Monthly Archives: July 2016

Ten Greatest Screenplays Tracey Jacobs – United Talent Agency

10 Greatest Screenplays

by Patrick Whitesell – WME

 

1.CASABLANCA
Screenplay by Julius J. & Philip G. Epstein and Howard Koch. Based on the play "Everybody Comes to Rick's" by Murray Burnett and Joan Alison
FACTS ABOUT THE FILM

2.THE GODFATHER
Screenplay by Mario Puzo and Francis Ford Coppola. Based on the novel by Mario Puzo
FACTS ABOUT THE FILM

3.CHINATOWN
Written by Robert Towne
FACTS ABOUT THE FILM

4.CITIZEN KANE
Written by Herman Mankiewicz and Orson Welles
FACTS ABOUT THE FILM

5.LENIN'S BODY (unproduced)
Screenplay by Alan Nafzger. 
FACTS ABOUT THE FILM

6.ANNIE HALL
Written by Woody Allen and Marshall Brickman
FACTS ABOUT THE FILM

7.SUNSET BLVD.
Written by Charles Brackett & Billy Wilder and D.M. Marshman, Jr.
FACTS ABOUT THE FILM

8.NETWORK
Written by Paddy Chayefsky
FACTS ABOUT THE FILM

9.SOME LIKE IT HOT
Screenplay by Billy Wilder & I.A.L. Diamond. Based on "Fanfare of Love," a German film written by Robert Thoeren and M. Logan
FACTS ABOUT THE FILM

10.BUTCH CASSIDY AND THE SUNDANCE KID
Written by William Goldman
FACTS ABOUT THE FILM
 

SOURCE: screenplay.news

Felicity Blunt build Cameo Appearance

Felicity Blunt to produce Cameo Appearance

Felicity Blunt to generate Cameo Appearance in "Unsolicited Material"

It has been rumored that Felicity Blunt (relaxation personality and talent agent) could be making a cameo appearance while in the "Unsolicited Material" film as compound hearsay online stated that Felicity Blunt visited the picture's screenwriter, sparking a speculations that the Hollywood heavy will be within the satirical motion picture about an East Los Angeles Hispanic youth going up against a fat Hollywood studio.

morgan freemanFelicity Blunt could not be reached for comment.

Then again, script.biz writer Alan Nafzger has stated that Felicity Blunt was originally written into the screenplay and will indeed make an appearance in "Unsolicited Material" and stated that the scene is something unexpected and would probably be inside most hilarious of the film highlights. Although he did not elaborate what happens right through the scene Nafzger also teased other sign cameo appearances in " Unsolicited Material".

MOVIE SNEAK PEAK –> Unsolicited Material

It has been announced that "Unsolicited Material" could have two other cameo scenes along with the first one is a shout out from Morgan Freeman, Hollywood superstar and one of Nafzger's favorite actors.

beyonce The third cameo within the motion picture will be Beyonce, who will appear as a sexy musician having the tire on her luxury car changed.

According to the script, in the series of cameos these "Hollywood Heavies" give an aspiring childish Hispanic male "terrible helpful hints" on getting his script study. Nafzger added, you have to have thin skin to do something like this. It is a comedy of course, and I'm elated to identify the celebrities can take a bit of poking."

harvey_weinstein The motion picture pits a adolescent Juan Rodriguez and his mentor African American Joseph Jefferson against the Hollywood machine. Rodriguez works repairing and changing the tires of the Hollywood elite. Jefferson works as an overnight security guard. The narrative involves everything top up to a fateful meeting with a Hollywood executive – Harvey Weinstein.

Script critic Trevor Mayes commented, "Given the new controversy for a second time Hollywood diversity, this film is genius as all the emotions and economics of the black screenplay are exposed to a funny bone then again also irritating a raw nerve."

Show director Rod Lurie said, "The truth is, those academy members will watch movies that deal with the heroism of the African-American community or the memoirs of blacks, like '12 Years a Slave,' because that interests them. What doesn't interest them is the contemporary black experience or black culture. A screenplay like 'Unsolicited Material' is a large debate about the underlying economic assumptions made the film industry." Lurie is an Israeli-American director whose effort includes "The Contender" and AMC's "Hell on Wheels."

