THE STORY: Atkinson in the New York Times, describes The play covers thirty-four months when F.D.R.'s crisis was a private one--from the day in August, 1921, when he was stricken by infantile paralysis at his summer home at Campobello, in Canada, t
THE STORY: As told by McClain, [Schary's] hero is a physicist who has been working on a military project and is brought up sharp with the pronouncement that he has acute leukemia and has only six months to live. The realization affects his relatio
The ongoing popularity of Leslie Stevens' 1960s television masterwork The Outer Limits, as well as later series creations Battlestar Galactica and Buck Rogers in the 25th Century, has kept his name familiar to television fans. Surprisingly, very little writing exists on his earlier Broadway contributions or his seminal film and television production company, Daystar Productions. Stevens' personal life also remains relatively unknown. This biography focuses on the origins of Daystar Productions as well as Stevens' first years in Hollywood when he was married to actress Kate Manx. After meeting Manx in 1957, Stevens took her with him to Los Angeles and refashioned her into a dramatic film actress who would soon star in his startling, New Wave-style debut film, Private Property. That film, which Stevens made for just $40,000, would go on to gross several million dollars and open the doors to Hollywood for Manx and co-star Warren Oates. While Oates prospered, Manx was unable to sustain her brief success and her life soon spiraled out of control as Stevens' career turned increasingly toward television.
Text extracted from opening pages of book: Case History of a Movie The grips move the camera: Head Grip Leo Monlon at left. BY DORE SCHARY AS TOLD TO CHARLES PALMER RANDOM HOUSE - NEW YORK CopyrigH& 295P by Loew's Incorporated First Printing All rights reserved under International and Pan-American Copyright Conventions. Published in New York by Random House, Inc., and simultaneously in Toronto, Canada, by Random House of Canada, Limited. The author wishes to thank the New York Times Magazine and The Hollywood Reporter for permission to use material which appears in the final chapter of this book. Manufactured in the United States of America Designer: Ernst Reichl CASE HISTORY OF A MOVIE FOR MIRIAM GENERAL CONTENTS FOREWORD, XIX PART ONE: The Story and the Script, i PART TWO: Preparation - for Production, 37 PART THREE: Shooting the Picture, 81 PART FOUR: Finishing the Picture, 167 APPENDIX: Crew, Credits and Cast Of THE NEXT VOICE YOU HEAR, 240 CONTENTS PART ONE: The Story and the Script 1 MOVIES A collaborative art, 3 2 THE STORY SOURCE, 5 The Germ idea. Studio Story Departments; ' what ele ments they seek in a story - for - filming. 3 THE PRODUCER, 11 Who the producer is and' what he does. Converting a writable story idea to a filmable idea. Sure-fire picture projects versus gambles. The executive's - function. Buy ing the story. 4 PLANNING THE ADAPTATION, 17 Expanding a skeleton approach idea into a detailed treatment. Some philosophy of the film medium, and what a picture story demands pom the writer. 5 WRITING THE TREATMENT, 22 The story - construction process. Laying out a picture for controlled-cost production. 6 THE SCREENWRITER AND THE SCRIPT, 27 Converting and expanding aTreatment into a detailed screenplay; problems and processes. Sideline considera tions Legal . . . Censorship . . . foreign Markets. PART TWO: f reparation for Production 7 CASTING THE PICTURE, 39 New-talent discovery and development. The economic background of high star salaries. Marquee draw Stars versus new - faces, a. policy decision. Cast readings and tests. Casting the feature parts and Xli CONTENTS 8 THE ART DIRECTOR, 48 His red job and importance; the how to do if 9 depart ment. The set meeting, Set design the designer's ap proach; cost of sets, their spirit Other Preparations: Make-up. Wardrobe and costume design. Publicity plan ning; determining the exploitation approach to the pic ture. 9 THE PRODUCTION DEPARTMENT, 56 The Unit Manager. A prime cost; the number of days before the camera. Overhead costs. Breaking down the script: master scenes . . . sequences. The shooting sched ule: reasons for shooting scenes out of story continuity. The Assistant Director. Footage estimators. The budget meeting. How pre-production preparation combats soar ing costs. 10 THE DIRECTOR PREPARATION WORK, 70 The director's - function; transferring a story - from words to images. His preparation activities. Cast rehearsals. Script changes, interpretations, and additions. Directorial touches bits of business. The final reading with the producer. Green light. PART THREE: Shooting the Picture 11 THE CAMERA STARTS TURNING, 83 The first morning. How a stage comes up to speed. The crew members and what they do. Prelimnary set light ing. Camera rehearsals. Stand-ins and doubles. The takes ( a master shot). The still cameraman. Lunch break; the commissary. 12 THE MEN OF THE CREW, 93 Grips, and grip work.Electricians, and some principles of set lighting. Greensmen, and nursery work. Props and prop men*
THE STORY: Atkinson in the New York Times, describes The play covers thirty-four months when F.D.R.'s crisis was a private one--from the day in August, 1921, when he was stricken by infantile paralysis at his summer home at Campobello, in Canada, t
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