Word: scripting
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Dates: during 2000-2009
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...Cash, who also wrote the script with Larry Murray, gives his record and stage-show fans a treat: eight fine Christian songs, written by himself, John Denver, Larry Gatlin, Kris Kristofferson, Joe South and other top country singer-composers. But he also lays out the plot to discredit Jesus: "He's to be followed and spied on by the Scribes and Pharisees throughout His ministry." As Gibson's film does, Cash's puts the blame on a corrupt segment of the religious hierarchy. And in the last 20 minutes, "Gospel Road" gets around to the Passion. Jesus is lashed, kicked...
...script by Anthony Burgess and top Italian filmwriter Suso Cecchi D'Amico ("Open City," "The Bicycle Thief," "Big Deal on Madonna Street," "The Leopard") makes clear the legal grounds for killing Jesus. Under Mosaic law, blasphemy ("I'm Yahweh") is a capital crime; under Roman law, calling yourself King of the Jews is treason. The writers' touch is especially careful and coherent in the trial scene. The Sanhedrin is no lynch mob; they are a group of elders searching for common ground, trying to understand a young rebel who gives them no quarter. ("I beg you, bring peace...
...legendary Alan Bates. Two years ago, Martin was so successful with the Huntington’s production of Ibsen’s Hedda Gabler that the show was taken to Broadway, where the same lead actress won a Tony. With Hedda Gabler, Martin managed to turn a familiar script into a more effective telling, not altering the essential strains of the classic story, but drawing them out in subtler, more powerful ways. The Boston Globe called the production “crisp and potent...
...fully portray her character’s deeper psychiatric struggles, and the audience is left perplexed as to some of the character’s decisions and motives. Co-stars Jackson and Garcia play their parts well, but are crippled by the poor dialogue of screenwriter Sarah Thorp, whose script traps the characters in awkward, clichéd language. Even the redemptive Kaufman (The Unbearable Lightness of Being, The Right Stuff) can’t allow the film to recover from its overused dialogue...
...fully portray her character’s deeper psychiatric struggles, and the audience is left perplexed as to some of the character’s decisions and motives. Co-stars Jackson and Garcia play their parts well, but are crippled by the poor dialogue of screenwriter Sarah Thorp, whose script traps the characters in awkward, clichéd language. Even the redemptive Kaufman (The Unbearable Lightness of Being, The Right Stuff) can’t allow the film to recover from its overused dialogue...