Which Lie Did I Tell?
Page 42
Big Chill, The (film)
Big Lebowski, The (film)
Bird (film)
Blackbeard, 1.1, 14.1
Bledsoe Scene, Butch Cassidy, 16.1
Blood and Money (Thompson)
Bodner, Bruce
Bogart, Humphrey:
and Casablanca, 7.1, 7.2, 14.1
and Maltese Falcon, 4.1, 18.1, 18.2
roles in style of, 18.1, 18.2, 18.3
Bonnet, Stede, 1.1, 14.1
Bonnie and Clyde (film)
Bookman, Robert
Born Free (film)
Boston, class issue in
Boston Strangler
Boys and Girls Together (Goldman), 14.1, 14.2
Brando, Marlon, 2.1, 4.1
Breathless (film)
Bridges of Madison County, The (film), 8.1, 8.2, 8.3
Bridge Too Far, A (film):
and author’s hot streak
Levine and, 1.1, 5.1
shooting, 1.1, 15.1
Broadway, author’s book about
Brothers (film), ending of
Brown, David
Bruce (lyricist)
Bruckheimer, Jerry
Buñuel, Luis
Butch Cassidy and the Sundance Kid (film):
as apex of author’s career
Australia Scene in
beginning of, 14.1, 14.2
bicycle scene in, 14.1, 14.2
Bledsoe Scene in
casting of
completion of
credit for screenplay of
ending of, 8.1, 13.1, 14.1
first draft of
and Hill, 3.1, 4.1, 5.1, 13.1, 14.1, 15.1, 18.1
Jump-off-the-Cliff Scene in, 14.1, 14.2, 14.3
legends of, 14.1, 14.2, 14.3, 15.1
middle section of
mixed genres in, 3.1, 5.1, 10.1
money for screenplay of
other films compared with
phenomenon of
pitching of
plot of
preparation moment in
prequel to, 4.1, 4.2
reissues of
research for
running away in
screenwriter’s passion for, 5.1, 13.1, 14.1, 14.2, 14.3
shooting of, 5.1, 8.1
shoot-out scene in
sneak previews of, 5.1, 5.2
source material for, 7.1, 11.1
South America and, 7.1, 12.1, 14.1, 14.2
story of
stupid courage in
Superposse in, 7.1, 12.1, 14.1, 16.1
time leap in
tone of
writing of, 14.1, 14.2, 14.3
Buttercup’s Baby (Goldman)
Byronic heroes
CAA (Creative Artists Agency), and Memoirs of an Invisible Man, 2.1, 2.2
Caan, James:
and Misery, 4.1, 4.2, 11.1, 16.1
and Superman, 11.1
“Cabaret” (Kander), 14.1, 14.2
Cage, Nicholas
Cagney, James:
author’s sighting of
in Love Me or Leave Me, 18.1
roles in style of, 2.1, 5.1, 7.1, 18.1, 18.2, 18.3
camera:
novelist as
speed of, 12.1, 12.2, 12.3
Cameron, James, 2.1, 9.1
and grosses
and Titanic, 13.1, 18.1
Camp Breckinridge, Kentucky
Cannes Film Festival, 2.1, 4.1, 5.1
Hype and Glory about
Canton, Mark
caper films
Capra, Frank
Captain Marvel (comic book)
careers, and timing
Carousel (film)
Carradine, David
Carrey, Jim, 2.1, 9.1
Casablanca (film), 4.1, 7.1
defining moment in
jump-off-the-cliff scene for
Cassidy, Butch, see Butch Cassidy and the Sundance Kid
casting:
importance of, 3.1, 7.1
and the unknown, 4.1, 15.1
Castle Rock studios:
and Absolute Power, 8.1, 8.2, 8.3, 8.4, 8.5, 8.6
and Good Will Hunting, 18.1
and Misery, 4.1, 4.2, 4.3, 4.4
and When Harry Met Sally, 10.1
and Year of the Comet, 5.1
Chamber, The (film)
Chandler, Raymond
Chaplin, Charlie, 4.1, 18.1
