Book Read Free

Which Lie Did I Tell?: More Adventures in the Screen Trade

Page 43

by William Goldman


  rubber-band fights

  Russell, Rosalind

  Ryan, Meg, in When Harry Met Sally, 6.1, 10.1, 10.2, 10.3

  Sabrina (film), 11.1, 11.2

  Saint, Eva Marie, 11.1, 11.2

  Saint, H. F.

  Sanders, Tom

  San Francisco Chronicle,

  San Quentin, escape from, 15.1, 15.2

  Santa Barbara (TV soap)

  Sappho

  Sarandon, Chris

  Sarandon, Susan

  Saving Private Ryan (film), 14.1, 15.1

  Sayles, John

  Scarface, the Story of a Grizzly, stupid courage in

  Scarne, John

  Scheider, Roy

  Scheinman, Andy: and Absolute Power, 8.1

  and Andre

  and Misery, 4.1, 4.2

  and Princess Bride, 3.1, 3.2, 8.1

  and Rob Reiner

  Schneider, Romy

  Schulberg, Budd

  Schwarzenegger, Arnold: in action pictures

  on Andre's strength

  roles in style of, 3.1, 15.1

  science fiction

  Scott, George C.

  screen credits, money in

  screenplays: beginning

  classic scenes in

  courtroom scenes in

  damage to

  different drafts of

  effects of

  "For Our Eyes Only" draft of

  great

  as like Heffalumps

  as more than dialogue, 10.1, 18.1

  negotiations for

  number of acts in

  original, 5.1, 6.1, 14.1

  Oscar-winning

  proper form of, 8.1, 8.2, 18.1

  in published collections

  reality and

  selling versions of

  shooting versions of

  stage directions in

  stories in, see storytelling

  studio executives and

  time lacking in, 12.1, 12.2, 12.3

  written with actors and directors in mind

  screenwriters: adaptations by, 4.1, 5.1, 6.1, 11.1

  ad-libs disliked by

  being ignored by critics, 9.1, 14.1

  being stiffed for fees

  blame affixed to

  caring of

  cartoon about

  caught in the middle

  control sought by, 3.1, 3.2, 12.1, 12.2, 13.1

  courses for

  and creative process, 3.1, 3.2, 4.1

  discipline needed by

  doctoring by, 2.1, 18.1

  duality and

  entering late

  and familiarity with material

  fantasies of meeting with

  firing of, 2.1, 14.1

  first drafts by, 2.1, 6.1, 14.1, 16.1

  flops written by, 5.1, 5.2

  fragile careers of

  genres of

  happiness of

  idiosyncratic

  income generated by

  killing the darlings of

  and lack of shame

  learning

  limitations of, 11.1, 18.1

  loneliness of

  mental blocks of

  methods of, 13.1, 18.1

  motivation of, 9.1, 14.1

  and movie quality

  names chosen by

  not talking

  options of

  others' examples for

  pain of

  passions of

  questions asked by, 15.1, 18.1

  schedule needed by

  setting up your universe in

  and shooting films

  source material for, 7.1, 8.1, 8.2, 8.3

  spitballing with

  stories of, see storytelling

  screenwriters (continued) teams of

  writing time protected by

  script, importance of, 3.1, 7.1, 7.2

  Sea Kings, The (film), 1.1, 14.1, 14.2

  Searching for Bobby Fisher (film)

  Season, The (Goldman), 3.1, 8.1

  sequels

  Serengeti, Tanzania

  serial killers, movie idea

  Seven Brides for Seven Brothers (film)

  Seventh Seal, The (film)

  Bergman and

  Playing Chess with Death Scene in

  Shafer, Martin, and Absolute Power, 8.1, 8.2, 8.3

  Shakespeare, William

  Shakespeare in Love (film), 2.1, 14.1

  shame, lack of

  Shame (film)

  Shanley, John Patrick: and Big A, 18.1, 18.2

  career of

  Shaw, George Bernard

  Shaw, Irwin, 8.1, 12.1

  Shawn, Wally

  Shawshank Redemption, The (film), 8.1, 18.1

  Shazam, use of term

  "She's My Daughter, She's My Sister" Scene, Chinatown, 13.1

  shooting script, 6.1, 16.1

  Siegel, Don

  Silent Gondoliers, The (Goldman)

  Silkwood (film)

  Simmons, Jean, 4.1, 7.1

  Simpson, O. J.

