The Workhorse and The Bigmouth (2013)
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A hack screenwriter writes a screenplay for a former silent-film star who has faded into Hollywood obscurity.
A screenwriter dreams of success and has a boyfriend who is a member of an unsuccessful rock band. Her sister, an interior designer, meets an actor she falls for. Her niece is trying to figure out how to get her first kiss from her boyfriend. Three stories about life and dating.
A powerful and seductive Hollywood mogul convinces an impoverished West Hollywood writer, whose lover has recently died of AIDS, to sell his autobiographical screenplay for big bucks. The writer, Robert, knows he'll have to make major changes in the script (like changing the sex of the dying lover). During the rewrite, the producer, Jeffrey, takes Robert under his wing, introducing him to his wife Elaine, herself a closet screenwriter. Jeffrey approaches Robert for sex and Elaine approaches Robert out of curiosity about his sex life in grief. The entangled triangle of relationships threatens more than the completion of a film script. Written by
Grandmother has nothing to say when Libby tells her that she is off to LA to look up Dad, a Hollywood screenwriter. Grandmother has been in a New York cemetery for six years and Dad has been out of Libby's life for 16 of her 19 years. Libby arrives in LA on a Tuesday and phones Dad the one night that Stephanie, who does Jane Fonda's hair, stays over. Stephanie is there the next morning when Libby decides she needs to tell her story face-to-face.
Screenwriter Paul Javal's marriage to his wife Camille disintegrates during a film production as she spends time with its producer.
Ben Sanderson, an alcoholic Hollywood screenwriter who lost everything because of his drinking, arrives in Las Vegas to drink himself to death. There, he meets and forms an uneasy friendship and non-interference pact with prostitute Sera.
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Hudson Milbank is a successful Hollywood screenwriter who suddenly and strangely finds himself without any emotional feelings. He tries doctor after doctor and shrink after shrink, but nothing works. The Golf Channel, lesbian exercise classes and a dizzying variety of pills get him through the day, but don't quite solve his problem. His writing partner tries everything to get him back to normal, but it's not until Hudson meets Sara that he finds a real motivation to get better and to actually start feeling again. From the writer of Deuce Bigalow, comes NUMB, a romantic comedy following an unusual man looking for strange love.
The story of Frank W. "Spig" Wead - a Navy-flyer turned screenwriter.
The second of Trier's films known collectively as the Europa trilogy. The other two films in the trilogy are The Element of Crime (1984) and Europa (1991). Co-written by Niels Vørsel, the film focuses on the screenwriting process. Vørsel and von Trier play themselves, coming up with a last-minute script for a producer. This story is intercut with scenes from the film they write, in which von Trier plays a renegade doctor trying to cure a modern-day epidemic. In an ironic twist, the doctor discovers that he himself has been spreading the virus.
A horror film about a screenwriter who loses the ability to distinguish between his fantasy world and the real world, with disastrous consequences. As he ruminates on his place in any world and loses his grip, he also loses his wife and his children's respect, and critics tear him apart. The final undoing of this screenwriter is a deadline that must be met at all costs, costs that perhaps are too great.
Twisted, apocalyptic satire, THIS IS NOT A MOVIE envisions the end of the world through the bi-polar mind of a strung-out pop-culture addict. Starring Edward Furlong and Peter Coyote, with a jagged, atmospheric score from Slash.
An ex-Hollywood screenwriter now teaching an evening class in New York finds himself in a battle of wits with a devious screenwriter student.
Inspired by Arthur Schnitzler's classic La Ronde, screenwriter Peter Morgan and director Fernando Meirelles' 360 combines a modern and dynamic roundelay of stories into one, linking characters from different cities and countries in a vivid, suspenseful and deeply moving tale of love in the 21st century. Starting in Vienna, the film beautifully weaves through Paris, London, Bratislava, Rio, Denver and Phoenix into a single, mesmerizing narrative.
A renowned New York playwright is enticed to California to write for the movies and discovers the hellish truth of Hollywood.
A screenwriter who travels to an abandoned house to finish a script on time, but a series of strange events lead her to a psychological breakdown.
