rubber-band fights
Russell, Rosalind
Ryan, Meg, in When Harry Met Sally, 6.1, 10.1, 10.2, 10.3
Sabrina (film), 11.1, 11.2
Saint, Eva Marie, 11.1, 11.2
Saint, H. F.
Sanders, Tom
San Francisco Chronicle,
San Quentin, escape from, 15.1, 15.2
Santa Barbara (TV soap)
Sappho
Sarandon, Chris
Sarandon, Susan
Saving Private Ryan (film), 14.1, 15.1
Sayles, John
Scarface, the Story of a Grizzly, stupid courage in
Scarne, John
Scheider, Roy
Scheinman, Andy: and Absolute Power, 8.1
and Andre
and Misery, 4.1, 4.2
and Princess Bride, 3.1, 3.2, 8.1
and Rob Reiner
Schneider, Romy
Schulberg, Budd
Schwarzenegger, Arnold: in action pictures
on Andre's strength
roles in style of, 3.1, 15.1
science fiction
Scott, George C.
screen credits, money in
screenplays: beginning
classic scenes in
courtroom scenes in
damage to
different drafts of
effects of
"For Our Eyes Only" draft of
great
as like Heffalumps
as more than dialogue, 10.1, 18.1
negotiations for
number of acts in
original, 5.1, 6.1, 14.1
Oscar-winning
proper form of, 8.1, 8.2, 18.1
in published collections
reality and
selling versions of
shooting versions of
stage directions in
stories in, see storytelling
studio executives and
time lacking in, 12.1, 12.2, 12.3
written with actors and directors in mind
screenwriters: adaptations by, 4.1, 5.1, 6.1, 11.1
ad-libs disliked by
being ignored by critics, 9.1, 14.1
being stiffed for fees
blame affixed to
caring of
cartoon about
caught in the middle
control sought by, 3.1, 3.2, 12.1, 12.2, 13.1
courses for
and creative process, 3.1, 3.2, 4.1
discipline needed by
doctoring by, 2.1, 18.1
duality and
entering late
and familiarity with material
fantasies of meeting with
firing of, 2.1, 14.1
first drafts by, 2.1, 6.1, 14.1, 16.1
flops written by, 5.1, 5.2
fragile careers of
genres of
happiness of
idiosyncratic
income generated by
killing the darlings of
and lack of shame
learning
limitations of, 11.1, 18.1
loneliness of
mental blocks of
methods of, 13.1, 18.1
motivation of, 9.1, 14.1
and movie quality
names chosen by
not talking
options of
others' examples for
pain of
passions of
questions asked by, 15.1, 18.1
schedule needed by
setting up your universe in
and shooting films
source material for, 7.1, 8.1, 8.2, 8.3
spitballing with
stories of, see storytelling
screenwriters (continued) teams of
writing time protected by
script, importance of, 3.1, 7.1, 7.2
Sea Kings, The (film), 1.1, 14.1, 14.2
Searching for Bobby Fisher (film)
Season, The (Goldman), 3.1, 8.1
sequels
Serengeti, Tanzania
serial killers, movie idea
Seven Brides for Seven Brothers (film)
Seventh Seal, The (film)
Bergman and
Playing Chess with Death Scene in
Shafer, Martin, and Absolute Power, 8.1, 8.2, 8.3
Shakespeare, William
Shakespeare in Love (film), 2.1, 14.1
shame, lack of
Shame (film)
Shanley, John Patrick: and Big A, 18.1, 18.2
career of
Shaw, George Bernard
Shaw, Irwin, 8.1, 12.1
Shawn, Wally
Shawshank Redemption, The (film), 8.1, 18.1
Shazam, use of term
"She's My Daughter, She's My Sister" Scene, Chinatown, 13.1
shooting script, 6.1, 16.1
Siegel, Don
Silent Gondoliers, The (Goldman)
Silkwood (film)
Simmons, Jean, 4.1, 7.1
Simpson, O. J.
