INDEX
A
Actors and actresses
B
Bates, Kathy, 143
Bogart, Humphrey, 98
Branagh, Kenneth, 164
Brody, Adrian, 159
C
Chaplin, Ben, 37
Chaplin, Charlie, 116, 153, 204
Conrad, David, 30
Cotton, Joseph, 5
Cruise, Tom, 149
D
Damon, Matt, 201
Depp, Johnny, 41
Dern, Bruce, 84
Diaz, Cameron, 22
Dillon, Matt, 22
Douglas, Kirk, 148
E
Elliott, Chris, 22
Falk, Peter, 105
F
Fiennes, Joseph, 30
Ford, Harrison, 5
Foster, Jodie, 12
G
Garofalo, Janeanne, 37
Gazzara, Ben, 105
Grant, Hugh, 165
H
Hanks, Tom, 101
Harris, Richard, 13
Hoffman, Dustin, 145
H
Jackson, Samuel L., 150
K
Kidman, Nicole, 149
L
Lewis, Daniel Day, 28
Lewis, Juliette, 41
M
McDowell, Andie, 165
McQueen, Steve, 98
Moore, Demi, xi
N
O
Olivier, Lawrence, 164
Osmont, Haley Joel, 167
P
R
Reynolds, Burt, 194
S
Saint, Eva Marie, 5
Schwartzenegger, Arnold, 99
Scott, George C., 83
Stanwyck, Barbara, 100
Studi, Wes, 28
Stiller, Ben, 22
Swanson, Gloria, 28
T
Thompson, Emma, 142
Thurman, Uma, 37
Travolta, John, 142
V
Vaughn, Vince, 31
W
Wahlberg, Mark, 194
Welles, Orson, 5, 103, 144, 153, 189
Willis, Bruce, 167
Winslett, Kate, 8
Z
Zane, Billy, 8
Actresses. See Actors and actresses
B
Basic elements, scripts. See Scripts, elements of
Beats, 10
Books
nonfiction
Alternative Scriptwriting: Writing Beyond the Rules, 9, 42, 126
Film Form, 126
Film Sense, 126
Screenplay, xii
Technique of Film and Video Editing (second edition), xiii, 138
Understanding Media: The Extension of Man, 188–196
Writing the Short Film (second edition), xiii, 9, 25
novels
as scriptwriting models, 166–167
On the Beach, 158
C
Character and characters
contraction of, 29
independent model (scriptwriting) and, 104
research about, 42
sources of resistance and
story ownership and, 26
types of
D
Directors and filmmakers
A
Allen, Woody, 74, 106, 189, 193
Altman, Robert, 83, 144–148, 194
Anderson, Paul Thomas, 12, 128, 135–138, 194–195, 201
Antonioni, Michelangelo, xiii, 219
B
Balasko, Josiane, 119, 209, 214–215
Benigni, Roberto, 132–133, 204, 207
Benton, Robert, 147
Beresford, Bruce, xii, 73, 124, 218
Bergman, Ingmar, 27, 33, 115, 220
Berliner, Alain, xi
Bertolucci, Bernardo, 38, 80–83, 131, 179–180
Beyer, Frank, 92
Bogdanovich, Peter, 65
Brooks, Albert, 193
Brooks, Richard, 141
Bunuel, Luis, xiii, 12, 108, 114, 153, 163, 175–178
Burns, Ed, 103
C
Cain, James, 65
Campbell, Joseph, xiii
Capra, Frank, 32, 85, 95, 204, 223
Cassavetes, John, 104–106, 219
Cavani, Liliana, 135
Chaplin, Charlie, 116, 153, 204
Chayefsky, Paddy, 7–8, 83, 191
Cimino, Michael, 98
Cocteau, Jean, 114
Coen, Ethan, 73–74, 220–221, 223
Coolidge, Martha, 103
Coppola, Francis Ford, 7, 75–76, 126, 220
Cronenberg, David, 205
D
Dardenne, Jean-Pierre, 170
Dash, Julie, 135
Davies, Terence, 108
Davis, Andrew, 67
De Mille, Cecil B., 70
Demme, Jonathan, 12, 27, 63, 66, 75
Dmytryk, Edward, 147
E
Egoyan, Atom, 80–83, 108, 137–138, 201
Eisenstein, Sergei, 4, 114, 126, 175
Emmerich, Roland, xi, 7–11, 20, 218
Enright, Nick, 14
Ephron, Nora, 45
F
Fassbinder, Rainier, 40
Ford, John, 5, 38, 62, 78–80, 98, 218–219
Forsyth, Bill, 120
Frankenheimer, John, 62, 72, 97–98, 139–141
