Word: script
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Dates: during 2000-2009
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...Whatever the deficiencies of the script, the very idea of interrupting a serial drama and using its characters in a one-time-only "play" ? for this cause or even a lesser one ? is the kind of fresh, quick-response thinking most of TV could...
...most important is that it was attempted at all. Whatever the deficiencies of the script, the very idea of interrupting a serial drama and using its characters in a one-time-only "play" - for this cause or even a lesser one - is the kind of fresh, quick-response thinking most of TV could use. At the least, it should serve as an example to other creative artists, who've thrown up the white flag, refusing to deal creatively at all with a time that demands their talents, pleading the irrelevance of art at a time like this - which...
...risk offense to stay relevant. In December playwright Tony Kushner opens Homebody/Kabul, set in Afghanistan in 1998, the year of American air strikes in response to bin Laden's U.S. embassy bombings in Africa. Despite the now incendiary subject, Kushner says he "wouldn't change a thing" in the script. "Even a country at war has a moral imperative to think about the people with whom they are fighting and ask questions about them," he says. All of us are likely to crave escape in the months ahead. But we should be afraid to live in a country where entertainment...
...events portrayed on stage may be hard to swallow for anyone who has not known strict, all-male, boarding school life, but the quality of the drama is extraordinarily high, and Steve Cosson, directing from a script by Peter Morris, achieves moments of intense emotion that wrench audiences in the theater and leave them with provocative images that linger. In the most shattering scene, a school boy stands stark naked on a chair with his neck in a noose, his body shaking violently with fear...
...script, written by William Goldman, King veteran who also wrote the adaptation of Misery, flows beautifully and elegantly and is perfectly suited for Hopkins. The direction and script, joined with the late Piotr Sobocinski’s cinematography, reaches its height in climactic scenes that have an almost Technicolor glory to them, quite appropriate for the film’s 1950s spy drama atmosphere. Hopkins seems built for the part of Braughtigan, the enigmatic but elegant friend to Bobby. The unquenchable curiosity of Anton Yelchin’s Bobby plays perfectly against Hopkins’ mystique. It is this mystique...