  Singin' in the Rain (film)

  Siodmak, Robert

  Ski Bum, The (film)

  "Ski Bum, The" (Vallely)

  Slap Shot (film)

  Sleepless in Seattle (film)

  Smith, Maggie

  sneak previews, 3.1, 5.1, 5.2

  Soldier in the Rain (Goldman), 14.1, 18.1

  Somebody Up There Likes Me (film), 11.1, 11.2

  Something Different (Broadway play)

  Sondheim, Stephen

  songwriting

  Sonnenfeld, Barry

  Sophocles

  sound, and movie quality

  Sound of Music, The (film)

  special effects, 13.1, 13.2, 14.1, 15.1

  special relationships

  Spielberg, Steven, 2.1, 9.1

  and Minority Report, 18.1

  and public screenings

  and Saving Private Ryan, 14.1

  sequels made by

  success of

  spine:

  in adaptations

  importance of, 6.1, 10.1

  Spirit of St. Louis, The (film)

  spitballing

  rule one of

  for the spine

  Stagecoach (film)

  stage directions

  Stallone, Sylvester: in action pictures, 7.1, 12.1

  height of

  as star, 2.1, 7.1

  style of

  Stand By Me (film), 3.1, 4.1

  Stanley, Kim

  Stapleton, Maureen

  Starman (film)

  stars: ad-libs by

  ages of

  ambitious drive of

  in animal movies

  asking for help as anathema to

  as Byronic heroes

  casting and the unknown

  changes in lives of

  in commercial films

  ego-ridden, 8.1, 18.1

  as elements

  executives and

  heights of

  as heroes vs. gods

  histories connected with

  locomotive (male lead)

  major

  mystery sought by

  myths about

  parts made up by, 9.1, 10.1

  pictures destroyed by

  priorities of

  producers vs.

  and quality

  selling to

  special relationships with

  talent clusters of

  timing and

  vehicle roles for, 8.1, 9.1, 14.1

  Star Wars (film), 4.1, 4.2, 4.3, 7.1

  Steinbeck, John

  Steinem, Gloria, 18.1

  Stepford Wives, The (film)

  Stepmom (film)

  Stevens, George, 4.1, 7.1

  Stewart, James, 11.1, 18.1

  Stiller, Ben: in There's Something About Mary, 6.1, 9.1, 9.2, 10.1

  and What Makes Sammy Run?, 8.1

  Sting, The (film), 14.1, 17.1

  Stone, P
eter

  "Stopping by Woods on a Snowy Evening" (Frost), 8.1, 8.2, 8.3

  story, good, defined, 18.1

  storytelling: author's need for

  changes in, 6.1, 17.1

  connectives in, 14.1, 18.1

  elements in

  entering late in

  fables

  happy vs. sad

  importance of, 13.1, 18.1

  methods of, 14.1, 18.1

  no right or wrong in

  in pitching

  real people and

  selecting stories for

  see also screenplays

  Strauss, John J.

  Streep, Meryl, 4.1, 15.1, 18.1

  Stripes (film)

  Strip Tease (Hiassen)

  studio executives: dealmaking, 4.1, 18.1

  and doctoring

  eternal verities of

  eye contact with

  and happy vs. sad stories

  as new brooms

  pitching to, 7.1, 14.1

  and screenplays

  and stars, 7.1, 18.1

  Sturges, Preston

  Subject Was Roses, The (drama)

  succes d'estime,

  Sunset Boulevard (film)

  Superman (comic book)

  Superman (film)

  Sure Thing, The (film)

  survival manual, Peace Corps

  Sweet Smell of Success, The (film), 11.1

  Take Her, She's Mine (play)

  talent, see stars

  Tanen, Ned

  Tanzania, Serengeti in

  taxi scene

  technology, special effects, 13.1, 13.2

  television: changed storytelling in

  talk shows on

  Temple of Gold, The (Goldman): acceptance of

  writing of, 3.1, 7.1, 14.1, 18.1

  10 (film)

  Tenderloin (Broadway musical)

  Thelma and Louise (film), 9.1, 18.1

  therapy, spitballing and

  There's Something About Mary (film), 5.1, 9.1, 18.1

  key lines in

  original screenplay of

  quality of, 9.1, 14.1

  Zipper Scene in, 6.1, 8.1, 8.2, 9.1, 10.1

  Third Man, The (film)

  This Is Spinal Tap (film)

  Thompson, Tommy

  Three Musketeers, The (film)

  Three's a Family (play)

  thrillers, endings of

  Through a Glass Darkly (film)

  time, accumulation of

  Time and Again (Finney)

  Titanic (film), 5.1, 13.1

  To Kill a Mockingbird (film)

  Tolstoy, Leo

  "Tomorrow is promised to no one,"

  tone, importance of

  Tootsie (film)

  Touchstone, Taylor, and Dolphin, 18.1

  Towne, Robert, 9.1, 13.1, 13.2, 13.3, 13.4

  town in terror (movie idea)

  trailers

  Tripp, Linda, look of

  Turturro, John

  Twelve O'Clock High (film)

  Twins (film), doctoring of, 2.1, 18.1

  Ullman, Liv

  Unforgiven (film), 8.1, 14.1

  Universal Pictures

  Vallely, Jean

  Van Gundy, Jeff

  Vanities (Broadway play)

  Van Zant, and Psycho, 14.1

  Variety,

  vehicle roles

  Veidt, Conrad

  Vertigo (film)

  viz, use of term

  Vizzini

  von Sydow, Max

  Wallach, Eli

  Wallflower at the Orgy (Ephron)

  Wall Street (film)

  Walsh, J. T.