Friedrich, Su, 134
G
Gilbert, Lewis, 24
Gitai, Amos, 198
Godard, Jean-Luc, xiii, 153, 175–178, 186
Goldbacher, Sandra, 135
Goldwyn, Tony, 92
Gray, James, 221
Greenwald, Maggie, 46–47, 106–107
H
Haas, Phillip, 199
Harron, Mary, 187, 202–203, 226–227
Hawks, Howard, 38, 62, 65, 99–101, 188–189
Hirokazu, Kore-eda, 203
Hitchcock, Alfred, 5, 26, 48, 61–64, 95, 117–124
Holland, Angieska, 134, 218, 221–222
Howard, Ron, 192
Huston, John, 67
I
Ivory, James, 166
J
Jansco, Miklos, 108
Jeunet, Jean-Pierre, xi
Jewison, Norman, 29
Joffé, Roland, 192
Johnston, Joe, 44
Jordan, Neil, 73, 120, 156–158, 205–207
K
Kapur, Shekar, 36, 38, 123, 209–211, 218
Kar-Wai, Wong, 186
Kassiewitz, Mattieu, 183
Kazan, Elia, 5, 14–20, 68, 190–191
Kieslovski, Krystof, 196
Kragh-Jacobsen, Soren, 168
Kubrick, Stanley, xi, 5, 10–11, 21, 35, 63–64, 71–85, 102, 148–153
Kurys, Diane, 135
Kusama, Karyn, 200
Kusterica, Emir, 85
L
Lang, Fritz, 78–80, 95, 114, 162
Law, Carol, 134
Lean, David, 5, 7, 34, 68, 120, 129
Lee, Ang, xii, 34, 38, 77–78, 103, 218, 223–224
Lee, Spike, 10, 14, 61, 80–83, 111–112, 158–159
Leight, Warren, 40
Levin, Marc, 107
Levring, Kristian, 168
Loach, Ken, 87–88, 168, 191, 201–202
Losey, Joseph, 103
Lubitsch, Ernst, 95
Lumet, Sidney, 7, 63, 83, 92, 190–191
M
Mackendrick, Alexander, 5, 95–96, 120, 189
Madden, John, xii, 30, 165–166, 192–193
Majidi, Majid, 198
Mamet, David, 73–74, 80–83, 164
Manchevski, Milcho, 135, 180–181
Mankiewicz, Joseph, 7–9, 22, 38, 172–173, 189
Mann, Anthony, 35
Mendes, Sam, xii, 24, 162, 201, 224–226
Mikhalkov, Nikolai, 22
Milestone, Lewis, 174
Miller, David, 94
Minghella, Anthony, xii, 6–7, 9–11, 28, 40, 52
Minnelli, Vincente, 68, 141, 189–190
Morahan, Christopher, 69
Mostow, Jonathan, 48
Murnau, Fred, 95
N
Nelson, Ralph, 62
O
O'Donnell, Damien, 28
Oshima, Nagisa, 163
Palcy, Euzhan, 69
Pasolini, Pier Paulo, 163
Payne, Alexander, 187
Peckinpah, Sam, 4, 34–35, 62, 70
Pellington, Mark, 58
Pollack, Sydney, 29, 64, 73, 147
Polonsky, Abe, 200
Potter, Sally, 108
Prasad, Udayan, 122
Preminger, Otto, 131
Primus, Barry, 193
R
Radford, Mike, xii, 218, 222–223
Rafelson, Robert, 220
Ramis, Harold, 35
Ray, Nicholas, 219
Ray, Sajayit, 219
Redford, Robert, 195, 199, 220
Reed, Carol, 5
Reinhardt, Max, 114
Ritt, Martin, 200
Robinson, Phil Adlen, 204
Rossellini, Roberto, 116
Rydell, Mark, 62
S
Schaffner, Franklin, 26, 68, 71, 141–144
Schepsi, Fred, xii
Schlondorff, Volker, xii, 86, 204
Scorsese, Martin, 23, 37, 68, 103, 126–131, 178–183, 200
Scott, Ridley, xi, 13, 66, 71–72, 75
Scott, Tony, 62
Singleton, John, 61
Siodmak, Robert, 95
Soderbergh, Steven, 8, 34, 58, 74, 93, 166–167
Sonnenfeld, Barry, 74
Spielberg, Steven, xii, 12, 22–23, 35, 56, 65, 73–74, 99, 101–102, 168, 174, 191
Spottiswoode, Roger, 192
Stevens, George, 9, 14, 49, 68, 219
Stone, Oliver, 9, 14, 63, 67, 80–83, 132, 168–179
T
Tarantino, Quentin, 12, 14, 38, 128, 135–137, 148–153
Taviani, Paulo, 223
Taviani, Vittorio, 223
Thompson, J. Lee, 12
Truffaut, Francois, 40
Tuggle, Richard, 67
U
Ulmer, Edgar, 95
V
Van Sant, Gus, 201
Van Trotta, Margarethe, 134–135
