Film scripts and screenplays Books

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Book SynopsisOffering unique insights into the writing and production of television drama series such as The Killing and Borgen, produced by DR, the Danish Broadcasting Corporation, Novrup Redvall explores the creative collaborations in writers' rooms and 'production hotels' through detailed case studies of Denmark's public service production culture.Trade Review'Writing and Producing Television Drama in Denmark is a key text on Scandinavian television and production culture. As such, it is not only recommended to scholars of Scandinavian audio-visual culture, but also to those - including undergraduates as well as more advanced scholars -who are more generally interested in television production and scriptwriting.' - Tobias Hochscherf, Historical Journal of Film, Radio and Television The book provides a wealth of material to ponder, not only for those interested in Danish television but for anyone curious about the direction of small screen fiction generally.' - Glen Creeber, New Review of Film and Television StudiesTable of ContentsList of Figures Acknowledgements Introduction 1. Television Writing and the Screen Idea System 2. Danish Television Drama: A Crash Course 3. Dogmas for Television Drama: Changing a Production Culture 4. Training Talent for Television: DR and 'The TV term' 5. Writers, Showrunners and Television Auteurs: Ideas of 'One Vision' 6. The Workings of a Writer's Room: Borgen 7. Primetime Public Service Crime: Forbrydelsen / The Killing Conclusions and Cliffhangers Appendix Notes References Index

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Book SynopsisProfessor Craig Batty is Head of Creative Writing at the University of Technology Sydney, Australia. He is an award-winning educator and researcher, with interests in screenwriting craft, theory and teaching, creative practice research methodologies, and supervising creative doctorates. He is also a writer, script editor and script consultant.Zara Waldeback is a script consultant and creative specialist currently living in Sweden and working across Europe. In the UK, she was for many years Senior Lecturer in Screenwriting and Directing at Thames Valley University, as well as working in development for British Screen and the First Film Foundation. She now teaches key narrative skills to a range of creative artists, and works as script editor for feature films, including the award-winning Sami BloodTrade ReviewWriting for the Screen, blending as it does theory and practical application, is the best single volume available for university students working on screenwriting courses today. * Tim Kelly, Coventry University, UK *With a combination of exercises to flex creative muscles, critical analysis of key scenes and insights into the workings of the industry, Writing for the Screen is an invaluable guide and source of inspiration wherever you are in your media career. * Sally Angel, Emmy award-winning producer, UK *Insightful, accessible and full of useful exercises, this highly readable screenwriting book has all the essential elements you need to understand the art and craft of screenwriting. * Ben Michael, University of Melbourne, Australia *Table of ContentsIntroduction PART I: FOUNDATIONS 1. Establishing Practice 2. Subject: Ideas into Character 3. Structure and Narrative 4. Visual Storytelling 5. Dialogue and Voice 6. The Cultures of Screenwriting 7. Key Points and Foundations Exercises PART II: SPECULATIONS 8. Exploring Possibilities 9. Subjects: Ideas into Characters 10. Structures and Narratives 11. Visual Storytelling 12. Dialogues and Voices 13. Further Cultures of Screenwriting 14. Key Points and Speculations Exercises.

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Book SynopsisGlorious 39 is the screenplay of the new blockbuster film by award-winning writer/director Stephen Poliakoff released in cinemas this autumn. In this tense psychological thriller set on the eve of WWII, a young woman stumbles across evidence of a sinister Nazi appeasement plot that will stop at nothing to achieve its aims.Trade Review'Glorious 39 is of scorching relevance.' Baz Bamingboye

