By William Goldman
Now to be had as an publication for the 1st time!
No one is aware the writer's Hollywood extra in detail than William Goldman. Two-time Academy Award-winning screenwriter and the bestselling writer of Marathon Man, Tinsel, Boys and ladies Together, and different novels, Goldman now takes you into Hollywood's internal sanctums...on and backstage for Butch Cassidy and the Sundance Kid, All the President's Men, and different films...into the luxurious workplaces of Hollywood producers...into the operating lives of appearing greats akin to Redford, Olivier, Newman, and Hoffman...and into his personal specialist reports and inventive suggestion tactics within the crafting of screenplays. You get a firsthand examine why and the way motion pictures get made and what parts make an exceptional screenplay. Says columnist Liz Smith, "You'll be interested.
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Extra resources for Adventures in the Screen Trade: A Personal View of Hollywood and Screenwriting
This demand can be as simple as the opponent asking the hero to make an accounting entry that seems a little iffy—claiming something as a refundable business expense when in fact it’s a personal expense. This can set the tone for the hero’s cowardice, the opponent’s control over the hero, and the opponent’s general demeanor and opposing point of view. We can even tie this in later by having the hero’s entry of these questionable expenses be part of the evidence that damns the opponent, or perhaps even, in the short run, seems to implicate the hero.
The first question: what opportunity does the lifechanging event offer? The chance to be wealthy. if our hero’s already wealthy, the lottery really doesn’t offer that much of an opportunity, so the full effect of the lottery will come if our hero is hurting for money, or at least not already wealthy. Or, perhaps our hero has rejected wealth for some reason—she may be a nun, for example, or her parents were wealthy and abusive, and she equates the wealth with the abuse, and thus rejects it. Okay, we could go a number of ways here, so let me throw out just one of a possible myriad of storylines based on the only element we have to work with—the lifechanging event.
The character’s vows of chastity add an automatic, crucial and intrinsic conflict. An accountant falls in love, so what? A priest falls in love and the possibilities throw themselves at us. If the hero fails to overcome her character flaw by the end of the story, the story is considered a “tragedy,” such as Shakespearean and Greek tragedies or a movie like “Leaving Las Vegas” in which the hero is not redeemed and his character flaw not overcome. A friend of mine recently (at the time of my writing this book) sold a script to Twentieth Century Fox.
Adventures in the Screen Trade: A Personal View of Hollywood and Screenwriting by William Goldman