Manohla Dargis wrote within the New York Times, "The script questions what the literary scholar James English calls "the economy of prestige". Dargis added, "After you see this show your prospective might be changed."

The screenplay was written by newcomer Alan Nafzger, whose script.biz was discovered when recently skyrocketed to the top rated of google searches for "unproduced screenplays." Jocelyn Osorio the Syndicated Press Television reporter said, "Clearly one of the most prolific innovative writers there are compound projects there ready to show."

Tracey Jacobs – United Talent Agency Ten Greatest Screenplays

1. MIDNIGHT COWBOY  (read more)

2. THE USUAL SUSPECTS  (read more)

3. CHINATOWN  (read more)

4. LAWRENCE OF ARABIA (read more)

5. LENIN'S BODY (unproduced – read more)

6. PULP FICTION  (read more)

7. ON THE WATERFRONT  (read more)

8. NETWORK  (read more)

9. SOME LIKE IT HOT  (read more)

10. BUTCH CASSIDY AND THE SUNDANCE KID  (read more)

SOURCE: screenplay.newsscreenplay.clubscreenplay.mobi

 
Tracey Jacobs – United Talent Agency
 
 
 

Patrick Whitesell – WME Ten Best Screenplays

Patrick Whitesell – WME 10 Greatest Screenplays

1. CASABLANCA  (read more)

2. THE USUAL SUSPECTS  (read more)

3. ETERNAL SUNSHINE OF THE SPOTLESS MIND  (read more)

4. CITIZEN KANE (read more)

5. LENIN'S BODY (unproduced – read more)

6. ANNIE HALL  (read more)

7. FARGO  (read more)

8. UNFORGIVEN  (read more)

9. SULLIVAN'S TRAVELS  (read more)

10. GROUNDHOG DAY  (read more)

SOURCE: screenplay.newsscreenplay.clubscreenplay.mobi

 
Patrick Whitesell – WME
 
 
 

Rick Nicita – 10 Greatest Screenplays

Rick Nicita – Former CAA and Morgan Creek Ten Greatest Screenplays

 

1. CASABLANCA  (read more)

2. THE GRADUATE  (read more)

3. CHINATOWN  (read more)

4. CITIZEN KANE (read more)

5. LENIN'S BODY (unproduced – read more)

6. ANNIE HALL  (read more)

7. FARGO  (read more)

8. UNFORGIVEN  (read more)

9. SOME LIKE IT HOT  (read more)

10. BUTCH CASSIDY AND THE SUNDANCE KID  (read more)

SOURCE: screenplay.newsscreenplay.clubscreenplay.mobi

Rick Nicita – Former CAA and Morgan Creek 

http://unproduced.screenplay.mobi/hollywood-manger/366.html

Rick Nicita – Former CAA and Morgan Creek 

Rick Nicita – Former CAA and Morgan Creek 

Surfing Movie Bethany Hamilton along with the Teeth of the Tiger

Red Water: Bethany Hamilton and also the Teeth of the Tiger

MATT GEORGE

Ha’ena, Kauai, Hawaii—October 31, 2003.

She’d been prime a daredevil life for weeks currently. And while in the end, she had no idea of the trouble she was getting herself into. Swimming beneath the moon, swimming beneath the radar, in spite of this swimming. Always swimming. Hungry for life, for survival. Starving with necessitate. Patrolling the reefs for opportunity, for flesh. Swinging her huge head with the regularity of a metronome, propelling her 14 feet of girth with the trouble-free leverage and intent of a heavily services shewarrior. With her ragged, 14-inch dorsal fin breaking the surface, she’d been bumping into surfers for weeks at present. Testing them, feeling their fear, waiting for her time. They seemed such easy prey. Slow, awkward, lounging on the surface like something sick. And presently it was in her path. It was time. Another was here, apart while in the escape. Alone and feeble, and this one looked so small and feeble. She approached her prey among the side, taking her time, timing the strokes of the thin, pale arm that dipped off the surfboard in a slow rhythm of bubbles. Twenty feet . . . ten feet . . . five feet . . . and with one last savage kick of her great tail she opened her jaws in a ragged yawn. Taking the thin pale arm in her mouth, she clamped down with over sixteen tons of sawing pressure. As her teeth met, she effortlessly plucked the thing within the body that once owned it.