Chaplin (film), 18.1, 18.2
character, importance of, 18.1, 18.2, 18.3
characters, numbers of, 8.1, 8.2
Charade (film)
Chariots of Fire (film)
Charley (film):
as author’s first screenplay
opening scene of
Chase, Chevy, and Memoirs of an Invisible Man, 2.1, 2.2
Chateau Lafite Rothschild wine
Chekhov, Anton, 4.1, 8.1, 12.1
Chicago (Broadway musical)
childhood, unhappy
China Syndrome, The (film), 7.1, 7.2
Chinatown (film)
as classic
confrontation scene in
ending scene of
score of, 7.1, 13.1
“She’s My Daughter, She’s My Sister” scene in
sneak previews of
Towne as screenwriter for, 9.1, 13.1, 13.2, 13.3, 13.4
Cinemania, reviews in
cinematographers, 13.1, 13.2
Citizen Kane (film)
Claiborne, Ross
Clair, René
Clancy, Tom
Clayton, Jack
Cleese, Alyce
Cleese, John, 8.1, 8.2, 14.1, 14.2
Clift, Montgomery
Clooney, George
Close, Glenn
Coen, Joel and Ethan:
and Chinatown, 13.1
and Fargo, 13.1
and Independent films
working methods of, 13.1, 13.2
Cohn, Harry
Columbia University, grad school, 14.1, 14.2
Columbus, Chris
Coma (film)
comedies:
characters in
as difficult projects
embarrassment and
genre requirements of
Goldman’s inability to write, 10.1, 15.1
and Oscars
peak moments of
romantic
comic books
composers
confrontation scene, Chinatown, 13.1
connectives, 14.1, 18.1
Connery, Sean:
height of
roles in style of, 15.1, 15.2, 17.1
as star
and Year of the Comet, 1.1
Control (film), ending of
Cook, Elisha, Jr.
Cooper, Gary
Coppola, Francis Ford, 7.1, 13.1
Costner, Kevin
and Dances with Wolves, 7.1, 16.1
and Ghost and the Darkness, 7.1, 7.2, 7.3
Cotton Club, The (film)
Country Girl, The (film)
courage, stupid
courtroom scenes
craft, in doctoring
Creative Artists Agency (CAA), 2.1, 2.2
creative process, 3.1, 3.2, 4.1
Crimson Pirate, The (film)
critics, brilliant writing ignored by, 9.1, 14.1
Crop-Dusting Scene, North by Northwest, 11.1, 11.2
Cruise, Tom
and Ghost and the Darkness, 7.1, 7.2
and Rainman, 18.1
as star
Crystal, Billy
and Princess Bride, 10.1
in When Harry Met Sally, 6.1, 10.1, 10.2, 10.3
Cukor, George
Curtiz, Michael
Cutthroat Island (film)
cutting, fast
Cutting Edge, The (film), 18.1
Damon, Matt, 14.1, 18.1, 18.2
Dances with Wolves (film), 7.1, 16.1
“Dancing in the Dark” scene
Dangerfield, Rodney
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Dante Alighieri
Darabont, Frank
Dave (film)
Davey, Bruce, and Maverick, 6.1
da Vinci, Leonardo
Day, Doris
Days of Thunder (film)
Day They Stole the Mona Lisa, The (Reit)
Dead Again (film)
dead guy in subway (story idea), 18.1
Death of a Salesman (drama)
Decter, Ed
Delacorte Press
De Mille, Cecil B.
Dench, Judi
DeNiro, Robert, 4.1, 5.1
Depardieu, Gerard
designers, production
Desk Set, The (film)
detecting scene, Fargo, 13.1
Devil’s Advocate, The (film)
DeVito, Danny, 7.1, 14.1
dialogue:
screenplays as more than, 10.1, 18.1
speed of action vs.
