumer Electronics Show Thursday morning, Hanks exsanguinated the hand that...
...born nor bred into the upper class, these writers made class their theme: the resentment and suspicion the unders had for the uppers, which Pinter stripped of overt political references and flipped into the power that one person exercises with cool brutality over another. The TIME description of his script for the 1963 film The Servant - that it was "acid splashed into the wound of class distinction" - could apply to much of Pinter's work: an outsider's unblinking view of the sadism with which the haves humiliate the have-nots...
...Though his plays became sparer and less frequent, he remained an industrious producer of scripts, especially for the movies. Assigned all manner of British novels to adapt, he turned virtually all of them - The Servant, The Pumpkin Eater, The Quiller Memorandum, Accident, The Go-Between, The French Lieutenant's Woman, The Handmaid's Tale - into parables of class inequity and betrayed alliances. (He also did a starchy version of F. Scott Fitzgerald's The Last Tycoon and, for his last script, an ugly botch of the Anthony Shaffer thriller Sleuth.) He directed other men's plays, notably Simon Gray...
...play in Lee's novel, which after all is cast not as a Scottsboro Boys-style docudrama of racial injustice in the '30s but as a daughter's loving evocation of her dad, seen through a child's eyes. This is the perspective that Foote's Oscar-winning script faithfully transposed to the screen, and that Mary Badham, who played Scout Finch, embodied with such unaffected clarity that, at 10, she received an Oscar nomination for Best Supporting Actress. As for Mulligan, no one has cited him for anything but the sensitive handling of story, actors, camera and mood...