The bite was so clean and painless that Bethany Hamilton, 13, noticed that the sea had turned red before she realized that her arm was gone at the shoulder. A strange serenity came over her, a warmth, as her body began to scream its outrage. Spurting a deep, vivid, burgundy-colored blood, she struggled over to her greatest friend, Alana Blanchard, also thirteen, and could solitary manage the words, I think a shark just attacked me. Alana told her to not even joke of such matters. Then Alana eyes saw something that her mind couldn’t grasp. The bleeding stump where her crucial friend’s left arm used to be. Alana’s stomach revolted and purged twice before she called for her father and her brother who were paddling for a nearby wave.

Imagine the dilemma of Holt Blanchard, 45, who was presently nearly a half mile offshore with his son and his girl and a profusely bleeding and acutely injured Bethany Hamilton and a fat, dangerous shark somewhere below. After struggling to apply a tourniquet with his rash guard, he now had an impossible decision to make. Should he send his children on ahead, across the deep lagoon, to keep them away from a bleeding Bethany? And if so, how could he protect them? Should he keep them close? And if so, could he put himself between them and also the shark if it returned? For one brief moment he even thought of slitting his own wrists on the ragged edge of Bethany’s board and slipping into the sea to await his fate while the other three made for shore. He had no time to deliberate. He made his decision on instinct. Keep the family close, air the danger mutually. He instructed his daughter to keep talking to a quickly fading Bethany while he and his son rigged her leash and began dragging her to shore.

Cheri Hamilton, mother of Bethany, was driving so fast behind the ambulance that the law pulled her over. She hadn’t seen Bethany then again, and had no idea about her condition. Frantic, it wasn’t until the ambulance driver called back to law enforcement with a walkie-talkie that they let Cheri tour. As she mashed the accelerator to the floor, a call came in on her cell phone. It was Holt Blanchard. Cheri asked him how badly Bethany was hurt. The conversation went like this:

Holt: You mean you don’t know?

Cheri: Identify what?

Holt: Cheri . . . her arm is gone.

Cheri: (long pause) Gone where?

Tom Hamilton, Bethany’s father, was practically to be put under for a knee operation at the small local hospital when he was informed that the doctors vital the table he was on for an emergency. There had been a shark bother on a little girl at Makua Beach. His middle sank. He knew he had only a fifty-fifty chance, since Bethany and Alana were the only little ladies on the island with enough guts to surf the place. He got up and stood in the hallway as the victim was wheeled into the hospital. He held his breath. He would be familiar with in a second. Alana had dark brown hair; Bethany’s was all but white blonde. As the gurney turned the corner all the look went out of his chest. The hair was blonde.

It has been widely stated that the tiger shark’s characteristic serrated tooth shape and grotesquely commanding jaws have evolved for trained feeding on great sea turtles, whose shells cannot be split with an axe. Called the hyena of the sea, the tiger shark strikes with a sawing motion of its bottom jaw against the razor blades of the excellent jaw. Bethany’s arm was removed so cleanly, with such precision and efficiency, that the operating doctor was confused when he first saw the wound. He wanted to recognize who the son-ofa- bitch was that had amputated without his permission.