Varda, Agnes, 135
Verhoeven, Paul, xii, 96–97, 112–113
Vinterberg, Thomas, xii, 128, 168, 221
Visconti, Luciano, 65, 116, 220, 223
Von Trier, Lars, xii, 85, 168, 185–186, 203–204
W
Wachowski, Larry, 53–54, 204–205
Watkins, Peter, xii, 87–88, 120, 204
Weir, Peter, xi, 38, 124, 196, 218
Wertmuller, Lina, 135
West, Simon, 63
Wexler, Haskell, 168
Whale, James, 95
Wilder, Billy, 9, 14, 24–29, 34–38, 56, 65, 78–80, 100, 162, 189–192
Winkler, Irwin, 62
Winterbottom, Michael, 192
Woo, John, xii
Wyler, William, 28, 33, 62, 70, 219
Y
Yates, Peter, 66
Young, Robert, 92
Younger, Ben, 200
Z
Zwick, Ed, 21
Documentaries
vs. drama, 25
vs. experimental narratives, 25
Dogma 95, xii–xiii, 128, 168–171, 201–202
Drama
vs. documentaries 25
vs. experimental narratives, 25
E
Elements, scripts. See Scripts, elements of
Energy, 13
Experimental narratives
independent model and, 108–111
vs. documentaries, 25
vs. drama, 25
F
Film studios
Good Machine, 104
MGM, 103
Miramax, 104
New Line, 104
Twentieth Century Fox, xi
Universal Pictures, xi
Filmmakers. See Directors and filmmakers
Films and screenplays
1900, The Tragedy of the Ridiculous Man, 82, 179
2001: A Space Odyssey, 71, 78, 148–150
A
Ace in the Hole, 28, 80, 162, 189, 192
Adjuster, The, 82
Affliction, 223
Afterlife, 203
Alfie, 24
Alien, xi
Aliens, 65
All About Eve, 7–9, 11, 172–173, 189
All About My Mother, 172–173, 213–214
All Quiet on the Western Front, 174
All the President's Men, 191
Alphaville, 177
American Beauty, xii, 24, 162, 201, 224–227
Avartment, The, 9, 29, 56, 80, 100
Apu Triology, The, 223
Arlington Road, 58
Asphalt Jungle, The, 67
Autumn Sonata, 27
Autumn Tale, 120
B
Bad and the Beautiful, The, 132–133, 190
Ballad of Little Jo, 46–47, 106–108
Bandwagon, The, 189
Basic Instinct, xii
Bastard out of California, 133–134
Beach, 186
Beast Must Die, The, 45
Before the Revolution, 82
Best Years of Our Lives, 219
Black Robe, 73
Blair Witch Project, xii, 128, 171, 191–192
Blow-Up, 117
Blue, 62
Blume in Love, 220
Bob and Ted and Carol and Alice, 220
Body and Soul, 200
Body Heat, 220
Bonnie and Clyde, 62, 66, 125, 145–146
Boogie Nights, 194
Born on the Fourth of July, 80–83,178–179
Bow]Inger, 193
Boys Don't Cry, 107
Breakdown, 48
Breaking the Waves, 85, 185–186, 203–204
Breathless, 177
Bride Wore Black, The, 117–118
Bridge on the River Kwai, 34
Bringing out the Dead, 23
Bringing Up Baby, 65
Broken Arrow, xii
Budda of Suburbia, The, 122
Bullets over Broadway, 106, 189, 193
Bullitt, 66
Bulworth, 84
Burnt by the Sun, 22
C
Candidate, The, 168
Captain Blood, 60
Carnal Knowledge, 141
Carrie, 65
Casablanca, 98
Celebration, The, xii, 128, 168–170, 201–203, 221
Chien andalou, Un, 12, 163, 175–178
Chunking Express, 186
Cid, El, 35
Cider House Rules, xii, 34, 40–42, 64
Clear and Present Danger, 95
Clockwork Orange, A, 85
Conversation Piece, 116
Cook, The Thief, His Wife and Her Lover, The, 110
Cowboys, The, 62
Crimes and Misdemeanors, 74
Criminal Mind of Archibald Cruz, The,176–178
Crouching Tiger, Hidden Dragon, xii
Croupier, 166
D
Daughters in the Dust, 135