  Walsh, Raoul

  Ward, David

  Warden, Jack

  Warner, Jack

  Warner Bros. studio, 2.1, 4.1, 7.1, 13.1

  War of the Roses, The (film)

  Wasserman, Lew

  Watergate, and All the President's Men, 8.1, 10.1, 13.1, 13.2, 18.1

  Waterworld (film)

  Wayne, David

  Wayne, John, 7.1, 8.1, 14.1

  Weinstein, Harvey

  Welles, Orson, 12.1, 12.2

  Westlake, Donald

  "Westley lay dead by The Machine," 3.1, 9.1

  West Side Story (film), 11.1, 11.2

  What Makes Sammy Run? (Schulberg)

  When Harry Met Sally (film), 10.1, 14.1

  Dreyfuss and

  Orgasm Scene in, 6.1, 8.1, 10.1, 10.2

  White Heat (film)

  Who's Afraid of Virginia Woolf? (film)

  Widmark, Richard

  Wilder, Billy, 4.1, 18.1

  Wild Strawberries (film)

  Williams, John

  Williams, Tennessee

  Willis, Bruce

  Willis, Gordon

  Wilson, Dooley

  Winfrey, Oprah

  Winslet, Kate

  Winter Light (film)

  Wolfe, Thomas

  Woodward, Bob, and All the President's Men, 8.1, 10.1, 11.1, 13.1, 13.2, 18.1

  Wordsworth, William, 12.1, 12.2, 12.3

  Wreck of the Mary Deare, The (Innes)

  Wright, Robin, 3.1, 3.2, 3.3, 8.1

  Writers Guild Awards

  Wyler, William

  Yates, Peter, 5.1, 5.2

  Year of the Comet, The (film), 1.1, 5.1, 5.2

  lack of success of

  and love of red wine, 5.1, 5.2, 10.1, 14.1

  pitching of

  and romantic comedy

  sneak previews of

  tone of

  You're a Big Boy Now (film)

  Your Turn to Curtsy, My Turn to Bow (Goldman), 14.1, 18.1

  You've Got Mail (film), 10.1

  Zanuck, Richard

  Zellwegger, Renee

  Ziegler, Evarts, 5.1, 13.1, 13.2

  Zinackis, Richard

  Zinnemann, Fred

  Zipper Scene, There's Something About Mary, 6.1, 8.1, 8.2, 9.1, 10.1

  PERMISSIONS ACKNOWLEDGMENTS

  Grateful acknowledgment is made to the following for permission to reprint previously published and unpublished material.

  Applause Theatre & Cinema Books: Material adapted from the introductions to The Ghost and the Darkness: The Screenplay and Absolute Power: The Book of the Film by William Goldman; and material adapted from the introductions to The Princess Bride, Misery, and Maverick by William Goldman from William Goldman: Four Screenplays with Essays and William Goldman: Five Screenplays with Essays. Adapted and reprinted by permission of Applause Theatre & Cinema Books.

  Faber and Faber Limited: Excerpts from Fargo by Ethan Coen and Joel Coen. Copyright (c) 1996 by Ethan Coen and Joel Coen. Reprinted by permission of Faber and Faber Limited.

  Henry Holt and Company, LLC: "Stopping by Woods on a Snowy Evening" from The Poetry of Robert Frost, edited by Edward Connery Lathem. Copyright (c) 1923, 1969 by Henry Holt and Company, LLC. Copyright renewed 1951 by Robert Frost. Reprinted by permission of Henry Holt and Company, LLC.

  Alfred A. Knopf, International Creative Management, Inc., and Nora Ephron: Excerpt from the screenplay When Harry Met Sally by Nora Ephron. Copyright (c) 1990 by Castle Rock Entertainment. Reprinted by permission of Alfred A. Knopf, a division of Random House, Inc., International Creative Management, Inc., and Nora Ephron.

  Ernest Lehman and Turner Entertainment: Excerpt from the screenplay North by Northwest by Ernest Lehman. Directed and shot by Alfred Hitchcock. Reprinted by permission of Ernest Lehman and Turner Entertainment.