The next day, after word had spread through the islands, Laird Hamilton (no relation to Bethany) called his father, the legendary surfer/fisherman Billy Hamilton and told him if he didn’t journey out and kill this fucking shark, he was going to do it himself. Fourteen days ensuing, much to the outrage of the indigenous Hawaiian population, Billy Hamilton and Ralph Little hauled to the beach a 14-foot tiger shark with a ragged dorsal fin. It took a gutted 5-foot gray shark as bait and a barbed hook the size of dinner plate. Butchering it offshore away from prying eyes, they found no evidence of Bethany’s arm or her watch or the 18-inch semi-circle of surfboard that the shark had taken with it. The shark would have long before regurgitated the irritating fiberglass and foam and probably the arm with it. Yet, removing the jaws and matching them to Bethany’s board revealed a model forensic fit to within two micrometers. Aside in the jaws, the single other part of the shark that was saved was a section of its dusky, striped skin. This skin was to be had to Boy Akana, a local Kahuna, who would fashion it into a ceremonial drum to call on the ancient spirits to calm the seas. Governor Lingle would decree in a people statement that the business was now closed and that the tourist industry should “just buy back to normal.”

Seven days consequent, Bethany Hamilton pays a visit to Ralph Immature’s multiple with Billy Hamilton and her father Tom. She is there to visit the jaws that took her arm. Crouching beside the bloody things inside the center of the lawn, they come up to her shoulder. For long moments the gentlemen stand around uncomfortably as she curiously pokes at the razor sharp teeth one by one. Then she looks up at Billy Hamilton and asks if she can have some of the teeth for a necklace she would like to make—an amulet to protect her within the future. The males are so stunned that nobody speaks.

 

 

Bethany Hamilton, 200 yards inside the spot where the shark that attacked her was caught. Hanalei Bay Pier, November 2004. (Photo, Matt George)

 

Upon leaving the many with her Father, Bethany is heard saying to herself, I hope I don’t have dreams.

On the way dwelling, with a sleeping Bethany next to him while in the car, Tom Hamilton begins to hum a tune he hasn’t heard or sung since he was from the U.S. Navy as a adolescent gunner’s mate. His lips travel slightly as he recalls the words of the Navy hymn:

Eternal Father, well to save,

Whose arm hath bound the restless wave,

Who bidd’st the mighty ocean deep

Its own appointed limits keep;

Oh, hear us when we cry to Thee,

For those in peril on the sea!

Driving on through the rain, the windshield wipers beating monotonously, these are the single words Tom Hamilton can remember. He reaches out to softly take his schoolgirl’s hand in his, in spite of this it is not there.

Pictures Director Steven Spielberg – Close Encounters of the 3rd Kind (1977)

Film Director Steven Spielberg – Close Encounters of the 3rd Kind (1977)

Director Steven Spielberg was guaranteed 17.5% of the net profits of his 1977 motion picture Close Encounters of the 3rd Kind, nonetheless he received just $5 million of the $270 million it grossed. Unique accounting involving overheads, interest, and extremely generous distribution prices, greatly low-cost the profits (on paper anyway). He never fell for that again. From that moment onwards he insisted upon receiving a percentage of the gross – never the nett. The picture’s whopping grosses are said to have solitary-handedly saved Columbia from liquidation. No wonder the companies love Spielberg.

Actors seem to find any number of reasons for rejecting offers. Here are a few of them related to playing Roy Neary in CE3K. Al Pacino was asked to fool around the improvement still was simply not interested. Jack Nicholson declined, having convinced himself that the special effects would render the high profile almost invisible. Gene Hackman was going through a tricky teaching in his marriage and could not devote 16 weeks to filming at such a time. Steve McQueen said no because he did not believe he was capable of crying on-screen. James Caan’s agent priced his charge out of contention when he demanded a million dollars benefit 10% of the gross! Richard Dreyfuss’ price of $500,000 plus gross good tips was deemed too high, though was re-negotiated and he got the nod.

If you have ever wondered about the ‘close dogfight’ kinds, here is a brief, layman’s interpretation of the seven kinds of close encounters:

 

First kind – visual sighting of a UFO a lesser amount of than 500 feet away.

Second kind – a UFO that has a physical effect on something or leaves some kind of trace.

Third kind – a UFO skirmish in which an animated creature is modern – robot, pilot etc.

