Word: scripting
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Dates: during 1990-1999
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...weird thing about She's So Lovely is that a script by the impresario of improv, directed by his son, should become a tight, slight, goofy romance. As the lovestruck Eddie, Sean Penn denounces his wife's perfume as "a good smell to cover up bad smell." John Travolta, as the second husband of Eddie's beloved Maureen (Robin Wright Penn), snaps at his young stepdaughter, "You haven't lived long enough for me to argue with you. You're just a glorified piece of blue sky." The film has the soul of a sailor after a few drinks...
...taste that eventually took over pop culture. The prevailing tone on '50s movie and TV screens was adult, earnest, upper-middlebrow. Dozens of hourlong teledramas probed modern and historical topics each week. At movie theaters people found that for every social problem, Hollywood had not a solution but a script. Are you looking for the Golden Age of Television? You'll find it in the work of Fred Coe. You want to send a movie message? Call Stanley Kramer...
Writers, spurred by Coe, paid little attention to TV's restrictions. They'd have characters flash back from old age to youth and back again (requiring split-second makeup applications) or dream up odd location scenes. Coe's own script, This Time Next Year, called for the ghost of Ulysses S. Grant to materialize at Grant's Tomb. The actor playing Grant was to jump into an NBC limo and get uptown in time for the "remote." But there was no limo. So the actor hailed a cab and, in full Grant regalia, ordered, "Take me to Grant's Tomb...
Stallone has long been underestimated because of his thick speech and droopy demeanor. But his Cop Land colleagues speak of him with fond admiration. "Sly's a smart guy," Mangold attests. "He has a strong script instinct about how to hit the important beats of the scene." Stallone also knew how the film could help him. "Sly wanted to be with other real actors and feel alive in a dramatic scene," Mangold says. "I think this was not so much a career move for Sly as a personal decision to want to feel the joy of making a film...
...believable, but for anyone who has actually flown on the eponymous aircraft, Air Force One seems a bit less authentic than Attack of the Crab Monsters. To their credit, the filmmakers do not pretend that terrorists masquerading as Russian cameramen could simply stroll onto the President's plane; the script calls for a rogue Secret Service agent to give them their security clearances. Fine--except that even the mechanics on Air Force One work on a buddy system, one keeping tabs on the other. So presumably you need at least two rogue agents. On the plane itself, there are dozens...