Day the Earth Stood Still, The, 65
Death in Venice, 116
Deep Impact, 45–16, 51, 71, 133
Deliverance, 123
Dirty Dozen, The, 63
Dirty Harry, 63
Discreet Charm of the Bourgeoise, 176–178
Do the Right Thing, 81–83, 158–159
Dodsworth, 33
Dr. Jekyll and Mr. Hyde, 65, 72
Dr. Strangelove or How I Learned to Stop Worrying and Love the bomb, 78, 83–84, 148–150
Dr. Zhivago, 5
Draughtsman's Contract, The, 108–110
Dreamlife of Angels, 40, 119, 170, 221
Driving Miss Daisy, xii
Dry White Season, A, 69
E
East is East, 28
Eclisse, L', 117
Election, 187
Elizabeth, 38, 123–124, 198, 209–211
End of the Affair, The156–158, 205–207
Enemies: A Love Story, 22
Enemy of the State, 62
Entre Nous, 135
Erin Brockovich, 8, 34, 64, 97
Ethan Frome, xii
Existenz, 205
F
Fallen Idol, The, 5
Family Plot, 95
Family Viewing, 82
Fatal Attraction, 58
Father, The, 198
Fear Strikes Out, 68
Fearless, 38
Field of Dreams, 204
Fistful of Dollars, A, 171–172
Five Fingers, 22
Flirting with Disaster, 44
Floating Life, xii, 160–161, 221
Fortune Cookie, The, 100
Four Feathers, 35
Four Friends, 146
Four Weddings and a Funeral, 24, 59, 164–165
French Connection, The, 75
French Twist, 119, 209, 214–215
Front Page, The, 192
Fugitive, The, 6
Full Metal Jacket, 5, 10–11, 63–64, 77–78
G
General's Daughter, The, 63
General, The, 123
Gentleman's Agreement, 15
Get Carter, 121
Get Shorty, 74
Giant, 219
Girl on the Bridge, 44–46, 49–51, 57
Glory, 21
Godfather, 11, 63, 66, 75–76, 91, 172, 220
Godfather II, 220
Governess, The, 135
Graduate, The, 141
Grapes of Wrath, The, 98
Grease, 75
Great Gatsby, The, 7
Great White Hope, The, 200
Gregory's Girl, 120
Groundhog Day, 35
Guns of Navarone, 12
H
Haine, La, 183
Happiness, 161–163, 223, 226–227
Harder They Fall, The, 194
Heaven and Earth, 80–83, 178–179
Heaven's Gate, 98
Hero with a Thousand Faces, The, xiii
High Fidelity, xii
High Sierra, 67
Hit, The, 121
Hospital, 83
How Green Was My Valley, 218–219
Hud, 98
I
I Shot Andy Warhol, 187, 202–203
Idiots, The, xii, 168, 201–202
In the Company of Men, 155–156
In the Heat of the Night, 29
In the Realm of the Senses, 163
Indiana Jones and the Last Crusade, 75
Innocent, The, 116
Interview with a Vampire, 156–158
Islands of the Stream, 143–144
It's a Wonderful Life, 85, 204, 223
J
Jacob the Liar, 92
Jazz Singer, The, 91
Jean de Florette, 220
Jeremiah Johnson, 147
Jerusalem, 129
Jezebel, 28
Julia, 98
K
Kadosh, 198
Kafka, 167
Killing Fields, The, 192
Kissing is Alive, The, 168
L
Lady Eve, The, 65
Lady Vanishes, The, 61
Last of the Mohicans, The, 28, 70
Lawrence of Arabia, 7, 34, 68, 129
Left-Handed Gun, The, 144
Leopard, The, 116
Life is Beautiful, 204, 207, 223
Light Sleeper, 74
Lion King, The, xiii
Local Hero, 120
Lock, Stock, and Two Smoking Barrels, 172–173
Lolita, 78
Long Good Friday, 121
Lorenzo's Oil, 14
Loss of Sexual Innocence, The, 208
Luna, 82
Lust for Life, 68
M
M*A*S*H, 146
Magnolia, 12, 128, 135, 137–138, 194–195, 201
Major and the Minor, The, 80, 100
Man Bite Dog, 183–184, 191–192
Man with a Movie Camera, xii
Manchurian Candidate, The, 62, 97–98, 139–141
Marianne and Julianne, 134–135
