Word: scripting
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Dates: during 1990-1999
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...journalist Laton McCartney relates in his 1988 book, Friends in High Places: The Bechtel Story, Bechtel workers were overworked, illegally paid in script, and compelled to live in dangerous, unsanitary conditions. Meanwhile, Bechtel played the corporate interest game, hiring powerful Jobbyists who successfully derailed the efforts of then-Interior Secretary Harold Ickes to initiate an investigation of the firm...
...subject, Outbreak, directed by Wolfgang Petersen (In the Line of Fire) and starring Dustin Hoffman and Rene Russo, was also rushing toward a start date. Producer Arnold Kopelson had initiated the project at Warner Bros. after failing in his bid for the rights to Hot Zone. He got a script from Robert Roy Pool and Dr. Laurence Dworet, an internist. While visiting an Army virus center, the Outbreak screenwriters ran into Obst and Preston; it was like a cold war chance meeting of the CIA and KGB near the Berlin Wall...
...they could never agree on what that picture was. Scott wanted a thriller, a true-life version of Alien, his 1979 sci-fi horror epic, that was strong on hardware and icky special effects, with maybe an ecological message. Redford, who signed on for $8 million and who had script approval, wanted an ecological message movie about a heroic virologist from the Centers for Disease Control -- his role. Foster ($6 million and script approval) wanted an ecological thriller about a heroic Army pathologist -- her role...
...pretty dry way to describe the termination of one of Hollywood's most successful professional marriages, which in the decade since the two men came to Disney pushed company revenues from $1.4 billion to $8.5 billion. And if last week's climactic conversation were dialogue in a Disney script, Katzenberg would tell the writer to punch it up. It went like this...
...took quite some time to take shape. It began as a script by Quentin Tarantino (Reservoir Dogs), then got spun and spindled: Tarantino is credited with the story, Stone and his collaborators David Veloz and Richard Rutowski with the screenplay. Meanwhile, NBK was acquiring a bizarre new resonance. "When I started," says Stone, "this was a surreal piece. Now, thanks to Bobbitt and Menendez and Tonya Harding, it's become satire. By the time I'd finished, fact had caught up to fiction. O.J. is the final blowout...