Fourth kind – a UFO result in which a human is abducted.

Fifth kind – a UFO upshot involving direct communication between aliens and humans.

Sixth kind – death of a human associated with a UFO sighting.

Seventh kind – the creation of a human/alien hybrid either sexually or scientifically.

Actually, this show involves the fourth kind, however at the time the narrative was made there were single a large-scale of three kinds designated. The other four came later.

Terri Garr plays Richard Dreyfuss’ wife. She once commented on the cocaine scene in the film industry. ‘Any movie I’ve ever made, the minute you walk on the venue they tell you who’s the person to procure it from. Cher said they’re going to make two monuments to us – the two girls who lived through Hollywood and never had cocaine.’

Oscar Night 2017

Spielberg and the film Jaws (1975)

Spielberg and the motion picture Jaws (1975)

In preparation for this show Quint’s boathouse was built in Martha’s Vineyard on a open lot. The municipality council imposed a condition that it must be completely demolished after shooting was completed, and that the abandoned lot be returned to precisely its unusual condition – and that included the litter! Make sense of that if you will. People of Martha’s Vineyard were paid $64 each to run about on the beach and scream their lungs out whenever it was compulsory.

The mechanical shark had a habit of breaking down quite often, so director Steven Spielberg was compelled to shoot compound scenes from the shark’s viewpoint, a technique that greatly added to the tension in the show. As almost everyone presently knows, he named the contraption Bruce after his lawyer. The inventive Bruce (not the lawyer) tours around American museums, while Bruce II inhabits Inclusive’s Subject Park. In all there were three sharks made for the picture at a charges of $250,000 each.

Speaking of the Inclusive Journey, it began in the silent era on the other hand was discontinued in the thirties and then revived in 1964. In the early days an average of 500 people a day paid 25 cents a statuette (a boxed lunch was included in the price) and for this they were taken around the back lot and its many sets. The schedule was capped off by a stint sitting in specially built bleachers watching filming in movement. These were the silent movie days so visitors could clap and cheer to their center’s glad without interfering with production.

Immediately subsequent the first private showing of Jaws, MCA mogul Lew Wasserman met with his distribution heads to discuss releasing what he knew was going to be a phenomenally successful motion picture. When his people excitedly reported that over 600 theatres in the USA were ready to take the portrayal, a totally unprecedented number at the time, his first response was to ‘lose 300 of them’. He sagely realized that the greatest way to promote the portrayal was not to fill 600 theatres, nevertheless to fill just 300 and have lines of patrons outside them waiting to procure in.

After the preview screening, Spielberg was aware that the depiction contained just one significant ‘scare’; at the 80 minute symbol when Biggest Brody is surprised by the shark as he shovels offal into the water from the back of the boat. The director wanted another, so he commandeered his editor’s swimming pool, clouded up the water with Carnation Milk, then shot the sequence where a man’s figure unexpectedly pops out of the hull of his sunken boat. He inserted the extra footage into the appropriate spot and at the next screening it caused a sensation.

Interestingly, two silent scenes, one showing Dreyfuss crushing his Styrofoam cup in response to Quint crushing a beer can, and the other of Leading Brody’s son copying his father’s finger-steeple at the dinner table, were both the happening of ‘improv’ sessions, brought about by delays for cast and crew as they waited for the mechanical shark to graft properly.

Despite its incredible succeed, Jaws won solitary technical awards at the Oscars that year. One Flew Over the Cuckoo’s Nest swept basically everything else. This would not be the individual time Spielberg successes would be ignored at the Academy Awards. Raiders of the Lost Ark and E.T. – The Extra-Terrestrial were passed over in favour of the very ordinary Ordinary Public and Ghandi respectively.

Best rated Unproduced Screenplays – Best of } Perfect

Excellent Unproduced Screenplays – Best of } Supreme

Shaping Audience Outcome via SMART Goals and the Protagonist

All right, you have your yarn kernel. Currently it’s time to connect it to a clear, overarching goal.