Matewan, 194
McCabe and Mrs. Miller, 146–148
Medium Cool, 168
Mickey One, 144
Miracle Woman, 95
Miracle, The, 120, 156–158, 205
Mission Impossible II, xii
Mistress, 193
Modern Times, 204
Mr. Smith Goes to Washington, 32
Murder by Sweet, 147
Muriel's Wedding, 126
My Beautiful Launderette, 122
My Best Friend's Wedding, xi–xii
My Darling Clementine, 5, 78–80
My Name is Joe, 168, 191, 201–202
My Son the Fanatic, 122
Mystic Pizza, 167
N
Naked City, 66
Nashville, 146
Natural Born Killers, 80–83, 132, 168, 178–179
Net, The, 62
Night Porter, The, 135
Night We Never Met, The, 40
O
O Lucky Man, 83
Once Were Warriors, 7, 9–11, 52–55, 58, 68, 122
P
Package, The, 67
Paper Mask, 69
Paper, The, 192
Papillon, 143
Paralax View, The, 61
Passenger, The, 117
Passion of Joan of Arc, 131
Passion of the Mind, xi
Patter Panchali, 219
Paffc of Glory, 21, 35, 78, 102, 148–150
Pawnbroker, The, 92
Pelican Brief, The, 95
Petit Soldat, Le, 177
Piano, The, 32
Place in the Sun, A, 9, 14, 49, 68, 122
Plainsman, The, 70
Planet of the Apes, 71, 143–144
Platoon, 63, 67, 80–83, 178–179
Point Blank, 123
Pornographic Affair, An, 170
Postman Always Rings Twice, The, 65, 220
Potemkin, 5
Pret-à-Porter, 146
Prince of the City, 75
Private Life of Sherlock Holmes, The, 79–80
Psycho, 5
Pulp Fiction, 12, 128, 135–137, 149–150
Q
Q&A, 63
Quiz Show, 195
R
Raging Bull, 37, 68, 178–179, 183, 200
Raiders of the Lost Ark, 6, 64
Raising Arizona, 221
Rebecca, 95
Rebel Without a Cause, 219
Red, 196
Red Badge of Courage, 174
Regarding Henry, 142
Ride the High Country, 70
Road Warrior, 59
Rocco awd His Brother, 223
Rocky, 27
Rosetta, 170
Saint Joan, 131
Salo, 163
Sandra, 116
Sands of Iwo Jima, 61
Satyricon, 117
Saving Private Ryan, xii, 12, 21–23, 34–35, 56, 67, 101–102, 168, 174, 191
Schindler's List, 74
Scream, The, 62
Seconds, 72
Sense and Sensibility, 34, 64, 77–78
Serpico, 75
Seven Days in May, 62
Sex, Lies, and Videotape, 8, 23
Sexual Life of the Belgian, The, 184–185
Sexual Perversity in Chicago, 81–83
Shaft, 61
Shakespeare in Love, xii, 30–31, 165–166, 192–193
Shall We Dance, 23, 209, 215–216
She Wore a Yellow Ribbon, 78–80
She's Gotta Have It, 10, 81–83, 111–112
Sheltering Sky, The, 82
Silence of the Lambs, The, 12, 63, 66, 75
Sink or Swim, 134
Six Degrees of Separation, xii
Sleeping with the Enemy, 38–39
Sleepless in Seattle, 45
Smile, 84
Soldier's Daughter Never Cries, A, 166
Some Like It Hot, 24, 79–80, 100
Someone to Watch over Me, 66, 75
Something Wild, 27
Sound of Music, The, 75
Spanking the Monkey, 103
Star Wars, xiii, 9, 58, 75, 127–128
Sudden Fear, 94
Sunset Boulevard, 28, 34, 80, 190
Sweet Smell of Success, The, 5, 95–96, 189
Swept Away, 135
Sympathy for the Devil, Tout va bien, 177
T
Thelma and Louise, 59
There's something About Mary, 22, 34
Thin Red Line, The, 12, 67, 135, 174
Third Man, The, 5
This Man Must Die, 45
Three Days of the Condor, 64
Three Kings, 103
Tightrope, 67
To Kill a Mockingbird, 14
To Live, 223
Tokyo Story, 223
Too Late the Hero, 63
Triumph of the Spirit, 92
Truly, Madly, Deeply, 6–7, 9–11, 28, 52–56, 58, 68
