Word: scripting
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Dates: during 1990-1999
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...infant sounds of a quartet that shortly would grow up and outgrow its American masters. Juvenilia may be the last refuge of a cultural historian, and mere Beatles browsers will find as few buried treasures here as they would in Hemingway's high school journalism, Quentin Tarantino's first script or Madonna's early nudes. But as a time capsule, the set is invaluable. To eavesdrop on their casual musicianship and their ad-lib ease is to hear a hopeful teen heart, circa 1962, beating in good-rockin' four-four time...
...handyman show. Disney teamed him with producer Matt Williams (the former producer of Roseanne), who added three kids to the mix and helped turn Home Improvement into TV's biggest family-show hit of the '90s. Allen's first movie went through a similar Disneyfication. The original script, by Steve Rudnick and Leo Benvenuti, was a dark fantasy about a man who accidentally shoots Santa Claus. Eight drafts later, with a more benign death scene and the addition of the father-son relationship, it became a cuddly holiday family film...
...more places to go forward than almost anybody. He seems almost embarrassed at his power. "Now I go to meetings, and if I just start to say something, everybody shuts up. And any idea I say, people go, 'Oh, yeah!"' Among other things, he's writing a movie script about a mad scientist. "It's about how quickly you could change the world and how everybody could do it," Allen explains. "The more I read about physics and science, the more I know that a guy like me of rather average intelligence but a lot of interest could make things...
Weiner's witty script plays out the drama of this totalitarian nightmare state in a cheesy brothel/dance hall. "The Pleasure Quarters" is the home of the "only star in the Galaxy," an annoying James Cagney sound-alike named Vic Voom (Steven Schardt). His nightly dance numbers feature a relentlessly jolly chorus line of five busty women and an idiot-savant break-dancer named Timmy...
...John, William Macy is outstanding. Struggling along with the audience to understand his woman, it is easy to feel his anguish. Having collaborated with Mamet for twenty five years, he seems to identify with every nuance of the character. The script is less kind to Deborah Eisenstadt. She is forced to play two completely different women while somehow relating them. I'm not sure that even Mery Streep could have succeeded in this task. Eisenstadt can hardly be at fault for failing to make this character believable...