Sentences with phrase «write great screenplays»

It serves as evidence that he didn't write great screenplays to begin with, but worked his way up to them by many stages, of which «The January Man» must have been a very, very early one.

Not exact matches

He wrote multiple drafts of the screenplay, and chose New York specifically on the grounds that it was «a great place to lose him.

A majestic Mafia epic starring Brando as well as Al Pacino, James Caan, and Robert Duvall, The Godfather was declared an instant classic, and its stature only grew in the years following its initial appearance.Coppola's next move was to write the screenplay for the 1974 adaptation of The Great Gatsby.

I guess it speaks to a simpler time in film, where economy of writing wasn't of absolute importance and not every moment in the screenplay had to fulfill some greater mechanical purpose, but it stresses its point in an awfully longwinded way.

Edgar Wright is a great writer / director, having directed «Shaun of the Dead» and written screenplays for movies like «Ant - Man.»

But when the Oscars finally arrived and Wes Anderson (who was having a great night with The Grand Budapest Hotel) lost Best Screenplay to Birdman, the writing was on the wall.

King wrote both the novella, Cycle of the Werewolf, and the much better named screenplay, but it's all completely ruined by awful special effects and either ham - fisted or lackluster performances by the likes of Gary Busey and the late Corey Haim, the kind of actors who were great in the right roles.

Directed by Craig Gillespie from a screenplay written by Scott Silver, Eric Johnson and Paul Tamasy, «The Finest Hours» chronicles the greatest small - boat rescue in Coast Guard history.

The Lodges» story has its roots in a screenplay that Joel and Ethan Coen wrote in 1986 — the same year, incidentally, that gave us David Lynch's «Blue Velvet,» the greatest dark - side - of - suburbia movie ever made.

«Say Anything» (1989) Having already had a hand in one great teen flick of the 1980s, Cameron Crowe managed to top «Fast Times At Ridgemont High» (which he wrote both the source material and screenplay for) with his directorial debut.

Baby Doll — This Elia Kazan adaption of two Tennessee Williams plays (Williams also wrote the screenplay) lacks the appeal of Kazan's greatest films, largely, I think, because it doesn't have the star power of On The Waterfront, East Of Eden or A Streetcar Named Desire.

Jason Segel does a great job pulling double duty (aside from acting he also wrote the screenplay).

Mark Sevi wrote the original draft of the screenplay, with the current draft penned by Scott Derrickson (whose Sinister has some really great scares) and Paul Boardman.

Jo writes the screenplay and it's a great privilege to see her work up close and how her imagination works.

The screenplay's even better than the visual look of the film (high praise), written by playwright Clifford Odets and the great Ernest Lehman (Sabrina, North By Northwest).

The great Ben Hecht (The Front Page, Twentieth Century, Gunga Din, Notorious, Kiss Of Death, and a whole lot of uncredited work on some of the best films of the 40s and 50s) wrote the screenplay.

And why would it, when it has such an immaculate screenplay, proof that great writing is more than simply a string of zingers.

Kay Cannon, who wrote the screenplay for Pitch Perfect 1 (based on a book by a great guy named Mickey Rapkin), remained with the franchise all the way through, but Jason Moore (who directed) was replaced at the helm by Banks herself (Pitch Perfect 2) and by Trish Sie for (Pitch Perfect 3).

Hepburn, who also wrote the screenplay, shows a fondness for neo-realism, with a wealth of handheld shots, often uncomfortable closeups, elements of kitchen sink melodrama ---- great secondary performances from the likes of Nicholas Campbell and Mary Galloway make any soap opera elements utterly convincing ---- and sequences where the bucolic backgrounds and wintry landscapes seem to obsess and overwhelm the characters.

Set on the cusp of Steinem feminism, circa the 1968 elections (more or less because that's when co-scenarist Robert Towne began writing the screenplay, and wouldn't it be great if more films became incidental period pieces like that?)

Directing from a screenplay by Kogo Noda, who went on to write many of Ozu's greatest films (including Tokyo Story, 1953, and Floating Weeds, 1959), Ozu fills the film with deft sight gags, many thanks to the antics of the son, yet there's undercurrent of desperation to the comedy.

Directed by the great Tomas Alfredson (Let the Right One In, Tinker Tailor Soldier Spy), with a screenplay written by the talented trio of Peter Straughan (The Debt), Hossein Amini (Drive) and Søren Sveistrup («The Killing»), featuring behind - the - scenes work from the likes of editor Thelma Schoonmaker (Raging Bull), cinematographer Dion Beebe (Chicago), composer Marco Beltrami (The Hurt Locker) and production designer Maria Djurkovic (The Imitation Game), and listing Martin Scorsese (Silence, The Wolf of Wall Street) as one of its primary producers, how things turned out so disastrously I have no idea.

After a great deal of build - up — including two interviews with the late William Peter Blatty, who wrote the novel and the screenplay of «The Exorcist» — we get down to business, with the woman sitting in a chair as Father Amorth prays over her.

A lot is owed to the great script by Lawrence Kasdan, who incidentally also had a hand in writing the screenplay for «The Empire Strikes Back.»

It starts with the screenplay that the great Indian director Satyajit Ray wrote in 1967 for a film he never made about the encounter between a small boy living in a Bengali village and a kindly alien from outer space.