Truth about Cats and Dogs, The, 37
Twilight, 147
Two or Three Things I Know about Her, 177
U
U-Turn, 80–83, 173–174, 178–179
Under Fire, 192
Underground, 85
Unmarried Woman, An, 220
Untouchables, The, 62
V
Vagabond, 135
Vertigo, 26
Viva Zapata, 15
W
Wahrte Dog, 142
Walk on the Moon, A, 92
Washington Square, 222
Wedding Banquet, 38
Welcome to Sarajevo, 192
Welcome to the Dollhouse, 161–163
What's Eating Gilbert Grape, 40–41
White the Cat's Aray, 170, 187
White Heat, 66
Who's Afraid of Virginia Woolf, 141–142
Wild One, The, 98
Witches of Eastwick, xi
Wizard of Oz, The, 86
Working Girl, 142
Y
You Can't Take It with You, 91
Young Mr. Lincoln, 98
Your Friends and Neighbors, 155–156
Formats, screenplays, 6
G
Genre
character and characters and, 63–65
definitions of, 10
groups of
fear, 60
nightmare, 60
realism, 60
wish fulfillment, 60
introduction to, 59
metagenre, centrality of, 197–208
scriptwriting models and
independent, 104
voice and
definitions of, 14
scriptwriting models and, 95–96, 104
working with, 73
Global tales, search for
H
Hollywood model (scriptwriting)
character and characters and, 92–93, 96–98
I
Identification, character and characters, 32–38
Independent model (scriptwriting)
character and characters, centrality of, 104–106
characteristics of, 104
experimental narratives and, 108–111, 207–208
relationship to Hollywood model, 103
Internationalization, storytelling
global tales, search for
media, impact of
introduction to, 188
narrative forms, new and
introduction to, 164
stereotypes, national and global issues
introduction to, 209
style and content, struggle of
introduction to, 175
irony and, 187
narratives, subversion of, 175–178
overwrought treatments, dynamics of, 179–180
realism, subversion of, 178–179
structure, challenges of, 180–183
voice and, 187
voice and
introduction to, 153
sexual difference and, 159–160
teachedpreacher models, 158–159
Irony, 187
M
Major plot points, 10
McLuhan, Marshall, impact on script-writing, 188–196
Media, impact on global storytelling
introduction to, 188
Metagenre, centrality of
drama, types of
experimental narratives and, 207–208
Models, scriptwriting
Hollywood
character and characters and, 92–93, 96–98
character and characters and, 92–93,
relationship to independent model, 103
independent
character, centrality of, 104–106
characteristics of, 104
experimental narratives and, 108–111, 207–208
relationship to Hollywood model, 103
narratives
research about, 138
styles of
nonlinear stories, 135–138, 164
national
research about, 126
voice and
definitions of, 14
experimentation in
introduction to, 139
internationalization of storytelling and, 153–163
Myths
character and characters and, 30–32
narrative models (scriptwriting), 129–132
N
Narratives
experimental
independent model and, 108–111
vs. documentary, 25
vs. drama, 25
models, scriptwriting
research about, 138
new forms, search for
introduction to, 164
strategies
definitions of, 14
National model (scriptwriting)
research about, 126
Nonlinear stories, 12
Novelists
Benchley, Peter, 91
Bernstein, Carl, 192
Cain, James, 116