Singin' in the Rain (film)
Siodmak, Robert
Ski Bum, The (film)
"Ski Bum, The" (Vallely)
Slap Shot (film)
Sleepless in Seattle (film)
Smith, Maggie
sneak previews, 3.1, 5.1, 5.2
Soldier in the Rain (Goldman), 14.1, 18.1
Somebody Up There Likes Me (film), 11.1, 11.2
Something Different (Broadway play)
Sondheim, Stephen
songwriting
Sonnenfeld, Barry
Sophocles
sound, and movie quality
Sound of Music, The (film)
special effects, 13.1, 13.2, 14.1, 15.1
special relationships
Spielberg, Steven, 2.1, 9.1
and Minority Report, 18.1
and public screenings
and Saving Private Ryan, 14.1
sequels made by
success of
spine:
in adaptations
importance of, 6.1, 10.1
Spirit of St. Louis, The (film)
spitballing
rule one of
for the spine
Stagecoach (film)
stage directions
Stallone, Sylvester: in action pictures, 7.1, 12.1
height of
as star, 2.1, 7.1
style of
Stand By Me (film), 3.1, 4.1
Stanley, Kim
Stapleton, Maureen
Starman (film)
stars: ad-libs by
ages of
ambitious drive of
in animal movies
asking for help as anathema to
as Byronic heroes
casting and the unknown
changes in lives of
in commercial films
ego-ridden, 8.1, 18.1
as elements
executives and
heights of
as heroes vs. gods
histories connected with
locomotive (male lead)
major
mystery sought by
myths about
parts made up by, 9.1, 10.1
pictures destroyed by
priorities of
producers vs.
and quality
selling to
special relationships with
talent clusters of
timing and
vehicle roles for, 8.1, 9.1, 14.1
Star Wars (film), 4.1, 4.2, 4.3, 7.1
Steinbeck, John
Steinem, Gloria, 18.1
Stepford Wives, The (film)
Stepmom (film)
Stevens, George, 4.1, 7.1
Stewart, James, 11.1, 18.1
Stiller, Ben: in There's Something About Mary, 6.1, 9.1, 9.2, 10.1
and What Makes Sammy Run?, 8.1
Sting, The (film), 14.1, 17.1
Stone, P
eter
"Stopping by Woods on a Snowy Evening" (Frost), 8.1, 8.2, 8.3
story, good, defined, 18.1
storytelling: author's need for
changes in, 6.1, 17.1
connectives in, 14.1, 18.1
elements in
entering late in
fables
happy vs. sad
importance of, 13.1, 18.1
methods of, 14.1, 18.1
no right or wrong in
in pitching
real people and
selecting stories for
see also screenplays
Strauss, John J.
Streep, Meryl, 4.1, 15.1, 18.1
Stripes (film)
Strip Tease (Hiassen)
studio executives: dealmaking, 4.1, 18.1
and doctoring
eternal verities of
eye contact with
and happy vs. sad stories
as new brooms
pitching to, 7.1, 14.1
and screenplays
and stars, 7.1, 18.1
Sturges, Preston
Subject Was Roses, The (drama)
succes d'estime,
Sunset Boulevard (film)
Superman (comic book)
Superman (film)
Sure Thing, The (film)
survival manual, Peace Corps
Sweet Smell of Success, The (film), 11.1
Take Her, She's Mine (play)
talent, see stars
Tanen, Ned
Tanzania, Serengeti in
taxi scene
technology, special effects, 13.1, 13.2
television: changed storytelling in
talk shows on
Temple of Gold, The (Goldman): acceptance of
writing of, 3.1, 7.1, 14.1, 18.1
10 (film)
Tenderloin (Broadway musical)
Thelma and Louise (film), 9.1, 18.1
therapy, spitballing and
There's Something About Mary (film), 5.1, 9.1, 18.1
key lines in
original screenplay of
quality of, 9.1, 14.1
Zipper Scene in, 6.1, 8.1, 8.2, 9.1, 10.1
Third Man, The (film)
This Is Spinal Tap (film)
Thompson, Tommy
Three Musketeers, The (film)
Three's a Family (play)
thrillers, endings of
Through a Glass Darkly (film)
time, accumulation of
Time and Again (Finney)
Titanic (film), 5.1, 13.1
To Kill a Mockingbird (film)
Tolstoy, Leo
"Tomorrow is promised to no one,"
tone, importance of
Tootsie (film)
Touchstone, Taylor, and Dolphin, 18.1
Towne, Robert, 9.1, 13.1, 13.2, 13.3, 13.4
town in terror (movie idea)
trailers
Tripp, Linda, look of
Turturro, John
Twelve O'Clock High (film)
Twins (film), doctoring of, 2.1, 18.1
Ullman, Liv
Unforgiven (film), 8.1, 14.1
Universal Pictures
Vallely, Jean
Van Gundy, Jeff
Vanities (Broadway play)
Van Zant, and Psycho, 14.1
Variety,
vehicle roles
Veidt, Conrad
Vertigo (film)
viz, use of term
Vizzini
von Sydow, Max
Wallach, Eli
Wallflower at the Orgy (Ephron)
Wall Street (film)
Walsh, J. T.
