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| Acknowledgments | ||
| Preface | ||
| Introduction: The Theory | ||
| 1 | The Abyss: The Narrative Spine Needs a Chiropractor | 3 |
| 2 | Cutthroat Island: Shiver Me Structure! | 8 |
| 3 | Inherit the Wind: The Play's the First Thing, the Screenplay's the Second | 14 |
| 4 | Singin' in the Rain: The Perfect Film That Shouldn't Work | 27 |
| 5 | Pulp Fiction: Reinventing Structure | 40 |
| 6 | The Usual Suspects: The Great Script That Could Have Been Greater | 52 |
| 7 | High Noon: Aristotle Goes Out West | 60 |
| 8 | Citizen Kane: Flashback As Narrative | 70 |
| 9 | The Bonfire of the Vanities: Third Act Suicide | 80 |
| 10 | Last Action Hero: Deconstruction Self-Destructs | 92 |
| 11 | Fargo: Satire Isn't Always What Closes on Saturday Night | 102 |
| 12 | The Jewel of the Nile: Your Subtext Is Showing: The Problem of the False Second Act | 108 |
| 13 | Groundhog Day: The Unexpected, Expected Structure | 119 |
| 14 | The Searchers: The Third Act Hiccup | 125 |
| 15 | The Verdict: Dialogue As Litany | 133 |
| 16 | Tender Mercies: Less Is More, Lots More | 140 |
| 17 | Some Like It Hot: Fewer Scenes, Bigger Laughs | 147 |
| 18 | Prizzi's Honor: The Passive Second Act Protagonist | 157 |
| 19 | The Day of the Jackal: The Antagonist As Protagonist | 166 |
| 20 | Network: The Catalytic Monster | 175 |
| 21 | Chinatown: The Elusive Antagonist | 183 |
| 22 | Casablanca: The Antihero As Protagonist | 193 |
| 23 | Havana: Casablanca Lite | 204 |
| 24 | The Treasure of the Sierra Madre: The Greatest Adventure | 210 |
| 25 | Falling in Love: The Good Guys Ought to Be the Bad Guys | 223 |
| Resources | 231 |
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Randall Klein
reviewed Good Scripts, Bad Scripts Learning the Craft of Screenwriting Through 25 of the Best and Wor... on December 08, 2019
Good Scripts
Solid read on the architecture of screenwriting, breaking down 25 scripts (half hits, half flops) in terms of both structure and characterization. I appreciated the hand drawn charts the most, as well as the author’s strong personal opinions — even when I disagreed with them (as with The Abyss), I appreciated that he didn’t sugarcoat his opinions. I appreciated too, on a deeper scriptural level, the reinforcement of why, for example, despite an amazing twist ending, I always felt like The Usual Suspects didn’t work. Or why The Verdict always came off so grittily authentic. Particularly powerful is the chapter on Casablanca, confirming its perfection on every level (despite the chaos of its creation). What keeps this book from a higher rating is that it a) get repetitive because b) some of these films aren’t given equal page time or the flaws mimic other films already covered. Made me want to read The Devil’s Candy about the making of that most notorious of flops, The Bonfire Of The Vanities.
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Add Good Scripts, Bad Scripts Learning the Craft of Screenwriting Through 25 of the Best and Wor..., In Good Scripts, Bad Scripts, veteran screenwriter Thomas Pope lays bare the triumphs and follies of movie writing, revealing the ghost inside the machine of that mysterious, rarely examined occupation. Each chapter deals with a different component of the, Good Scripts, Bad Scripts Learning the Craft of Screenwriting Through 25 of the Best and Wor... to the inventory that you are selling on WonderClubX
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Add Good Scripts, Bad Scripts Learning the Craft of Screenwriting Through 25 of the Best and Wor..., In Good Scripts, Bad Scripts, veteran screenwriter Thomas Pope lays bare the triumphs and follies of movie writing, revealing the ghost inside the machine of that mysterious, rarely examined occupation. Each chapter deals with a different component of the, Good Scripts, Bad Scripts Learning the Craft of Screenwriting Through 25 of the Best and Wor... to your collection on WonderClub |