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Book SynopsisThis two-volume anthology tells the story of Roadside Theater’s first 45 years and includes nine award-winning original play scripts; ten essays by authors from different disciplines and generations, which explore the plays’ social, economic, and political circumstances; and a critical recounting of the theater’s history from 1975 through 2020. The plays in Volume 1 offer a people’s history of the Appalachian coalfields, from the European incursion through the American War in Vietnam. The plays in Volume 2 come from Roadside’s intercultural and issue-specific theater work, including long-term collaborations with the African American Junebug Productions in New Orleans and the Puerto Rican Pregones Theater in the South Bronx, as well as with residents on both sides of the walls of recently-built prisons. Roadside has spent 45 years searching for what art in a democracy might look like. The anthology raises questions such as, What are common principles and common barriers to achieving democracy across disciplines, and how can the disciplines unite in common democratic cause?Trade Review"Art in a Democracy overflows like water from a well, chronicling a rural working-class theater’s 45-years of crisscrossing the country bridging bitter partisan, racial, and other divisions by dramatizing the tremendous local intelligence and creativity inherent in every community. This collection of plays and commentary represents the cutting edge of a new democratic art." -- Harry Boyte, Senior Scholar in Public Work Philosophy, Institute for Public Life and Work"Roadside Theater has mustered diverse local folks in declining towns in Appalachia to celebrate their traditions and restore community confidence through dramatization of local stories and music." -- Robert Putnam, author, Bowling Alone"These two volumes are an indispensable gift to our field. These plays, and the insightful essays that accompany them, offer a roadmap to hope, joy, and inspiration." -- Bill Rauch, founding artistic director of the Perelman Performing Arts Center"The impact on Urban Bush Women from our work with Roadside Theater over two decades cannot be overstated. Art in a Democracy unveils the way we can build strong bonds through working, living, and creating art with communities while addressing social inequities. The history embedded in these volumes is priceless." -- Jawole Willa Jo Zollar, Founding Artistic Director, Urban Bush Women; 2021 MacArthur Award Fellow; 2022 Gish Prize recipient

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Book SynopsisIf there is one skill that separates the professional screenwriter from the amateur, it is the ability to rewrite successfully. From Jack Epps, Jr., the screenwriter of Top Gun, Dick Tracy, and The Secret of My Success, comes a comprehensive guide that explores the many layers of rewriting. In Screenwriting is Rewriting, Epps provides a practical and tested approach to organizing notes, creating a game plan, and executing a series of focused passes that address the story, character, theme, structure, and plot issues. Included are sample notes, game plans, and beat sheets from Epps’ work on films such as Sister Act and Turner and Hooch. Also featured are exclusive interviews with Academy Award® winning screenwriters Robert Towne (Chinatown) and Frank Pierson (Dog Day Afternoon), along with Academy Award® nominee Susannah Grant (Erin Brockovich).Trade ReviewThe book is a great starting point that would teach aspiring screenwriters or students of creative writing how to go about starting, developing and rewriting their screenplays. * Alphaville: Journal of Film and Screen Media *And just when we thought we didn't need another book about screenwriting along comes this one, which in short order makes itself a must-have. Jack Epps is a great writer, a master teacher, as smart about character as he is about structure. He's distilled this part of our craft to its essence, and by heeding his book's fine wisdom we will all of us become better rewriters—and better writers. * Howard A. Rodman, Screenwriter and President of the Writer’s Guild of America, We *Never in the history of Hollywood has a screenwriter heard the words: ‘It's perfect; don't change a thing.’ Even if someone were to say that, we know better and would change it anyway, and change it again, and again, and again. This book teaches the why and the how of rewriting and is written by a real, live, honest-to-God professional screenwriter who has successfully had many of his scripts made into movies. * Stephen Sommers, Writer and Director of The Jungle Book (1994), The Mummy (1999), and Van Helsing (2004) *An exemplary text on screenplay writing. Drawing from both his professional and academic experiences, Jack Epps, Jr. provides an excellent distillation of ideal screenwriting practice, creating an indispensable resource for both students and self-taught screenwriters. * David Dunn, Principal Teaching Fellow in Film Studies, University of Southampton, UK *Table of ContentsIntroduction How To Use This Book Let’s Talk About Rewriting The Pass Method – Layer By Layer Movies You Need To See Part One: Foundations and Fundamentals Chapter 1 Notes – Receiving and Organizing Notes Chapter 2 Interpreting Notes – Reading Tea Leaves Chapter 3 Annotated Draft – Your Reference Guide Chapter 4 Game Plan – Creating a Road Map for the Rewrite Chapter 5 Character – Writing from the Inside Out Chapter 6 Foundation Pass – Strengthening the Core Chapter 7 Character Pass – The Emotional Core Chapter 8 The Set-Up – Establish – Complicate – Resolve Chapter 9 Story & Theme Pass – The Emotional Underpinning Chapter 10 Structure – What Stays In, What Goes Out, and In What Order Chapter 11 Structure Pass – Architecture and Design Chapter 12 Plot – How Will This Turn Out? Chapter 13 Plot Pass – Cause and Effect Chapter 14 Feedback on Your Interim Draft – Checking-In Part Two: Details and Layering Chapter 15 Opposition Characters – Sources of Conflict and Tension Chapter 16 Obstacles, Complications, Reveals, and Reversals – Complicate, Complicate, Complicate Chapter 17 Obstacles, Complications, Reveals, and Reversals Pass – Making Life Much More Difficult Chapter 18 Relationships – The Ties that Bind Chapter 19 Relationship Pass – Interconnecting Chapter 20 Dialogue – Rhythm and Flow Chapter 21 Scene Pass – Link and Connect Chapter 22 Consistency Pass – Motivated Actions Chapter 23 Polish Pass – Dialogue, Text, and Tightening Chapter 24 Sending Out Your Screenplay – Letting Go Chapter 25 Working with Directors, Producers, and Executives – Patience, Patience, Patience Part Three: Screenwriters on Rewriting Interview with Robert Towne Chinatown, The Firm, Mission Impossible II Interview with Frank Pierson Cool Hand Luke, Dog Day Afternoon, King Of The Gypsies Interview with Susannah Grant Pocahontas, Erin Brockovich, The Soloist Part Four: Examples Studio Script Notes Turner & Hooch Notes Sister Act Studio Notes and Game Plan Student Annotated Pages Suicide Girl by Ivy Pruss Student Script Notes & Game Plans Take Your Grandma To Work Day by David Ngo F@#% The Knot by Romi Barta Essential Three Act Questions Acknowledgements Quote Sources Index