Walsh, Raoul
Ward, David
Warden, Jack
Warner, Jack
Warner Bros. studio, 2.1, 4.1, 7.1, 13.1
War of the Roses, The (film)
Wasserman, Lew
Watergate, and All the President's Men, 8.1, 10.1, 13.1, 13.2, 18.1
Waterworld (film)
Wayne, David
Wayne, John, 7.1, 8.1, 14.1
Weinstein, Harvey
Welles, Orson, 12.1, 12.2
Westlake, Donald
"Westley lay dead by The Machine," 3.1, 9.1
West Side Story (film), 11.1, 11.2
What Makes Sammy Run? (Schulberg)
When Harry Met Sally (film), 10.1, 14.1
Dreyfuss and
Orgasm Scene in, 6.1, 8.1, 10.1, 10.2
White Heat (film)
Who's Afraid of Virginia Woolf? (film)
Widmark, Richard
Wilder, Billy, 4.1, 18.1
Wild Strawberries (film)
Williams, John
Williams, Tennessee
Willis, Bruce
Willis, Gordon
Wilson, Dooley
Winfrey, Oprah
Winslet, Kate
Winter Light (film)
Wolfe, Thomas
Woodward, Bob, and All the President's Men, 8.1, 10.1, 11.1, 13.1, 13.2, 18.1
Wordsworth, William, 12.1, 12.2, 12.3
Wreck of the Mary Deare, The (Innes)
Wright, Robin, 3.1, 3.2, 3.3, 8.1
Writers Guild Awards
Wyler, William
Yates, Peter, 5.1, 5.2
Year of the Comet, The (film), 1.1, 5.1, 5.2
lack of success of
and love of red wine, 5.1, 5.2, 10.1, 14.1
pitching of
and romantic comedy
sneak previews of
tone of
You're a Big Boy Now (film)
Your Turn to Curtsy, My Turn to Bow (Goldman), 14.1, 18.1
You've Got Mail (film), 10.1
Zanuck, Richard
Zellwegger, Renee
Ziegler, Evarts, 5.1, 13.1, 13.2
Zinackis, Richard
Zinnemann, Fred
Zipper Scene, There's Something About Mary, 6.1, 8.1, 8.2, 9.1, 10.1
PERMISSIONS ACKNOWLEDGMENTS
Grateful acknowledgment is made to the following for permission to reprint previously published and unpublished material.
Applause Theatre & Cinema Books: Material adapted from the introductions to The Ghost and the Darkness: The Screenplay and Absolute Power: The Book of the Film by William Goldman; and material adapted from the introductions to The Princess Bride, Misery, and Maverick by William Goldman from William Goldman: Four Screenplays with Essays and William Goldman: Five Screenplays with Essays. Adapted and reprinted by permission of Applause Theatre & Cinema Books.
Faber and Faber Limited: Excerpts from Fargo by Ethan Coen and Joel Coen. Copyright (c) 1996 by Ethan Coen and Joel Coen. Reprinted by permission of Faber and Faber Limited.
