All the best lines : an informal history of the movies PDF
Preview All the best lines : an informal history of the movies
Start Reading About this Book About the Author Table of Contents www.headofzeus.com For my parents, who taught me to look as well as to listen. Frank Capra, whose winning streak as a director of warm-hearted comedies earned him six Oscars. CON�EN�� Cover Welcome Page Dedication Essays and Features Introduction Author’s Note Thanks ��E�M� ���EN�� ENEM�E� ����NE�� LO�E L�B��O B����E�� ��M�� MON��E�� �O�E� HE�OE� ZE�OE� MEMO��E� �E��� EN��NG� Titles Cast Crew Picture captions and credits Text Credits About this Book About the Author An Invitation from the Publisher Copyright E���Y� �N� �E����E� NOIR FILM THE NEW WAVE IN THE BEGINNING NOBODY KNOWS ANYTHING ‘DON’T NEVER LET NOBODY MAKE A MOVIE OF YOUR LIFE’S STORY’ ALMOST... ‘I AM BIG. IT’S THE PICTURES THAT GOT SMALL’ INCLUDE ME OUT THE SHAKESPEARE OF HOLLYWOOD ‘I JUST WANT TO BE WONDERFUL’ ROUND UP THE USUAL SUSPECTS AUTHOR, AUTHOR BE FUNNY OR THEY’LL KILL YOU IT’S ALL THERE ON THE PAGE STARRING ‘WHEN WOMEN GO WRONG, MEN GO RIGHT AFTER THEM’ A FONT FOR SCHMUCKS CHEESE ‘DON’T QUIT. MAKE THEM FIRE YOU’ ‘STICKS NIX HICK PIX’ BEND OVER ‘EXCESSIVE OR LUSTFUL KISSING’ KEEPING THE BRITISH END UP AS SOON AS I GET THE REWRITE A BODY IN THE COACH ‘YOU AIN’T HEARD NOTHIN’ YET!’ ‘WHO IS KEYSER SÖZE?’ YOUR ONLY COMPETITION IS IDIOTS A WORD TO THE WISE ‘IF MY FILMS DON’T SHOW A PROFIT, I KNOW I’M DOING SOMETHING RIGHT’ SCRIPT DOCTORS ‘IT’S NOT ABOUT VIETNAM. IT IS VIETNAM’ FADE IN... ‘MY GOD, THE HERO IS A BEE!’ I SHALL NOT RETURN ‘SLUG IN A DITCH!’ THUMBS DOWN THE MAN WHO SNEEZED IN LINCOLN’S NOSE A PRODUCER’S HEART ‘YOUR MOTHER WAS A HAMSTER’ BY THE WAY, THE PRODUCER THINKS IT’S A GREAT IDEA THE GREATEST STORY EVER SOLD WHERE’S ALFRED? ‘SHUT UP AND DEAL’ INCITING INCIDENTS AND PINCH POINTS ‘A DELICATE MATTER’ ‘THE REST IS SILENCE’ ‘TEARS IN RAIN’ TINSELTOWN �nt��d�cti�n Cinema: spectacle, stars and spotlights. And, somewhere in the distant background, the clatter of a typewriter. This book celebrates the shimmer of the silver screen but really pays tribute to the men and women who dreamed up its stories: the screenwriters. Audiences don’t know somebody sits down and writes a picture. They think the actors make it up as they go along. �c�eenw�ite� ��e Gilli� (�illia� H�lden) Sunset Boulevard (1950) A script has to make sense, and life doesn’t. �c�eenw�ite� Ha��y �awe� (H��ph�ey B��a�t) The Barefoot Contessa (1954) In the beginning — the early 1890s — moving pictures were such a novelty that crowds would flock just to see footage of a train pulling into a station, a circus performer or a man sneezing. Before long, directors like D. W. Griffith and Sergei Eisenstein had found ways to shape silent scenes into epic
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