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Stan Laurel and Oliver Hardy improvised many of the scenes for their classic comedies while the cameras were rolling, which meant that some excellent material in their scripts was lost - until now. Twenty complete, original screenplays for their short subjects are presented here for the the very first time. They include a treasure trove of unused but hilarious comedy routines. Among them is the entire script for a proposed 1926 comedy, never filmed, which would have been the comedians' first film as a team. The scripts are illustrated with 150 rare photos; many of them vividly depict the process of making the films. Introductions for each entry detail the fascinating differences between the scripts and the movies made from them. Full cast and credit information is also included. This collection of fabulous rarities is essential for any admirer of Stan and Ollie.
The only screenwriting book that includes a DVD that contains performances of the short films and screenplays that are featured in the book! The beauty and power of any story lies in its ability to connect to the reader, listener, or observer. Crafting Short Screenplays That Connect is the first screenwriting guide to introduce connection as an essential, although essentially overlooked, aspect of creating stories for the screen and of the screenwriting process itself. Written with clarity and humor, this book teaches the craft of writing short screenplays by guiding the student through carefully focused writing exercises of increasing length and complexity. Eight award-winning student screenplays are included for illustration and inspiration. The text is divided into three parts. Part one focuses on preparing to write by means of exercises designed to help students think more deeply about the screenwriter's purposes; their own unique vision, material and process; and finally about what screenplays are at their simplest and most profound level--a pattern of human change, created from specific moments of change--discoveries and decisions. Part two teaches students how to craft an effective pattern of human change. It guides them through the writing and re-writing of "Five (Not So Easy) Pieces"--five short screenplays of increasing length and complexity--focusing on a specific principle of dramatic technique: The Discovery, The Decision, The Boxing Match, The Improbable Connection, and The Long Short Screenplay. Part Three presents the five screenplays used throughout the book to illustrate the dramatic principles that have been discussed, and includes interviews with the screenwriters, a look at where they are now and what they are doing, and brief discussion of how each film evolved.
Screenwriter Robert Riskin (1897-1955) was a towering figure even among the giants of Hollywood's Golden Age. Known for his unique blend of humor and romance, wisecracking and idealism, Riskin teamed with director Frank Capra to produce some of his most memorable films. Pat McGilligan has collected six of the best Riskin scripts: Platinum Blonde (1931), American Madness (1932), It Happened One Night (1934), Mr. Deeds Goes to Town (1936), Lost Horizon (1937), and Meet John Doe (1941). All of them were directed by Capra, and although Capra's work has been amply chronicled and celebrated, Riskin's share in the collaboration has been overlooked since his death. McGilligan provides the "backstory" for the forgotten half of the team, indispensable counterpoint to the director's self-mythologizing autobiography--and incidentally the missing link in any study of Capra's career. Riskin's own career, although interrupted by patriotic duty and cut short by personal tragedy, produced as consistent, entertaining, thoughtful, and enduring a body of work as any Hollywood writer's. Those who know and love these vintage films will treasure these scripts. McGilligan's introduction offers new information and insights for fans, scholars, and general readers.
FAUST Jude Rawlins follows in the cinematic tradition of Fellini, Jodorowsky, Ken Russell, Derek Jarman, and Sally Potter, with one of the most acerbic literary deviations ever attempted, re-imagining Faust's little known sequel as an irreverent Medieval poetic heresy. Faust, now female, returns to the wilderness to seek Mephistopheles' help to find his lost love Margret. But when they find her, grief has made her a shadow of her former self. After ending her suffering, Faust and Mephisto travel to London, where the goddess Venus plunges them into a world of vice and debauchery, which ends in tragedy for one of them and sexual awakening for the other. Or does it? Perhaps it doesn't. Or doesn't it? RED Red is Jude Rawlins' long-gestating tribute to English artist and filmmaker Derek Jarman. The experimental film was made during the Covid-19 lockdown and consists of a complex soundtrack of music and sounds interwoven with stream-of-consciousness dialogue, set against a blank red screen. Jude describes the film is a kind of "spiritual sequel" to Derek Jarman's 1993 film Blue, a deeply immersive emotional journey. Blue was made when Jarman was terminally ill with Aids. "We all knew he didn't have long left," remembers Rawlins, "and in one conversation I tried ham-fistedly to lighten the mood by saying that he shouldn't die, he should live and make a sequel to Blue. Which he turned around on me and said that I should do it, and that as Blue was essentially a film about the pain of dying, any sequel should be called Red and be a film about the pain of living. Almost thirty years on, and I have come to understand that concept very well."