Ray Pluto has many problems. He is satirized in the tabloids as the "loser cop." His partner is starting to seem suspiciously attracted to him. A pair of screenwriters across the hall keep bugging him for help. The superintendent of his building is stabbed by hoodlums hired by his own rebellious daughter. To top it off, a sexually aggressive chiropractor may just be Ray's undoing.
Wounded criminal Lucky Wilson (Robert Montgomery) takes refuge in a small Connecticut farm. He falls in love with Maureen O'Sullivan, who at first is unaware of his criminal record. Lucky is fully prepared to shoot his way out when the cops come calling, but he is softened by O'Sullivan's affections. Screenwriters Frances Goodrich and Albert Hackett leaven several potentially melodramatic sequences with some first-rate comic dialogue; many of the funniest scenes belong to nightclub owners Henry Armetta and Hermann Bing.
A sensitive writer from a small town faces spiritual crisis as he tries to make it as a Hollywood screenwriter. Charlie Pontus (Joseph Culp) wanders around Los Angeles torn between his efforts to sell a screenplay and find his next meal. His natural optimism keeps him afloat as he walks the tight-rope between his love for the beautiful, exotic Ylayali (Kathleen Luong) and his desperate connection to The Chief (Robert Culp), the Hollywood producer who has the power to give life or take it away. Stubbornly refusing to relinquish his principles, he sinks deeper and deeper into spiritual crisis, finally confronting God in a Jobian showdown.
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Comprised of eight unrelated episodes of inconsistent quality, this anthology piece of American propaganda features some of MGM Studios' best directors, screenwriters and actors; it is narrated by Louis Calhern. Stories are framed by the lecture of a university professor. In one tale a Boston resident becomes angry when the census forgets to record her presence. Another sketch chronicles the achievements of African Americans while still another pays tongue-in-cheek tribute to Texas.
Joey Breaker is a fast-talking, ambitious, workaholic agent representing actors, screenwriters, and comedians for the New York firm of Morgan Creative. He is callous and intolerant, but when he unexpectedly falls in love, he begins to see that he has been missing much of what is important in life. His demeanor mellows and he learns to be more tolerant of others. Suddenly, he is faced with a difficult choice when his girlfriend graduates from nursing school and returns to Jamaica.
Fledgling screenwriters retreat to a quiet country manor to work on their script, but a constellation of needy characters produces constant interruptions.
An over-the-hill movie producer marries a wealthy, spiteful woman and closeted lesbian just to please his spoiled daughter who then, in an attempt to spite him, seduces both a wealthy playboy and a local screenwriter.
Ten screenwriters collaborated on this series of tales concerning the effect a tailcoat cursed by its tailor has on those who wear it. The video release features a W.C. Fields segment not included in the original theatrical release.
Charlie Berns (William H. Macy) is a veteran Hollywood movie producer who has given up on his career and life. That is until his idealistic screenwriter nephew (Jason Ritter) comes bearing the script of a lifetime and Charlie decides to give his career one final shot. The only thing standing in his way is Diedre Hearn (Meg Ryan), a sharp-witted studio executive brought in to keep Charlie in line.
Set in 1951, a blacklisted Hollywood writer gets into a car accident, loses his memory and settles down in a small town where he is mistaken for a long-lost son.
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Mizoguchiâs most politically outspoken film is clearly branded as a product of the US occupation by its insistent, ardent call for democratic reform and, most especially, for the empowerment of women. Mizoguchiâs only work with Ozu screenwriter Kogo Noda, Victory of Women features Kinuyo Tanaka as the embodiment of the possible new order, a lawyer fighting doggedly for a more just legal system and trying to rid Japan of its draconian penal system.
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F.Scott Fitzgerald's novel is brought to life in this story of a movie producer slowly working himself to death.
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A subtle, down-to-earth and autobiographical depiction of an American screenwriter in Paris who befriends his chauffeur and has an affair with a British aristocrat.