unimportance of
Diana, Princess of Wales, 13.1, 16.1
Diaz, Cameron, 4.1, 9.1, 9.2, 9.3
DiCaprio, Leonardo, 13.1, 15.1, 15.2
Dickens, Charles
Dick Tracy (film)
Dillon, Matt
directors:
beginners and
credits for
as elements
fear of
and first drafts
first projects with
as lacking vision
magic of
media attention to, 8.1, 9.1
and movie quality
movies written for
as screwing things up
talent clusters of
Dirty Harry (film)
discipline, importance of
Disney Enterprises
Dixon, Jeane
doctoring, 2.1, 18.1
Doctor Strangelove (film)
documentary look
Dolores Claiborne (film), 8.1, 18.1
“Dolphin, The” (Story Four)
beginning of
source material for
Domingo, Placido
Donen, Stanley
Donne, John
Donner, Dick:
and Maverick, 6.1, 6.2, 6.3, 6.4, 17.1
and Sea Kings, 14.1
Dos Passos, John
Dostoyevsky, Fyodor
Dougherty, Marion
Douglas, Kirk
Douglas, Michael
and Ghost and the Darkness, 7.1, 7.2, 7.3, 7.4, 7.5, 18.1
intelligence of
as producer
as star
Dracula pictures, popularity of
Dreyfuss, Richard, 4.1, 7.1
Duluth University
Dumb and Dumber (film), 9.1, 18.1
Dunaway, Faye, 13.1, 13.2, 13.3
Dunnock, Mildred
East of Eden (film)
Eastwood, Clint:
and Absolute Power, 8.1, 8.2, 8.3, 13.1
and Bird, 8.1
and Bridges, 8.1, 8.2, 8.3
career of
and casting
crew of
and Firefox, 1.1
on Hackman
height of
and Malpaso
Oscar to
professionalism of, 8.1, 18.1
roles in style of, 15.1, 15.2
speedy work of, 8.1, 8.2
as star, 2.1, 7.1, 8.1, 8.2, 8.3, 11.1
and Unforgiven, 14.1
Easy Rider (film)
Ebert, Roger
ego clashes
element (director or star)
Elevator Scene
Elwes, Cary, 3.1, 3.2, 8.1
endings, movie, 8.1, 13.1
“Entering Late” (Goldman)
Ephron, Nora:
and All the President’s Men, 10.1
career of
parents of
style of
and When Harry Met Sally, 6.1, 8.1, 10.1, 14.1
Ephron, Phoebe and Henry
Epsteins, and Casablanca, 7.1
Esquire magazine
E.T. (film), 1.1, 5.1
Ewell, Tom
Executive Power (Baldacci):
and Absolute Power, 8.1
characters in, 8.1, 8.2
ending of
epilogue of
opening of, 8.1, 8.2
plot of, 8.1, 8.2, 8.3
sales of rights to, 8.1, 8.2
sensational sequences in
Executive Suite (film)
Extreme Measures (film), 8.1
fables
Face/Off (film)
Fairbanks, Douglas, Jr.
Falling Down (film)
Fanny and Alexander (film)
farce, genre requirements of
Fargo (film)
Barfing in the Snow Scene of
detecting scene in
plot of
writing of
Farrelly, Peter and Bobby
and Big A, 18.1, 18.2
career of
and Something About Mary, 6.1, 8.1, 9.1, 9.2, 14.1
style of, 10.1, 13.1
Farrow, Mia
fast cutting
Fatal Attraction (film)
Faulkner, William, 4.1, 5.1
fear:
of change
of directors
of humiliation, 1.1, 15.1
of kidnapping
of lawsuits
of lions, 7.1, 7.2
as natural state
of Ovitz
of screwing things up
writing about
Fellini, Federico, 4.1, 4.2, 12.1
Fernandez-Armesto, Felipe
Field Museum of Natural History, Chicago
films, see moviemaking; movies
film schools
Finney, Jack
Firefox (film)
firemen, Willie Mays of
first drafts:
being fired after
directors needed for
for producers
as starting points
see also specific films
Fish Named Wanda, A (film)
Fitzgerald, F. Scott, 4.1, 12.1
Flatliners (film)
Fletch (film series)
flops, terms for
“Flowers for Algernon” (Keyes), 2.1, 2.2
Flynn, Errol
focus groups
Follett, Ken
Follies (Broadway musical)
Fonda, Jane, 7.1, 18.1
Ford, Harrison:
career of, 7.1, 7.2
and Misery, 4.1
roles in style of, 15.1, 18.1
Ford, John, 4.1, 14.1
Forrest Gump (film), 3.1, 5.1
Forsythe, John
Foster, Jodie
Four Dogs and a Bone (film)
Four Weddings and a Funeral (film)
Fox, Michael J.
