I am the author of four books of interviews with filmmakers: Smoking in Bed: Conversations with Bruce Robinson (a Guardian Book of the Year), Story and Character: Interviews with British Screenwriters, Hampton on Hampton (an Observer Book of the Year), and The Art of Screen Adaptation: Top Writers Reveal Their Craft. I have written original and adapted screenplays and stageplays, on spec and to commission; contributed film interviews and reviews to UK magazines and newspapers; chaired Q&A events at book and screenwriting festivals; and recently published my first novel, The Vetting Officer. My next nonfiction project is a book of conversations with bestselling author and screenwriter William Boyd, for Penguin.
I wrote...
The Art of Screen Adaptation: Top Writers Reveal Their Craft
“You never really succeed,” Andrew W. Marlowe tells the editors of Tales from the Script, “You always fail at a higher level.” So: first you can’t finish your script, then you can’t get it read, then you can’t sell it, then you can’t get it made, then it’s made – but badly. Or, in Marlowe’s case, it’s made into Air Force One and you’re asked to repeat the trick. “Even when you get to the top there’s this realization: ‘Okay, the view is great, but tomorrow I gotta get up and start climbing the mountain again.’” If you find that depressing, don’t be a screenwriter. If you see it as a challenge, read on…
Few modern art forms are as misunderstood as the craft of creating movie scripts, but "Tales from the Script" puts readers in the trenches of the Hollywood development process. Readers will revel in the exploits of Shane Black ("Lethal Weapon"), John Carpenter ("Halloween'), Frank Darabont ("The Shawshank Redemption"), Nora Ephron ("When Harry Met Sally"), William Goldman ("The Princess Bride"), David Hayter ("Watchmen"), Bruce Joel Rubin ("Ghost"), Paul Schrader ("Taxi Driver"), Ron Shelton ("Bull Durham"), and dozens of others. They'll learn how these writers surmounted the incredible odds against breaking into Hollywood, transformed their ideas into films that topped the box…
In his sardonic 2002 memoir, What Just Happened?, producer Art Linson remembers an ex-studio head saying that if he’d greenlit the movies he’d passed on and cancelled the movies he’d made, the end result would have been the same. Screenwriter William Goldman famously put this a different way: “Nobody knows anything.” As a double Oscar-winner, for Butch Cassidy and the Sundance Kid and All the President’s Men, he knew as much as anyone – and a lot more than most – and his 1983 classic anatomises the business and craft of screenwriting in tones both magisterial and gossipy.
No one knows the writer's Hollywood more intimately than William Goldman. Two-time Academy Award-winning screenwriter and the bestselling author of Marathon Man, Tinsel, Boys and Girls Together, and other novels, Goldman now takes you into Hollywood's inner sanctums...on and behind the scenes for Butch Cassidy and the Sundance Kid, All the President's Men, and other films...into the plush offices of Hollywood producers...into the working lives of acting greats such as Redford, Olivier, Newman, and Hoffman...and into his own professional experiences and creative thought processes in the crafting of screenplays. You get…
Before you sit down and write a movie, it might be a good idea to find out how they’re made – and what better guide than the director of 12 Angry Men, Serpico, and Dog Day Afternoon. Sidney Lumet actually liked writers (not always a given with directors) and worked with some of the best, including Paddy Chayefsky (Network) and David Mamet (The Verdict). Mamet’s brilliant work adapting The Verdict is also examined in Goldman’s book, and together they provide a fascinating insight into the combination of art, commerce, ego, and chance which comprises the script development process.