Director José Luis Garci has turned his camera inward on filmmakers and screenwriters to portray them as so self-absorbed in the creative process that there is no other world, no other human relationship that can compete. As José (Adolfo Marsillach) and Federico (Jesus Puente) work together on a new screenplay, their interactions with their family (José's teen daughters, Federico's wife) disappear under the all-consuming task of creation. The daughters give up and go off on their own, and the wife joins a convent while Federico barely notices. And when the producer is interrupted by profound grief at the sudden death of his older son, he almost automatically returns to thinking about the film project when the funeral has ended. Garci honors many great directors at the beginning of this film, and the film continues to play out as an elaboration on this homage -- an illustration both of the dedication and the cost of filmmaking, no judgments given.
When a carjacking leaves L.A. screenwriter Eric recovering from a gunshot wound to the abdomen, wife Alicia nurses him back to health. Four months later, the two depart for a second honeymoon in an idyllic setting in the mountains. They are snuggly ensconced in front of a crackling fire when Cale, a hunter who's ostensibly lost his sense of direction in the snow storm and nearly frozen to death, appears at their cabin door.
An Oscar-winning writer in a slump leaves Hollywood to teach screenwriting at a college on the East Coast, where he falls for a single mom taking classes there.
Two lazy screenwriters need a story for the studio's cowboy star. A studio waitress turns out to be pregnant. This gives them the idea for a movie about a cowboy and a baby. The waitress's baby becomes the star. The cowboy and his agent run off with the waitress and her valuable asset. The writers retaliate by hiring an unemployed extra to impersonate the baby's father. But the extra already knows the waitress...
What happens when a screenwriter (Brooks) loses his edge, he turns to anyone he can for help... even if it's the mythical "Zeus's Daughter" (Stone). And he's willing to pay, albeit reluctantly, whatever price it takes to satisfy this goddess, especially when her advice gets him going again on a sure-fire script. However, this is not the limit of her help, she also gets the writer's wife (MacDowell) going on her own bakery enterprise, much to the chagrin of Brooks, who has already had to make many personal sacrifices for his own help.
A detective investigating a series of murders discovers that they are similar to the murders that occur in the new script of a Hollywood screenwriter.
A comedy about a screenwriter (Wuhl) whose old movie script is read by a producer (Landau) and the search for financial backers begins. But it seems that each money source (Aiello, DeNiro, Wallach) has his own mistress that he wants put into the film. Gradually, the screenwriter is forced to make changes to his script to accommodate these backers until he finally sees no semblance of his original ideas in the writing.
A romantic comedy about a family traveling to the French capital for business. The party includes a young engaged couple forced to confront the illusion that a life different from their own is better.
A struggling screenwriter inadvertently becomes entangled in the Los Angeles criminal underworld after his oddball friends kidnap a gangster's beloved Shih Tzu.
The story revolves around a Spring, a hitman from mainland China who is on a mission in Hong Kong with his partner Setting Sun. However, Spring falls ill and comes under the care of a screenwriter by the name of Soya and they find themselves developing into a tight and everlasting friendship.
Hollywood producer Alexander Meyerheimer has hired drunken writer Richard Benson to write his latest movie. Benson has been holed up in a Paris apartment supposedly working on the script for months, but instead has spent the time living it up. Benson now has just two days to the deadline and thus hires a temporary secretary, Gabrielle Simpson, to help him complete it in time.
When Jack (Edward Furlong) is in danger of missing a deadline, his manager orders him to take whatever measures are needed to complete his screenplay. Jack locks himself in a slaughterhouse freezer but discovers that his inner demons are keeping him company. Despite the cold, Jack's imagination is red-hot as he concocts the story of Frank (Furlong), a tow truck driver who's locked in a fridge with the dying victim of a serial killer.