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Book SynopsisNadezhda Ptushkina's plays reflect her keen interest in constructing multidimensional characters that reflect the myriad ways people are affected by today's turbulent world. Often writing strong female roles, she does not shy away from exploring the sometimes tragic implications that lie behind her comical, almost farcical scenes. Ptushkina questions the nature of love, and explores the boundaries between the spiritual and the base, the constructive and the destructive, that lie within every human being. Conflict between the sexes constitutes the core of Ptushkina's plays, in which she warns the audience against confusing sex and love. Ptushkina rejects any notion that men and women are the same, seeing gender differences rather than personality differences as the main source of tension between men and women. Her plays thus dwell on this 'battle of the sexes' and the resulting lack of respect for women that she sees in today's Russia.In this new translation, western readers have a chance to discover why Ptushkina's work holds such wide appeal in the Russian theatre.

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Book SynopsisWhile postwar British cinema and the British new wave have received much scholarly attention, the misunderstood period of the 1970s has been comparatively ignored. Don’t Look Now uncovers forgotten but richly rewarding films, including Nicolas Roeg’s Don’t Look Now and the films of Lindsay Anderson and Barney Platts-Mills. This volume offers insight into the careers of important filmmakers and sheds light on the genres of experimental film, horror, rock and punk films, as well as representations of the black community, shifts in gender politics, and adaptations of television comedies. The contributors ask searching questions about the nature of British film culture and its relationship to popular culture, television, and the cultural underground.Trade Review'The essays in this highly stimulating collection reveal, clearly and persuasively, just how diverse, energetic and imaginative British cinematic creativity was during this rather maligned decade... In shining a bright light into one of the remaining dark corners in British cinema history Don’t Look Now is a welcome and extremely valuable contribution to the field.' -- Professor Duncan Petrie, University of York'Long overdue for a closer look, this volume provides a comprehensive, wide-ranging and stimulating range of new scholarship on British cinema and television in the 1970s.' -- Professor Sarah Street, University of BristolTable of ContentsIntroduction: Don’t Look Now? British cinema in the 1970s – Paul Newland Keynote Address, Don’t Look Now? Conference, University of Exeter, July 2007 – Sue Harper Stanley Baker and British Lion: a Cautionary Tale – Robert Shail Staccato and wrenchingly modern: reflections on the 1970s stardom of Glenda Jackson – Melanie Williams Alternative Film Exhibition in the English Regions during the 1970s – Vincent Porter Multiple Voices: The Silent Cry and artists’ moving image in the 1970s – William Fowler On the Margins: Anthony Simmons, The Optimists of Nine Elms and Black Joy – Josie Dolan and Andrew Spicer We know where we’re going, we know where we’re from: Babylon – Paul Newland The Power to Create Catastrophe: The idea of apocalypse in 1970s British cinema – Peter Hutchings ‘The "lack" and how to get it’: reading male anxiety in A Clockwork Orange, Tommy and The Man Who Fell to Earth – Justin Smith Hideous Sexy: The Eroticised Body and Deformity in 1970s British Horror Films – Peri Bradley Masculinity and deviance in British cinema of the 1970s: Sex, Drugs and Rock ‘n’ Roll in The Wicker Man, Tommy and The Rocky Horror Picture Show – E. Anna Claydon The last studio system: a case for British television films – Dave Rolinson ‘Pre-Sold to Millions’: The Sitcom Films of the 1970s – Adrian Garvey Class, Nostalgia and Newcastle: Contested Space in The Likely Lads – Paul Williams Hovis, Ovaltine, Mackeson’s and the Days of Hope debate – Amy Sargeant ‘What is there to smile at?’ Lindsay Anderson’s O Lucky Man! – John Izod, Karl Magee, Kathryn Mackenzie and Isabelle Gourdin Dead End and Private Roads: The 1970s films of Barney Platts-Mills Landscape in The Ruling Class – Mark Broughton Beneath the Surface: Nicolas Roeg’s Don’t Look Now – Andrew Patch