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Columbo was arguably the most popular and most unique television mystery series ever -even though, within two minutes of the titles, the audience already knew the murderer's identity. The show captivated tens of millions of viewers for 69 adventures produced over 35 years. Yet if star Peter Falk had gotten his way, it would have run far longer.Columbo was never formally canceled, just subtly killed off. Twice. Who was to blame? The temperamental lead who would rather work in movies? The budget-conscious studio, exhausted with the star's demands? Or was it the meddling television studios, searching for a younger, hipper replacement?Discover the solution in "Shooting Columbo: The Lives and Deaths of TV's Rumpled Detective." Author David Koenig takes you behind the scenes to witness the creation and making of every case, from the pilot "Prescription: Murder" (and its earlier incarnations on "The Chevy Mystery Show" and on stage) to the final special, "Columbo Likes the Nightlife."You'll discover the origins of the Lieutenant's unseen wife, the lethargic Dog, the wrinkled raincoat, the wheezing 1959 Peugeot, and "Just one more thing...." The narrative draws on scores of exclusive interviews with the show's writers, producers, directors and other creative personnel, as well as previously unpublished studio records, including scripts, memos, production reports, casting sheets, and business diaries. They will transport you to the harried story conferences, the heated confrontations, and take... after take... after take... of filming. The "shooting" of Columbo was filled with backstage intrigue and larger-than-life personalities who, through it all, created unforgettable classic television.
Drawing on previously untapped archival materials including letters, interviews, and more, Bernard F. Dick traces the history of Columbia Pictures, from its beginnings as the CBC Film Sales Company, through the regimes of Harry Cohn and his successors, and ending with a vivid portrait of today's corporate Hollywood. The book offers unique perspectives on the careers of Rita Hayworth and Judy Holliday, a discussion of Columbia's unique brands of screwball comedy and film noir, and analyses of such classics as The Awful Truth, Born Yesterday, and From Here to Eternity. Following the author's highly readable studio chronicle are fourteen original essays by leading film scholars that follow Columbia's emergence from Poverty Row status to world class, and the stars, films, genres, writers, producers, and directors responsible for its transformation. A new essay on Quentin Tarantino's Once Upon a Time...in Hollywood rounds out the collection and brings this seminal studio history into the 21st century. Amply illustrated with film stills and photos of stars and studio heads, Columbia Pictures is the first book to integrate history with criticism of a single studio, and is ideal for film lovers and scholars alike.
Roger Crittenden reveals the experiences of many of the greatest living European film editors through his warm and perceptive interviews which offer a unique insight into the art of editing - direct from masters of the craft. In their interviews the editors relate their experience to the directors they have worked with, including: Agnes Guillemot- (Godard, Truffaut, Catherine Breillat) Roberto Perpignani- (Welles, Bertolucci, Tavianni Brothers) Sylvia Ingemarsson- (Ingmar Bergman) Michal Leszczylowski- (Andrei Tarkovsky, Lukas Moodysson) Tony Lawson (Nic Roeg, Stanley Kubrick, Neil Jordan) and many more. Foreword by Walter Murch - three-time Oscar-winning Editor of 'Apocalypse Now', 'The English Patient', 'American Graffiti', 'The Conversation' and 'The Godfather Part II and III'.
Directing: Film Techniques and Aesthetics is a comprehensive manual that teaches the essentials of filmmaking from the perspective of the director. Ideal for film production and directing classes, as well as for aspiring and current directors, Directing covers all phases of preproduction and production, from idea development to final cut. Thoroughly covering the basics, Directing guides the reader to professional standards of expression and control, and goes to the heart of what makes a director. The book outlines a great deal of practical work to meet this goal, with projects, exercises. The third edition emphasizes the connection between knowing and doing, with every principle realizable through projects and exercises. Much has been enhanced and expanded, notably: aspects of dramaturgy; beats and dramatic units; pitching stories and selling one's work; the role of the entrepreneurial producer; and the dangers of embedded moral values. Checklists are loaded with practical recommendations for action, and outcomes assessment tables help the reader honestly gauge his or her progress. Entirely new chapters present: preproduction procedures; production design; script breakdown; procedures and etiquette on the set; shooting location sound; continuity; and working with a composer. The entire book is revised to capitalize on the advantages offered by the revolutionary shift to digital filmmaking.