Fox studios:
and In the Spring, 14.1
and Jaws, 5.1
and Princess Bride, 3.1
Frank, Scott:
and Big A, 18.1, 18.2, 18.3
career of
on character, 18.1, 18.2
Frankie and Johnny in the Clair de Lune (drama)
Frankie and Johnny in the Clair de Lune (film)
Freeman, Morgan, 7.1, 14.1
Frick, Henry Clay, 17.1, 17.2
From the Terrace (film)
Frost, Gen. John
Frost, Robert, poetry by, 8.1, 8.2, 8.3
Fugitive, The (film), 11.1, 18.1
Gable, Clark
Garbo, Greta
Garner, James, and Maverick, 6.1, 6.2, 6.3
genres:
constraints of
mixing
Gere, Richard
Geronimo
Gershwin, George and Ira
Get Shorty (film)
Get Shorty (Leonard)
Ghostbusters (film), 2.1, 2.2
Ghost, The, and the Darkness (film), 7.1, 7.2
Africa and, 7.1, 7.2, 7.3
casting of, 7.1, 7.2<
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changes in, 7.1, 7.2
and Douglas, 7.1, 7.2, 7.3, 7.4, 7.5, 18.1
lions in, 7.1, 7.2
mixing of
as original screenplay
as Patterson’s story, 7.1, 7.2, 7.3, 7.4
Redbeard in, 7.1, 7.2, 7.3
screenwriter’s passion for, 5.1, 7.1, 14.1, 14.2
shooting of, 7.1, 8.1
sneak previews of
source material for
Gibson, Mel:
and Ghost and the Darkness, 7.1, 7.2, 7.3
and Maverick, 5.1, 6.1, 6.2, 6.3, 17.1
in parking scene
as star, 7.1, 7.2, 18.1
in taxi scene
Gielgud, Sir John
Gig, The (film)
Gigi (film)
Gilroy, Frank, 8.1, 14.1
Gilroy, Tony:
and Absolute Power, 8.1, 8.2, 8.3
and Big A, 18.1, 18.2
career of
on character
on tone, 18.1, 18.2, 18.3
Glenn, Scott
Godard, Jean Luc
Godfather (film), 4.1, 5.1, 7.1, 11.1, 13.1
Godfather (Puzo)
Going My Way (film)
Golden Age of comic books
Goldman, Ilene, 1.1, 7.1, 14.1, 14.2
Goldman, Jenny, 1.1, 5.1, 8.1, 18.1
Goldman, Jim
Goldman, Susanna, 3.1, 8.1, 14.1
Goldman, William:
in the army
back spasms of
Broadway shows by
at Columbia, 14.1, 14.2
and comedy writing, 10.1, 15.1
dry spells of
in “Entering Late,”
first screenplay by, 2.1, 14.1
hot streaks of, 1.1, 3.1
immortality desired by
insecurity of
instincts of, 14.1, 18.1
Goldman, William (continued)
movie projects of, see specific titles
nonfiction writing of
at Northwestern
as novelist, 8.1, 9.1, 14.1, 14.2, 18.1; see also specific titles
at Oberlin, ix, 4.1, 14.1, 14.2
at Princeton, 14.1, 14.2, 14.3
projects turned down by
rejection slips for
on shooting sets
as teacher
work habits of
Goldsmith, Jerry
“Good Guy, The” (Story Two)
Goodman, John
Good Old Charley Gordon (screenplay), opening scene of
Good Will Hunting (film)
Graduate, The (film)
Grant, Cary:
in Charade, 5.1
in Gunga Din, 14.1
in North by Northwest, 11.1, 11.2
roles in the style of, 1.1, 5.1, 7.1, 14.1, 14.2, 18.1
Great Gatsby, The (film)
Great Waldo Pepper, The (film)
and author’s hot streak
as confidence builder
and Hill, 4.1, 14.1
Sarandon in
Green, Jack
Greene, Graham, 6.1, 9.1
greenlighters
Gremlins (film)
Groundhog Day (film)
group therapy, spitballing and
Guest, Chris
Gunfighter, The (film), 4.1, 13.1
Gunga Din (film), 14.1, 14.2
Hackman, Gene:
and Absolute Power, 8.1