Henry Holt and Company, LLC: "Stopping by Woods on a Snowy Evening" from The Poetry of Robert Frost, edited by Edward Connery Lathem. Copyright (c) 1923, 1969 by Henry Holt and Company, LLC. Copyright renewed 1951 by Robert Frost. Reprinted by permission of Henry Holt and Company, LLC.
Alfred A. Knopf, International Creative Management, Inc., and Nora Ephron: Excerpt from the screenplay When Harry Met Sally by Nora Ephron. Copyright (c) 1990 by Castle Rock Entertainment. Reprinted by permission of Alfred A. Knopf, a division of Random House, Inc., International Creative Management, Inc., and Nora Ephron.
Ernest Lehman and Turner Entertainment: Excerpt from the screenplay North by Northwest by Ernest Lehman. Directed and shot by Alfred Hitchcock. Reprinted by permission of Ernest Lehman and Turner Entertainment.
Curtis Brown, Ltd. and Andre Deutsch Ltd.: "Reflections on Ice Breaking" from Selected Poems of Odgen Nash. Copyright (c) 1930 by Odgen Nash, copyright renewed (Originally published in The New Yorker). Rights in the United Kingdom from Candy Is Dandy: The Best of Ogden Nash administered by Andre Deutsch Ltd., London. Reprinted by permission of Curtis Brown, Ltd. and Andre Deutsch Ltd.
The New York Times: "Autism No Handicap, Boy Defies Swamp" by Rick Bragg (The New York Times, August 17, 1996). Copyright (c) 1996 by The Ne
w York Times Co. Reprinted by permission of The New York Times.
Seymour V. Reit: Summary of the plot from The Day They Stole the Mona Lisa by Seymour V. Reit. Reprinted by permission of Seymour V. Reit.
San Francisco Chronicle: "Last of 'Rub-a-Dub-Dub' Fugitives" by Bill Wallace (San Francisco Chronicle, April 26, 1999). Copyright (c) 1999 by San Francisco Chronicle. Reprinted by permission of San Francisco Chronicle.
Simon & Schuster and Norstedts Forlag AB: Excerpt from the screenplay The Seventh Seal by Ingmar Bergman from Four Screenplays of Ingmar Bergman by Ingmar Bergman. Copyright (c) 1960 by Simon & Schuster and copyright (c) 1960 by Ingmar Bergman. Reprinted by permission of Simon & Schuster and Norstedts Forlag AB.
Robert Towne and Paramount Pictures: Excerpt from the screenplay Chinatown by Robert Towne. Reprinted by permission of Robert Towne and Paramount Pictures.
Twentieth Century Fox Film Corporation: Excerpts from the screenplay There's Something About Mary by Peter and Bob Farrelly. Copyright (c) 1998 by Twentieth Century Fox Film Corporation. All rights reserved. Reprinted by permission of Twentieth Century Fox Film Corporation.
Viking Penguin and Gerald Duckworth & Co. Ltd.: "One Perfect Rose" from The Portable Dorothy Parker by Dorothy Parker. Copyright (c) 1926, copyright renewed 1954 by Dorothy Parker. Rights in the United Kingdom administered by Gerald Duckworth & Co. Ltd., London. Reprinted by permission of Viking Penguin, a division of Penguin Putnam Inc., and Gerald Duckworth & Co. Ltd.
Viking Penguin and Hodder and Stoughton Limited: Excerpt from Misery by Stephen King. Copyright (c) 1987 by Stephen King, Tabitha King, and Arthur B. Greene, Trustee. Rights in the United Kingdom administered by Hodder and Stoughton Limited, London. Reprinted by permission of Viking Penguin, a division of Penguin Putnam Inc., and Hodder and Stoughton Limited.
Warner Books Inc. and the Aaron M. Priest Literary Agency: Excerpt from Absolute Power by David Baldacci. Copyright (c) 1996 by Columbus Rose, Ltd. Reprinted by permission of Warner Books Inc. and the Aaron M. Priest Literary Agency.
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