Shane Black ("Lethal Weapon"), John Carpenter ("Halloween"), Frank Darabont ("The Shawshank Redemption"), William Goldman ("The Princess Bride"), Paul Schrader ("Taxi Driver"), and dozens of other Hollywood screenwriters share hilarious anecdotes and penetrating insights in "Tales from the Script," the most comprehensive documentary ever made about screenwriting. By analyzing their triumphs and recalling their failures, the participants explain how successful writers develop the skills necessary for toughing out careers in one of the world's most competitive industries. They also reveal the untold stories behind some of the greatest screenplays ever written, describing their adventures with luminaries including Harrison Ford, Stanley Kubrick, Joel Silver, Martin Scorsese, and Steven Spielberg. The film was produced in tandem with the upcoming HarperCollins book of the same name.
A quivering voice begs to screenwriter, Joel Brandt, to pick up the phone on a message from his answering machine. Thinking it a prank, Joel deletes the message. The caller is found dead. Another caller leaves Joel a message; there is another murder...then another...then another. The killer has Joel's attention, and Joel has the attention of the police. Now the prime suspect in a series of murders, Joel discovers this psychotic killer has targeted him for a reason found within his body of work. Will Joel be able to re-write his ending, or be forced to pay the ultimate price?
Through a focus on the life of Dalton Trumbo (1905-1976), this film examines the effects on individuals and families of a congressional pursuit of Hollywood Communists after World War II. Trumbo was one of several writers, directors, and actors who invoked the First Amendment in refusing to answer questions under oath. They were blacklisted and imprisoned. We follow Trumbo to prison, to exile in Mexico with his family, to poverty, to the public shunning of his children, to his writing under others' names, and to an eventual but incomplete vindication. Actors read his letters; his children and friends remember and comment. Archive photos, newsreels and interviews add texture. Written by
Ali is a young Egyptian screenwriter determined to succeed in London, where he has been a student. He loves the artistic and political freedom, the colours, the music, the individualism. But he has little money, his student visa is about to expire and he has been thrown out of his lodgings. And so Ali moves in with a succession of eccentric and colourful London flatmates: Mark, a photographer with a very individual style, Linda, a young, blonde, very sexy model and Marilyn Monroe impersonator, and Miss Stevenson who is convinced that Ali is the reincarnation of her long dead Egyptian lover.
Buddy Buddy is a 1981 American comedy film directed by Billy Wilder that stars Jack Lemmon, Walter Matthau, Paula Prentiss and Klaus Kinski. The screenplay by Wilder and I.A.L. Diamond is based on the 1973 French language film L'Emmerdeur, which screenwriter Francis Veber had adapted from his play Le contrat. The film proved to be the last directed by Wilder.
Two gangsters provide details of an actual bank robbery when helping a neophite screenwriter create a hit Hollywood film. Director Lew Landers' 1938 comedy stars Lee Tracy, Bradley Page, Paul Guilfoyle, Lee Patrick, Joan Woodbury, Jack Carson, Richard Lane, Willie Best, Edythe Elliott, George Irving, Tom Kennedy and Jimmy Conlin.
A Hollywood tour bus driver poses as a screenwriter to romance an up-and-coming young actress.
Flighty Emily "Jacks" Jackson works for the British edition of Vogue magazine. Rather than pursue a relationship, Jacks regularly hooks up with her devoted ex-boyfriend, James Wildstone, and lives with Peter Simon, a gay screenwriter. When Jacks meets Argentinian photographer's assistant Paolo Sarmiento, she assumes he is gay and tries to bring him and Peter together, unaware that Paolo is straight and in love with her.
Joe Mulholland, Head of Production at a Hollywood studio, makes a rather fool-hardy promise to a dying friend. He undertakes to make a major movie using the title - if not the content - of a best-selling sex manual "Love in Sex". Enlisting the help of depressed screenwriter Herb Derman and rather off-centre director Sid Spokane to try and come up with an idea or two, Joe soon wishes he was not one of those people who always try to keep their promises.
The film is composed of multiple comedy shorts presented through an overarching segment titled "The Pitch", in which Charlie Wessler, a mad screenwriter, is attempting to pitch a script to film executive Griffin Schraeder. After revealing several of the stories in his script, Wessler becomes agitated when Schraeder dismisses his outrageous ideas, and he pulls a gun on him and forces him to listen to multiple other stories before making Schraeder consult his manager, Bob Mone, to purchase the film.
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