BOOK FOR SALE!!
Story and Character: Interviews with British Screenwriters - edited by Alistair Owen
Paperback: 320 pages
Publisher: Bloomsbury UK (January 1, 2004)
Language: English
ISBN-10: 0747561893
ISBN-13: 978-0747561897
Product Dimensions: 0.8 x 5.2 x 8 inches
Amazon Rating: 5.0 out of 5 stars
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(synopsis)
Acting is glamorous, and everyone wants to direct, but what about the most vital ingredient of all—the script? In this illuminating collection of interviews, Alistair Owen explores the often overlooked role of screenwriting. From Billy Elliot to James Bond, and from Notting Hill to Beverly Hills, ten leading British writers—including Richard Curtis (Four Weddings and a Funeral, Bridget Jones’s Diary), Hossein Amini (The Wings of the Dove), and Simon Beaufoy (The Full Monty)—reveal the tricks of—and the truth about—the screen trade.
From Publishers Weekly
Never stooping to Hollywood dish or tales of writers’ tantrums, the interviews in this collection aim to instruct readers about the art, craft and business of writing for film. Through probing and clever questions, Owen elicits a variety of insights from his 10 British subjects. Some of them are familiar, such as Chaplin scribe William Boyd’s contention that "fear of failure" underlies Hollywood’s obsession with script rewrites. Others border on the satirical, like Richard Curtis’s anecdote about a studio meeting in which the producers first declared that they loved his script, then tried to change everything about it. (Curtis later went on to write the blockbusters Four Weddings and a Funeral and Bridget Jones’s Diary.) Some of the answers are even a little superstitious, such as True Blue author Rupert Walters’s announcement that "Mike Hoffman has a theory that 114 is a lucky number and that a lot of 114-page scripts get made." Less literary issues are covered as well, including the much-coveted Oscar nod and the bad blood that can arise between credited and uncredited screenwriters (particularly if the credited writers do end up with an Oscar). Though the interviewees rarely agree about much, their diverging opinions should prove inspiring for novices who are still finding their way in this prickly business. Informative, engaging and often quite funny, this book offers a behind-the-scenes look at how writers think about their work and the arduous and often confusing process of making movies.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
“A valuable work for film buffs and would–be screenwriters alike.” -- The Scotsman
“Forthright answers and a welter of tasty film trivia… a fascinating, insightful collection.” -- The Independent
“Informative, engaging and often quite funny.” -- Publishers Weekly Review Annex
Used / Like New / Ex-Display
Price : RM 15
Postage Fee (West Malaysia/Semenanjung)
1 items = RM 6
for each 1 additional items = RM 4
Postage Fee (for East Malaysia / Sabah & Sarawak)
1 items = RM 10
for each 1 additional items = RM 7
(We only use Poslaju)
Whatssap/SMS to 0186601880 for more info
**************************************************************
(synopsis)
Acting is glamorous, and everyone wants to direct, but what about the most vital ingredient of all—the script? In this illuminating collection of interviews, Alistair Owen explores the often overlooked role of screenwriting. From Billy Elliot to James Bond, and from Notting Hill to Beverly Hills, ten leading British writers—including Richard Curtis (Four Weddings and a Funeral, Bridget Jones’s Diary), Hossein Amini (The Wings of the Dove), and Simon Beaufoy (The Full Monty)—reveal the tricks of—and the truth about—the screen trade.
Editorial Reviews
From Publishers Weekly
Never stooping to Hollywood dish or tales of writers’ tantrums, the interviews in this collection aim to instruct readers about the art, craft and business of writing for film. Through probing and clever questions, Owen elicits a variety of insights from his 10 British subjects. Some of them are familiar, such as Chaplin scribe William Boyd’s contention that "fear of failure" underlies Hollywood’s obsession with script rewrites. Others border on the satirical, like Richard Curtis’s anecdote about a studio meeting in which the producers first declared that they loved his script, then tried to change everything about it. (Curtis later went on to write the blockbusters Four Weddings and a Funeral and Bridget Jones’s Diary.) Some of the answers are even a little superstitious, such as True Blue author Rupert Walters’s announcement that "Mike Hoffman has a theory that 114 is a lucky number and that a lot of 114-page scripts get made." Less literary issues are covered as well, including the much-coveted Oscar nod and the bad blood that can arise between credited and uncredited screenwriters (particularly if the credited writers do end up with an Oscar). Though the interviewees rarely agree about much, their diverging opinions should prove inspiring for novices who are still finding their way in this prickly business. Informative, engaging and often quite funny, this book offers a behind-the-scenes look at how writers think about their work and the arduous and often confusing process of making movies.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Review
“A valuable work for film buffs and would–be screenwriters alike.” -- The Scotsman
“Forthright answers and a welter of tasty film trivia… a fascinating, insightful collection.” -- The Independent
“Informative, engaging and often quite funny.” -- Publishers Weekly Review Annex
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