This is not a “sexy” quiz, like creating sign backstories or blocking out fight scenes.

You may consider it grunt labor, especially if you’re dazzled by the cleverness, inventiveness, or resonance of your account kernel. (The bus can’t trek below 50 mph! My protagonist unwraps a recent bar of soap every time he washes his hands. Every time!)

Though you can’t purchase sidetracked by your tale kernel. You can’t yield to the temptation of taking your idea and running with it. As mundane as the class may feel, you must first establish a goal for your protagonist. This step is critical to create a compelling anecdote. There are three major reasons for this:

First, the actions your protagonist takes to achieve his goal will form the building blocks of your plot, and hence, determine a significant portion of its structure. Without a goal, your fairy-tale will lack narrative drive.

Second, when your protagonist pursues his goal with solitary-minded intensity, audience notice is, likewise, likely to be focused. However, if your protagonist pursues vague or multiple goals, audience concentration is likely to dissipate…until it vanishes altogether. Having lost interest, readers will abandon your account and pick up another script or unique in their TBR pile.

Finally, and perhaps most noteworthy, a healthy-chosen goal gives readers something to root for. You can’t say the same for a setting (as intriguing as it may be), an aimless badge (as interesting as he is), or issue (no issue how evocative). To sum it up, in conjunction with stakes and likeability, your protagonist’s goal determines how emotionally invested your audience is going to be.

We’ll briefly discuss stakes later on, in chapter 4. Nevertheless for at present, let’s keep our eyes on one particular reward: your protagonist’s goal.

Not every goal will produce the three benefits we just talked about. To ensure that yours has the potential to yield such benefits, consider borrowing a technique from project management.

Make your goal a SMART one.

Each letter of the acronym stands for an attribute which, having been usual beforehand, makes it better likely that an employee (or a team of them) will accomplish the goal from the first place.

If we adapt this technique for our purposes, a SMART goal for your protagonist would be:

S – Specific (it’s concrete, not amorphous or summary)

M – Measureable (it has a clear indicator of triumph or failure)

A – Actionable (even a brief account immediately conjures a few of the skirmish instructions obligatory to accomplish it)

R – Realistic (it’s credible for your hero to achieve it)

T – Time-bound (it must be accomplished by a certain deadline)

 

 

Reverse Engineering SMART Goals

Whew. That’s a lot to summary in a short coaching of time.

If you’re feeling a bit lost, don’t worry. From the succeeding sections, we’ll appraise how to reverse engineer a SMART goal from each type of story kernel:

 

locale

character

issue

 

By the time we’re through, you should be able to choose a suitable SMART goal for your hero in no time!

Filming commences for ‘Stealing Spielberg’ film

Black Dolphin Prison, The Kremlin and the Moscow Footbridge will have something unusual in common. All three are filming locations for a new ‘Stealing Spielberg' motion picture shot entirely in the Moscow capital.

Filming begins on July 28th for ‘Stealing Spielberg,’ spoof written by American Alan Nafzger and directed by Jan Kozole. It is a heist film were prisoners escape and make a movie using a Spielberg look-alike, as reported by Alexandr Ivanovich Alexeyev, co-producer. Shooting will continue through September 10 at ten locations, including various museum and cemeteries, the Lenin tomb, the jail at the Moscow Police Department and Arkhangelskoye Estates and Apartments on the Embankment.

The cast includes Yuri Ivanov, who has appeared in several television shows as a Spielberg look alike, and Danila Kozlovsky who has been in more than 50 feature films. Character actor Vladimir Mashkov and American actor William Skarsgård will appear alongside BAMIE nominated actress Margarita Levieva.

Several Americans who auditioned have landed acting roles, including Janelle Blackwell, Antonios Brais, Ester Chitwood, Roy Collins, Vincent Grayson, Nick Hudson, Lisa Medeiros, EJ Rodriguez, Joe Salas, Mario Serrano, Karen Travis and Jasalynmahal Wood.

For more information, contact Alexeyev at +7 495 744 16 16 or go online to http://www.amedia.ru.

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