Camus, Albert, 116
Clancy, Tom, 95
Dickens, Charles, 114
Greene, Graham, 207
Grisham, John, 95
Jones, Kaylie, 166
Klein, Joel, 142
Lattuada, Alberto, 116
Mann, Tomas, 116
Mitchell, Margaret, 91
Puzo, Mario, 91
Shute, Nevil, 158
Woodward, Bob, 192
Novels. See Books, novels
O
Operas
Carmen, 116
Traviata, La, 116
P
Plays
Crucible, The, 4
Death of Salesman, 37
Glengarry Glen Ross, 81
Hamlet, 164
Julius Caesar, 3
Romeo and Juliet, 3, 31, 165–166
Twelftk Night, 165
Playwrights
Kauffman, George S., 91
Odets, Clifford, 91
Raphaelson, Samuel, 91
Shakespeare, William, xii, 3, 30–31, 37, 164–166
Williams, Tennessee, 14
Plot
plot points
definitions of, 10
scriptwriting models and
independent, 104
Polarities, 8
Politics and scriptwriting (independent model), 106–108
R
Resolution, 10
S
Sample script treatment, 229–240
Screenplays. See Films and screenplays
Screenwriters
Affleck, Ben, 201
Curtis, Richard, 164
Damon, Matt, 201
Dancyger, Ken, 9, 25, 126, 138, 229–240
Dobbs, Lem, 167
Guare, John, 164
Hecht, Ben, 192
Hirst, Michael, 210
Irving, John, 41
Jhablava, Prawer, 166
Mamet, David, 73–74, 80–83, 164
Mayersberg, Paul, 166
Pinter, Harold, 164
Rodat, Robert, 21
Stoppard, Tom, 165
Tally, Ted, 164
Tesich, Steve, 146
Script teachers, xiii
Scripts, elements of
basics of
drama vs. documentary vs. experimental narratives, 25
imagination and success in, 20–24
research about, 25
short films vs. long films, 24
character and characters, 26–42
structure and narrative strategies, 43–48
terms, definitions of, 3–4, 6–14
Scriptwriting
models of
script treatment, examples of, 229–240
voice and, 139–150. See also Voice
Short films vs. long films, 24
Stereotypes, national vs. global issues
introduction to, 209
Storytelling and storytellers
internationalization of
global tales, search for, 218–227
metagenre, centrality of, 197–208
national stereotypes vs. global issues, 209–217
new forms, search for, 164–174
style and content, struggle of, 175–187
Structure and narrative strategies
introduction to, 43
three-acts
Studios, Film. See Film studios
Style and content, struggle of
introduction to, 175
irony and voice, 187
narration, subversion of, 184–187
narratives, subversion of, 175–178
overwrought treatment, dynamic of, 179–180
realism, subversion of, 178–179
structure, challenge of, 180–183
T
Television (programs, series, and channels)
$64, 000 Question, The, 195
Hill Street Blues, 75
Law & Order, 75
NYPD Blue, 75
Once and Again, 75
scriptwriting and
Thiry-Something, 75
Tension, 13
Terms, definitions of
character and characters
energy, 13
narrative strategies, 14
nonlinear stories, 12
plot points
beats, 10
polarities, 8
resolution, 10
tension, 13
three-act structures, 9–10, 43–58
voice, 14
Three-act structures
Tone
genre and
introduction to, 83
U
Universal elements, scripts. See Scripts, elements of
V
Voice
definitions of, 14
experimentation in
introduction to, 139
internationalization of storytelling and
introduction to, 153
sexual difference and, 159–160
teachedpreacher models, 158–159
irony and, 187
scriptwriting models and
independent, 104