Word: scripting
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Dates: during 1990-1999
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...dozen principles for changing the tax code. "He clearly wanted out of there as quickly as possible," Forbes observed. "He wasn't comfortable. I think he's never been one for major ideas, especially on the tax side." Editor that he is, Forbes even writes his opponent's script for him. "He could have said, 'In 30 years, I've seen what a monstrosity this system is. I may even have contributed to the monstrosity. I know as my career closes that America needs to change.' And there people would say, 'Hey, look at that. He's got experience...
...successes like Congo and Clueless. Indeed, top Paramount executives Jonathan Dolgen and Sherry Lansing were just given new contracts, and Redstone seems eager to work with them--closely. "Sherry said to me, 'I promise you I won't make a picture unless I'm in love with the script,'" Redstone relates. "That was the problem with Jade. I liked the picture, but I didn't know who was killing whom...
...idea for a Hearst film, was also desperate. His first RKO project--Heart of Darkness, which would be told with a subjective camera and would star Welles as Marlow and Kurtz--was deemed too pricey. Now, with Mank's unbilled help (the deal specified no screen credit for his script), Welles hoped to turn a jolly plutocrat into a tragic figure, swathe the San Simeon Sun King in the menacing shadows of movie melodrama. Kane would be Welles' Hearst of Darkness...
...main thing for Welles, beyond the games, was the work. He goaded his newcomer cast and ace cinematographer Gregg Toland into playing the script's long scenes with few cuts; the audience, he figured, would be smart enough to find the drama without the nudging of montage. He kept the film secret from studio brass. But he couldn't keep Kane from Hearst. Mank couldn't, anyway. He handed the script to Charles Lederer, who was both Davies' nephew and the new husband of Welles' ex-wife. It came back annotated by Hearst's lawyers. And that was just...
Holland undergoes the same learning process as his pupils. He tries, he becomes frustrated, somebody tells him off, he gets the message and feels better. This is the method of nearly every scene in Patrick Sheane Duncan's script--as reductive and repetitive as a bad teacher's syllabus. And kids will learn things from Mr. Holland: the connection between Bach's Minuet in G Major and the '60s hit Lover's Concerto, how a white man can teach natural rhythm to a black athlete, the sign-language symbol for asshole. But mostly they will learn that films avoid...