The third eidtion of this history of the art and craft of screenwriting from the silents to the present provides information and stories about those who write and have written for film. Includes anecdotal insights into the working lives of directors, producers, and stars, as well as how American movies get made.
Jam-packed with hundreds of anecdotes and quotes from in-depth interviews with over forty television writers, this is the first comprehensive history of writing for American television. These writers tell, often in wonderfully funny tales, of their experiences working with, and often fighting with, the networks, the censors, the sponsors, the producers, and the stars in trying to create shows.
A unique perspective on half a century of American cinema—from the audience's point of view. Tom Stempel goes beyond the comments of professional reviewers, concentrating on the opinions of ordinary people. He traces shifting trends in genre and taste, examining and questioning the power films have in American society. Stempel blends audience response with his own observations and analyzes box office results that identify the movies people actually went to see, not just those praised by the critics. Avoiding statistical summary, he presents the results of a survey on movies and moviegoing in the respondents' own words—words that surprise, amuse, and irritate. The moviegoers respond: "Big bad plane, big bad motorcycle, and big bad Kelly McGillis."—On Top Gun "All I can recall were the slave girls and the Golden Calf sequence and how it got me excited. My parents must have been very pleased with my enthusiasm for the Bible."—On why a seven-year-old boy stayed up to watch The Ten Commandments "I learned the fine art of seduction by watching Faye Dunaway smolder."—A woman's reaction to seeing Bonnie and Clyde "At age fifteen Jesus said he would be back, he just didn't say what he would look like."—On E.T. "Quasimodo is every seventh grader."—On why The Hunchback of Notre Dame should play well with middle-schoolers "A moronic, very 'Hollywoody' script, and a bunch of dancing teddy bears."—On Return of the Jedi "I couldn't help but think how Mad magazine would lampoon this." —On The Exorcist
A manual on the structure, writing, and sale of a screenplay includes analyses of scenes from famous movies and the advice of writers, such as Buck Henry, Nunnaly Johnson, and Tom Rickman
There are many miles from the business school and basketball court at the University of Southern California to 50 million viewers for the final episode of a TV show called Magnum P.I. Tom Selleck has lived every one of those miles in his own iconoclastic and joyful way.
A unique perspective on half a century of American cinema—from the audience's point of view. Tom Stempel goes beyond the comments of professional reviewers, concentrating on the opinions of ordinary people. He traces shifting trends in genre and taste, examining and questioning the power films have in American society. Stempel blends audience response with his own observations and analyzes box office results that identify the movies people actually went to see, not just those praised by the critics. Avoiding statistical summary, he presents the results of a survey on movies and moviegoing in the respondents' own words—words that surprise, amuse, and irritate. The moviegoers respond: "Big bad plane, big bad motorcycle, and big bad Kelly McGillis."—On Top Gun "All I can recall were the slave girls and the Golden Calf sequence and how it got me excited. My parents must have been very pleased with my enthusiasm for the Bible."—On why a seven-year-old boy stayed up to watch The Ten Commandments "I learned the fine art of seduction by watching Faye Dunaway smolder."—A woman's reaction to seeing Bonnie and Clyde "At age fifteen Jesus said he would be back, he just didn't say what he would look like."—On E.T. "Quasimodo is every seventh grader."—On why The Hunchback of Notre Dame should play well with middle-schoolers "A moronic, very 'Hollywoody' script, and a bunch of dancing teddy bears."—On Return of the Jedi "I couldn't help but think how Mad magazine would lampoon this." —On The Exorcist
The third eidtion of this history of the art and craft of screenwriting from the silents to the present provides information and stories about those who write and have written for film. Includes anecdotal insights into the working lives of directors, producers, and stars, as well as how American movies get made.
Jam-packed with hundreds of anecdotes and quotes from in-depth interviews with over forty television writers, this is the first comprehensive history of writing for American television. These writers tell, often in wonderfully funny tales, of their experiences working with, and often fighting with, the networks, the censors, the sponsors, the producers, and the stars in trying to create shows.
The New Hollywood of the late 1960s and 1970s is among the most exciting and influential periods in the history of film. This book explores how the new wave of historical films were profoundly shaped by the controversies and concerns of the present.
A father (Tom) hears his son Richard say, “School is OK except I don’t like learning numbers or arithmetic.” After dinner, Tom sits with Richard and tells him a story of a kingdom long ago where the use of numbers is forbidden by King Kcaj and of the chaos that ensues because of it. As Tom’s story unfolds, he hopes to instill in Richard a sense of the importance of learning numbers, counting, and arithmetic along with other life lessons.
FDA's Drug Review Process and the Package Label provides guidance to pharmaceutical companies for writing FDA-submissions, such as the NDA, BLA, Clinical Study Reports, and Investigator's Brochures. The book provides guidance to medical writers for drafting FDA-submissions in a way more likely to persuade FDA reviewers to grant approval of the drug. In detail, the book reproduces data on efficacy and safety from one hundred different FDA-submissions (NDAs, BLAs). The book reproduces comments and complaints from FDA reviewers regarding data that are fragmentary, ambiguous, or that detract from the drug's approvability, and the book reveals how sponsors overcame FDA's concerns and how sponsors succeeded in persuading FDA to grant approval of the drug. The book uses the most reliable and comprehensive source of information available for writing FDA-submissions, namely text and data from NDAs and BLAs, as published on FDA's website. The source material for writing this book included about 80,000 pages from FDA's Medical Reviews, FDA's Clinical Pharmacology Reviews, and FDA's Pharmacology Reviews, from one hundred different NDAs or BLAs for one hundred different drugs. Each chapter focuses on a different section of the package label, e.g., the Dosage and Administration section or the Drug Interactions section, and demonstrates how the sponsor's data supported that section of the package label. Reveals strategies for winning FDA approval and for drafting the package label Examples are from one hundred FDA-submissions (NDAs, BLAs) for one hundred different drugs, e.g., for oncology, metabolic diseases, autoimmune diseases, and neurological diseases This book uses the most reliable and comprehensive source of information available for writing FDA-submissions, namely, the data from NDAs and BLAs as published on FDA's website at the time FDA grants approval to the drug
During the Cold War, many popular American novels were labelled "middlebrow," leading to a general belief that these texts held less intellectual merit. Perrin debunks these unfair assumptions through works by James Michener, Harper Lee, and Leon Uris, arguing that such writers made a major contribution to the tradition of American literature.