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Book SynopsisIn an era which has seen many forms of artistic creation becoming digitized, the practice of drawing, in the traditional sense, has remained constant. However, many publications about the relationship between drawing and thinking rely on discipline-dependent distinctions to discuss the activity’s function. Drawing: The Enactive Evolution of the Practitioner redefines drawing more holistically as an enactive phenomenon, and makes connections between a variety of disciplines in order to find out how drawing helps us understand the world. Instead of the finite event of producing an artefact, drawing is a process and an end in itself, through which the practitioner might gain self-awareness.By synthesizing enactive thinking and the practice of drawing, this volume provides valuable insights into the creative mind, and will appeal to scholars and practitioners alike.Table of ContentsPART I: THEORISING ABOUT THINKING AND DRAWING About thinking and drawing - the process rather than the artefact Moving from theory to practice - the methodological problem The relevance of Enactive Cognition to the practice of drawing Accessing enactive knowledge through the lived experience of the practitioner PART II: THE FIRST PHASE OF METHODOLOGY – USING THE EXPERIENCE OF OTHERS AS SUBJECT Experiential accounts of the activity of drawing by others - Marion Milner and Frederick Franck Interviewing drawing practitioners about how they think Making the decision to use drawing to investigate thinking PART III: THE SECOND PHASE OF METHODOLOGY – USING MY OWN EXPERIENCE AS THE SUBJECT OF A FIRST PERSON ENQUIRY 'Can I embody another artist’s thinking process by copying his drawing?' - Familiarisation with the method of copying The case studies of Richard Talbot and Oliver Zwink Four narratives about the experience of re-enacting Talbot’s drawing 'Glass' Observations about the method of Enactive Copying Where does one go from here?