  Curtis Brown, Ltd. and Andre Deutsch Ltd.: "Reflections on Ice Breaking" from Selected Poems of Odgen Nash. Copyright (c) 1930 by Odgen Nash, copyright renewed (Originally published in The New Yorker). Rights in the United Kingdom from Candy Is Dandy: The Best of Ogden Nash administered by Andre Deutsch Ltd., London. Reprinted by permission of Curtis Brown, Ltd. and Andre Deutsch Ltd.

  The New York Times: "Autism No Handicap, Boy Defies Swamp" by Rick Bragg (The New York Times, August 17, 1996). Copyright (c) 1996 by The Ne
w York Times Co. Reprinted by permission of The New York Times.

  Seymour V. Reit: Summary of the plot from The Day They Stole the Mona Lisa by Seymour V. Reit. Reprinted by permission of Seymour V. Reit.

  San Francisco Chronicle: "Last of 'Rub-a-Dub-Dub' Fugitives" by Bill Wallace (San Francisco Chronicle, April 26, 1999). Copyright (c) 1999 by San Francisco Chronicle. Reprinted by permission of San Francisco Chronicle.

  Simon & Schuster and Norstedts Forlag AB: Excerpt from the screenplay The Seventh Seal by Ingmar Bergman from Four Screenplays of Ingmar Bergman by Ingmar Bergman. Copyright (c) 1960 by Simon & Schuster and copyright (c) 1960 by Ingmar Bergman. Reprinted by permission of Simon & Schuster and Norstedts Forlag AB.

  Robert Towne and Paramount Pictures: Excerpt from the screenplay Chinatown by Robert Towne. Reprinted by permission of Robert Towne and Paramount Pictures.

  Twentieth Century Fox Film Corporation: Excerpts from the screenplay There's Something About Mary by Peter and Bob Farrelly. Copyright (c) 1998 by Twentieth Century Fox Film Corporation. All rights reserved. Reprinted by permission of Twentieth Century Fox Film Corporation.

  Viking Penguin and Gerald Duckworth & Co. Ltd.: "One Perfect Rose" from The Portable Dorothy Parker by Dorothy Parker. Copyright (c) 1926, copyright renewed 1954 by Dorothy Parker. Rights in the United Kingdom administered by Gerald Duckworth & Co. Ltd., London. Reprinted by permission of Viking Penguin, a division of Penguin Putnam Inc., and Gerald Duckworth & Co. Ltd.

  Viking Penguin and Hodder and Stoughton Limited: Excerpt from Misery by Stephen King. Copyright (c) 1987 by Stephen King, Tabitha King, and Arthur B. Greene, Trustee. Rights in the United Kingdom administered by Hodder and Stoughton Limited, London. Reprinted by permission of Viking Penguin, a division of Penguin Putnam Inc., and Hodder and Stoughton Limited.

  Warner Books Inc. and the Aaron M. Priest Literary Agency: Excerpt from Absolute Power by David Baldacci. Copyright (c) 1996 by Columbus Rose, Ltd. Reprinted by permission of Warner Books Inc. and the Aaron M. Priest Literary Agency.

  ALSO AVAILABLE FROM VINTAGE BOOKS

  * * *

  MAKING MOVIES

  by Sidney Lumet

  Why does a director choose a particular script? What must the director do to keep actors fresh and truthful through take after take of a single scene? How do you stage a shootout in the heart of New York City's diamond district? What does it take to keep the studio honchos happy? From the first rehearsal to the final screening, Making Movies provides both a professional memoir and a definitive guide to the art, craft, and business of motion pictures.

  Film/0-679-75660-4

  BENEATH MULHOLLAND

  Thoughts on Hollywood and Its Ghosts

  by David Thomson

  If most film critics write about movies, David Thomson creates their literary counterpart with essays that are as dazzling, haunting, and moving as the pictures they discuss. In this bravura new collection, the Esquire columnist trains his eye on Hollywood's ghosts, exploring their tendency to rise from the grave or descend from the screen to intimately haunt our lives.

  Film/0-679-77291-X

  MONSTER

  Living Off the Big Screen

  by John Gregory Dunne

  In 1988 John Gregory Dunne and his wife, Joan Didion, were asked to write a screenplay about the dark and complicated life of the late TV anchorwoman Jessica Savitch. Eight years and twenty-seven drafts later, this script was made into the fairy tale Up Close and Personal starring Robert Redford and Michelle Pfeiffer. Detailing the meetings, rewrites, fights, firings, and distractions attendant to the making of a single picture, Mossier illuminates the process with sagacity and raucous wit.

 

‹ Prev