“Invaluable.... I am sometimes asked if there is one book a filmgoer could read to learn more about how movies are made and what to look for while watching them. This is the book.” —Roger Ebert, The New York Times Book Review
Why does a director choose a particular script? What must they do in order to keep actors fresh and truthful through take after take of a single scene? How do you stage a shootout—involving more than one hundred extras and three colliding taxis—in the heart of New York’s diamond district? What does it take to keep the studio…
Like a lot of screenwriters, I’ve got Syd Field’s Screenplay and Robert McKee’s Story on my bookshelf. One day, I might even read them. But they’ll need to be very good indeed to beat John Yorke’s Into the Woods, which I’ve already read twice. More than just another “How to” book on screenwriting, it’s an accessible and insightful study of storytelling through the ages, by a leading TV producer and script editor, and an elegant distillation of how all stories, from the fireside to the multiplex, begin with and finally boil down to: “Once upon a time, in such and such a place, something happened.”
'The best book on the subject I've read. Quite brilliant' Tony Jordan, creator/writer, Life on Mars, Hustle
We all love stories. But why do we tell them? And why do all stories function in an eerily similar way? John Yorke, creator of the BBC Writers' Academy, has brought a vast array of drama to British screens. Here he takes us on a journey to the heart of storytelling, revealing that there truly is a unifying shape to narrative forms - one that echoes the fairytale journey into the woods and, like any great art, comes from deep within. From ancient…
Once upon a time, in a small apartment in Brooklyn, an unemployed, unproduced, unagented writer sat down to start a script. Three days later he finished it. Twelve months of rewrites and he sold it. Four years later it was made. And a year after that it won the Oscar for Best Original Screenplay. But, Michael Arndt notes in his modest introduction to the shooting script, this isn’t “a rewards-of-virtue narrative”; it’s a story about the razor-thin line between success and failure – and how, as Dwayne says in the movie, you should “do what you love and fuck the rest”. Words to live – and write – by.
Here is the official screenplay book tie-in to the uproarious American family road comedy. Brazenly satirical yet deeply human, Little Miss Sunshine introduces audiences to one of the most endearingly fractured families in recent cinema history. Meet the Hoovers, a motley six-member family who treks from Albuquerque to Redondo Beach, California, to fulfill the deepest wish of seven-year-old Olive, an ordinary little girl with big dreams.
Starring Greg Kinnear, Toni Collette, Steve Carell, Abigail Breslin, Paul Dano, and Alan Arkin, the film strikes a nerve with everyone who's ever been awestruck by how their muddled families seem to make it…
Meet Lev Gleason, a real-life comics superhero! Gleason was a titan among Golden Age comics publishers who fought back against the censorship campaigns and paranoia of the Red Scare. After dropping out of Harvard to fight in World War I in France, Gleason moved to New York City and eventually made it big with groundbreaking titles like Daredevil and Crime Does Not Pay.
Brett Dakin, Gleason's great-nephew, opens up the family archives—and the files of the FBI—to take you on a journey through the publisher's life and career. In American Daredevil, you'll learn the truth about Gleason's rapid rise…
American Daredevil: Comics, Communism, and the Battles of Lev Gleason
Gleason was a titan among Golden
Age comics publishers who fought back against the censorship campaigns and
paranoia of the Red Scare. After dropping out of Harvard to fight in France,
Gleason moved to New York City and eventually made it big with groundbreaking
titles like Daredevil and Crime Does Not
Pay.
Brett Dakin, Gleason's great-nephew,
opens up the family archives-and the files of the FBI-to take you on a journey
through the publisher's life and career. In American Daredevil, you'll learn the
truth about Gleason's rapid rise to the top of comics,…
Producers and audiences are hungrier than ever for stories, and a lot of those stories begin life as a book – but how exactly do you transfer a story from the page to the screen? Do adaptations use the same creative gears as original screenplays? Does a true story give a project more weight than a fictional one? Is it helpful to have the original author’s input on the script? And how much pressure is the screenwriter under, knowing they won’t be able to please everyone with the finished product?
The Art of Screen Adaptation reveals the challenges and pleasures of reimagining stories for cinema and television, and provides a frank and fascinating masterclass with the writers who have done it – and have the awards and acclaim to show for it.
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