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Book SynopsisBe they period films, cult classics or elaborate directorial love letters, New York City has played – and continues to play – a central role in the imaginations of filmmakers and moviegoers worldwide. The stomping grounds of King Kong, it is also the place where young Jakie Rabinowitz of The Jazz Singer realizes his Broadway dream. Later, it is the backdrop against which taxi driver Travis Bickle exacts a grisly revenge. The inaugural volume in an exciting new series from Intellect, World Film Locations: New York pairs incisive profiles of quintessential New York filmmakers – – among them Woody Allen, Martin Scorsese, Sidney Lumet and Spike Lee – with essays on key features of the city’s landscape that have appeared on the big screen, from the docks to Coney Island, Times Square to the Statue of Liberty. More than forty-five location-specific scenes from films made and set in New York are separately considered and illustrated with screen shots and photographs of the locations as they appear now. For film fans keen to follow the cinematic trail either physically or in the imagination, this pocket-sized guide also includes city maps with information on how to locate key features.Trade ReviewAn elegant tribute to the films and locations that have given New York its private real estate in our minds. The contributors are so immediately readable and movie-savvy. -- Roger EbertThese insightful, entertaining essays about classic films and the role their real-life New York locations play in them remind you why the city has been the setting for some of the greatest stories in the history of cinema. New York can be anything. It's a city of opulence and squalor, of magic and gritty realism. For anyone who loves the movies and loves New York, this book is a must. For anyone who doesn't... what the hell is wrong with you? -- Don Payne, screenwriter of Thor, writer/consulting producer of The SimpsonsI knew the joy of New York long before I ever visited the city. The Godfather, The Apartment and Breakfast at Tiffany's all introduced me to the cinematic scope of one of the world's most vibrant cities. This book reminds me of that joy. -- Hardeep Singh Kohli, comedian and novelistNot just an invaluable resource but a great read. The sort of book you can dive into again and again, revisiting some of the most classic depictions of the greatest city in the world. The only question is this: do you keep it on your desk, atop a coffee table, or on the nightstand? -- Elizabeth Weitzman, Film Critic, NY Daily NewsTable of ContentsMaps/Scenes Scenes 1-7 – 1927-1948 Scenes 8-14 – 1949-1971 Scenes 15-21 – 1972-1976 Scenes 22-28 – 1977-1986 Scenes 29-36 – 1987-1992 Scenes 37-44 – 1999-2008 Essays New York: City of the Imagination – David Finkle New York’s Leading Lady: The Statue of Liberty on Film – Simon Kinnear On The Waterfront: The New York Docks Onscreen – Peter Hoskin Manhattan Man: Woody Allen’s Love Affair with New York – Scott Jordan Harris Cinema 16: New York and the Birth of Beat – Peter Hoskin Mean Streets: Martin Scorsese’s NY – Wael Khairy The Innocents: A Promised Land Within a Promised Land – Elisabeth Rappe

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Book SynopsisAn exciting and visually focused tour of the diverse range of films shot on location in London, World Film Locations: London presents contributions spanning the Victorian era, the swinging ’60s and the politically charged atmosphere following the 2005 subway bombings. Essays exploring key directors, themes and historical periods are complemented by reviews of important scenes that offer particular insight into London's relationship to cinema. The book is illustrated throughout with full-colour film stills and photographs of cinematic landmarks as they appear now – as well as city maps to aid those keen to investigate them.Trade ReviewHandsome and intriguing, like an elegant ghosthunter's companion to a world that is - and isn't -there. -- Francine StockA superb book, indispensable for any cinephile interested in London's psychogeography. I could pore over it for hours. * Peter Bradshaw *These full-colour, hardy paperbacks will attract a wide readership because of the packaging of good quality content into self-contained, easily digested chunks. -- Lynn Smailes * Screening the Past *Table of ContentsMaps/Scenes Scenes 1-8 – 1927-1951 Scenes 9-16 – 1951-1966 Scenes 17-24 – 1966-1978 Scenes 25-32 – 1980-1997 Scenes 33-40 – 1997-2002 Scenes 41-50 – 2003-2009 Essays London: City of the Imagination – Neil Mitchell Victorian London: A Painterly Vision of the City Divided – Virginie Sélavy Ealing Studios: A Brief History of the Mecca of British film – Scott Jordan Harris Swinging London: Their Texts Are Loud But Never Square – James Evans Going Underground: Strange Goings On Down Below... – James Rose Richard Curtis: A Glamorized and Idealized London – Robert Beames Thames Tales: Stories by the Riverside – Jez Conolly

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Book SynopsisRobert De Niro at Work is the first critical study to examine how Robert de Niro, perhaps the finest screen actor of his generation, works with screenplays to imagine, prepare and denote his performance. In categorising the various ways in which De Niro works with a screenplay, this book will re-examine the relationship between actor and text. This book considers the screenplay as above all a working document and a material object, present at every stage of the filmmaking process. The working screenplay goes through various iterations in development and exists in many versions on set, each adapted and personalised for the specific use of the individual and their role. As the archive reveals, nobody works more closely with the script than the actor, and no actor works more on a script than De Niro. Table of ContentsIntroduction.- Chapter One: Literature Review & overview of De Niro’s Career.- Chapter Two: Research and Exegesis.- Chapter Three: Notation.- Chapter Four: Preparation.- Chapter Five: The Writer’s Voice.- Chapter Six: Case Studies.- Chapter Seven: Actor as Writer.- Conclusion.

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