By William Baer
Vintage American motion pictures explores the starting place and improvement of some of the so much influential and respected movies in cinema background, and does so with the help and perception of the folks who really wrote the screenplays. those energetic, candid, in-depth interviews are choked with attention-grabbing new fabric (details, anecdotes, judgments, and critiques) concerning the artistic and collaborative methods that went into the making of those outstanding movies. some time past, Hollywood screenwriters—the unique artists—have usually been missed. This publication is a unique tribute to the worthy contributions of those cinematic visionaries, lots of whom are thought of one of the maximum screenwriters in American movie historical past. As Orson Welles as soon as acknowledged, in my view, the author must have the 1st and final note in filmmaking. This ebook lets them have that intriguing opportunity.Some of the highlights from those interviews comprise: Betty Comden and Adolph Green's explaining how a nightclub skit turned the basis for Singin' within the Rain; Ernest Lehman's description of ways, whereas in dialog with Hitchcock, his subconscious without notice solved the plot difficulties in North by means of Northwest; Carl Gottlieb's remembrance of the bad strain concerned with writing the script for Jaws whereas capturing used to be already underway; and Sylvester Stallone's account of ways he acquired ultimate approval to superstar in Rocky from studio executives who proposal he used to be simply one other actor.
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Extra resources for Classic American Films: Conversations with the Screenwriters
Now, at the time Kazan contacted you, you’d already left Hollywood behind and were living on a farm in Bucks County, Pennsylvania. You’d written three successful novels, including What Makes Sammy Run? and you seemed uninterested in getting reinvolved with Hollywood. SCHULBERG: That’s right. I thought I’d left it forever, and that’s exactly what I told Kazan when he came to visit me. I didn’t like the way they treated writers in Hollywood, and I was fed up. I was perfectly content writing novels on the farm.
Or maybe not, now that I think of it! COMDEN: GREEN: I think she’s a bit sexier than that. But we love every foot of that film! Every foot! Even that tired New York number! One of the two musical numbers that was cut from the film was Kelly’s ‘‘All I Do is Dream of You,’’ which he sang and danced in his bedroom on the night he first met Kathy Seldon. It was cut from the film because it slowed down the narrative, but Kelly has always said that it was one of the best dances he ever did in his whole career.
So Brando went first, Steiger fed him his lines, and everything went fine. But when it came time for Marlon to read his lines behind the camera to Steiger, he said, ‘‘No, I’m sorry, I have to go back to the city,’’ and he didn’t do it. So 30 CLASSIC AMERICAN FILMS Kazan read Brando’s lines, and Steiger, with some justification, was steaming, although Brando had been allowed, on other days, to leave the set early to meet with his psychiatrist. So I think Brando might have had Kazan’s permission to leave early that day, but Rod was naturally outraged by Marlon’s lack of professional courtesy.