The Cold War is over. And chaos is setting in. The new President of Russia is trying to create a democratic regime. But there are strong elements within the country that are trying to stop him: the ruthless Russian mafia, the right wing nationalists, and those nefarious forces that will do whatever it takes to return Russia to the days of the Czar. Op-Center, the newly-founded but highly successful crisis management team, begins a race against the clock and against the hardliners. Their task is made even more difficult by the discovery of a Russian counterpart . . . but this one's controlled by those same repressive hardliners and represents everything Op-Center stands for. Two rival Op-Centers, virtual mirror images of each other. But if this mirror cracks, it'll be more than seven years of bad luck . . .
Shortlisted for the Saltire Society First Book of the Year Award Red kites were once Britain's most common bird of prey. By the early 1900s they'd been wiped out in Scotland and England following centuries of ruthless persecution. When some reintroduced kites began roosting on their 1,400-acre farm at Argaty in Perthshire, Tom Bowser's parents, Lynn and Niall, decided to turn their estate into a safe haven. They began feeding the birds and invited the world to come and see them, learn about them and fall in love with them. A Sky Full of Kites is the story of the Argaty Red Kite project, and the re-establishing of these magnificent raptors to Scotland, but it is also much more than that. Ill at ease with the traditional rural values of livestock farming, Lynn and Niall's son Tom, who returned to work on the farm after a career in journalism, reveals his passion for nature and his desire to dedicate his family's land to conservation.
This invaluable resource guides readers through the process of creating scholarly, publishable prose from the results of quantitative experiments and investigations. It delves into the issues commonly encountered when reporting the results of statistical experiments and investigations, and provides instruction re the representation of these results in text and visual formats. This unique research companion serves as a must-have reference for advanced students doing quantitative research and working with statistics, with the goal of writing up and publishing their findings; it also serves as a useful refresher for experienced researchers.
Meet the crisis management team that reports directly to the president on threats both foreign and domestic—in the first six novels in the Op-Center series created by #1 New York Times bestselling author Tom Clancy. OP-CENTER MIRROR IMAGE GAMES OF STATE ACTS OF WAR BALANCE OF POWER STATE OF SIEGE
Five friends. One year. All bets are off. Reading, 2009. It may not be Vegas, but for Nick, Doug, Vijay, Alan and Simon, it's as good as they're going to get. Each in their forties, and beset by anxieties, flaws and frustrations, they meet monthly in each other's houses for a 'friendly' game of poker, enabling Doug to show off his newly-minted wealth, Simon to insist on serving only red wine and goats' cheese and Nick - swimming in a cocktail of envy, fear, bravado and disappointment - to make increasingly desperate attempts to bring an end to his interminable losing streak. While Vijay meticulously records every win and loss on his spreadsheet, and Alan frets about his propensity to break into sweat and his inability to get his wife pregnant, Nick becomes obsessed with the idea of engineering Doug's downfall: Doug, who with his big house, his successful business and his appalling taste is both everything that Nick aspires to and resents. Convinced of the heroic nature of his task, he aims to triumph over Doug in poker, as well as in life, and in doing so he comes into troubling proximity to Sophia, Doug's clever and beautiful wife ...
A striking and honest portrait of a man overcoming racism in a place that barely acknowledged its existence." —Publishers Weekly Bill Garrett was the Jackie Robinson of college basketball. In 1947, the same year Robinson broke the color line in major league baseball, Garrett integrated big-time college basketball. By joining the basketball program at Indiana University, he broke the gentleman's agreement that had barred black players from the Big Ten, college basketball's most important conference. While enduring taunts from opponents and pervasive segregation at home and on the road, Garrett became the best player Indiana had ever had, an all-American, and, in 1951, the third African American drafted in the NBA. In basketball, as Indiana went so went the country. Within a year of his graduation from IU, there were six African American basketball players on Big Ten teams. Soon tens, then hundreds, and finally thousands walked through the door Garrett opened to create modern college and professional basketball. Unlike Robinson, however, Garrett is unknown today. Getting Open is more than "just" a basketball book. In the years immediately following World War II, sports were at the heart of America's common culture. And in the fledgling civil rights efforts of African Americans across the country, which would coalesce two decades later into the Movement, the playing field was where progress occurred publicly and symbolically. Indiana was an unlikely place for a civil rights breakthrough. It was stone-cold isolationist, widely segregated, and hostile to change. But in the late 1940s, Indiana had a leader of the largest black YMCA in the world, who viewed sports as a wedge for broader integration; a visionary university president, who believed his institution belonged to all citizens of the state; a passion for high school and college basketball; and a teenager who was, as nearly as any civil rights pioneer has ever been, the perfect person for his time and role. This is the story of how they came together to move the country toward getting open. Father-daughter authors Tom Graham and Rachel Graham Cody spent seven years reconstructing a full portrait of how these elements came together; interviewing Garrett's family, friends, teammates, and coaches, and digging through archives and dusty closets to tell this compelling, long-forgotten story.
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